I N T E R V I E W S

Friday, 22 January 2010

BLOGGER DE LA TELEVISIÓN EN ESPAÑOL:
ENTREVISTA A ALEXIS NÚÑEZ OLIVA

Por José Roversi





Alexis Núñez Oliva lo tiene muy claro: “Lo aburrido no es televisivo”. La función primordial de la televisión es entretener. Lo dice con conocimiento de causa. Como Productor Ejecutivo de Televisa, la compañía productora de medios en español más grande del mundo, Alexis ha creado algunos de los formatos mas exitosos de la televisión mexicana, como “La Oreja”, programa dedicado al espectáculo que entre 2002 y 2009 batió records de audiencia.

Al tiempo que producía temporada tras temporada de varios programas, Alexis encontró tiempo para dirigir, durante diez años, el que se ha convertido en el mayor canal de televisión de vídeos musicales en español, “Ritmoson Latino”, parte de Televisa Networks.

Pero hay una faceta menos conocida de este creador cubano-mexicano y es la de bloguero. “Por TV” es el nombre del primer blog sobre producción de televisión en español, en el que Alexis reflexiona sobre la forma en que hacemos, vemos y comprendemos la televisión, el más potente y polémico medio de comunicación que ha conocido la humanidad, hasta ahora, al menos.

Nuestra pasión por los medios, por la comunicación, nos llevó a querer entrevistar a una de las personas que moldean, actualmente, la televisión de habla hispana en el mundo. La generosidad de Alexis lo hizo posible.



JR: ¿Por qué un blog dedicado a la producción de TV?

AN: La televisión es un tema inagotable. Permite desde el análisis científico hasta la más burda especulación. Está al alcance de la mano porque despierta y duerme junto a las familias, tiene la voluntad promiscua de permanecer mientras vivimos, nos bañamos, nos vestimos, hacemos el amor, mientras discutimos o cuando simplemente somos sus espectadores. Esa flexibilidad permite escribir desde muchos ángulos sobre ella y exige que de ella se diga lo que se quiera decir. Un blog sobre televisión es simplemente un mínimo espacio más que la televisión requiere para que de ella se diga más.

JR: ¿Cómo ha sido la respuesta de tus lectores hasta ahora?

AN: Para mí, sorprendente. Tengo lectores desde más de cincuenta países del mundo que me inundan con correos que no alcanzo a responder. Los lectores de Por TV se manifiestan con razones y a veces sin argumentos, pero siempre desde la pasión de la televisión, desde la admiración hasta el odio, desde la aceptación hasta la negación.

JR: ¿Que tipo de artículo despierta mayor interés en Por TV?

AN: Aquellos relacionados con las formas de hacer televisión, específicamente cuando expongo ideas de cómo hacer un programa o cuál es el proceso para realizarlo.

JR: ¿Qué diferencia a un buen blog de uno que no lo es?

AN: No podría definirlo de manera tan estricta porque un blog sigue siendo algo muy personal. Es un medio de comunicación individual que se ha vuelto masivo, pero que no responde a los criterios de equilibrio de los medios de difusión. Al menos puedo poner como ejemplo el mío como malo y cualquiera que guste más como bueno.





JR: ¿Qué le respondes a los que piensan que la TV debería tener un sentido mas educativo?

AN: Les recomiendo que primero defiendan ese criterio de la mejor manera: viendo ellos mismos televisión educativa. En casi todos los países del mundo hay canales de televisión estatales o de centros de enseñanza que producen lo que llaman "televisión educativa", pero cuando revisas los rating de esos canales, observas que casi nadie los ve. He podido hacer incluso el siguiente ejercicio: después de escuchar las duras críticas de estudiantes universitarios contra la televisión comercial y después de escucharlos defender la televisión "educativa" les he preguntado por algunos programas "comerciales" y me han respondido con gran conocimiento de esos espacios.

Pero una vez que les pido me hablen de la programación de los canales "educativos" apenas pueden recordar algún título -si acaso- de uno de sus programas, lo que demuestra que el discurso no coincide con los gustos. Y sobre el concepto "televisión educativa" tengo objeciones. Toda la televisión educa, porque crea patrones, ejemplos, aspiraciones y porque la televisión es, finalmente, información.

El mundo lo conocemos casi por televisión. Somos educados -correcta o incorrectamente- a través de la televisión. Bajo esas premisas toda la televisión es educativa, aunque esa educación no vaya siempre en el sentido que nos gustaría.






JR: La fusión entre TV e internet es cada vez más una realidad. ¿Qué televisión tenderemos en el futuro próximo?

AN: Sin dudas Internet y televisión estarán unidas. Hoy vemos intentos de llevar la televisión al monitor de las computadoras, pero esa idea será muy antigua dentro de poco tiempo y lo idóneo será poder navegar en Internet a través de la televisión como algo natural. Mientras vemos nuestro programa preferido recibiremos alertas de un nuevo correo o nos avisarán de alguien que se acaba de conectar al messenger.

JR: ¿En que espacio de la industria televisiva crees que hay mayor necesidad de recurso humano?

AN: La televisión crece más rápido en necesidades que en formación de personal. En general hay una carencia enorme de talento y fuerza productiva en casi todas las áreas de televisión del mundo.

JR: ¿Qué tipo de TV te gusta a ti personalmente?

AN: Si lo digo públicamente sería enjuiciado como una persona aburrida. Sólo puedo decirte que no soy productor de la televisión que me gusta, sino de la necesidad de entretenimiento que tiene el público, porque entiendo a la televisión como un medio de entretenimiento que tiene la obligación de cumplir con esa función social. Lo aburrido no es televisivo.

JR: Ya para finalizar ¿Cómo ves el futuro de la blogósfera?

AN: La blogósfera tiene un futuro enorme. Seguirá modernizándose e incorporará nuevas formas para expresarnos, pero llegó para quedarse. Sin compromisos, sin línea editorial, sin intereses cerrados, tiene un mundo de información casi siempre basado en la reflexión. El surgimiento del blog no nos puso a pensar, pero sí nos permitió mostrarle a los demás qué pensamos y con ello ha creado la biblioteca del pensamiento moderno más grande de la historia de la humanidad. Los arqueólogos del futuro no levantarán piedras ni limpiarán con pinceles vasijas escondidas debajo de las ruinas. Sólo tendrán que leer miles de post para entender cómo éramos y por qué sufríamos y gozábamos la existencia en estos tiempos.

JR: Muchas gracias Alexis, nosotros estamos realmente felices de poder compartir con nuestros lectores tus respuestas.

AN: Gracias a ustedes y una disculpa por mi tardanza. Muchas razones tuve, pero ninguna vale la pena explicarla. Sólo ofrecerles una sincera disculpa.

JR: Un abrazo.

AN: Otro para ustedes.

http://portv.blogspot.com



Monday, 18 January 2010

THE COUP AGAINST CHÁVEZ AND THE MAKING OF MODERN VENEZUELA: AN INTERVIEW WITH AMERICAN WRITER BRIAN A. NELSON, AUTHOR OF "THE SILENCE AND THE SCORPION"


by José Roversi





I had been living in Padova, Italy, bussy with an exciting, new radio project that presented me with a huge variety of possibilities. Away from friends and family, I Skyped quite a lot. One of my Skype buddies was the brilliant young venezuelan novelist A.A.Alvarez, author of “Chronicles of a Nomad: Memoirs of an Inmigrant”, who overseeing the Aegean Sea from his house in Athens, Greece, was always hunting for fresh, interesting literature on Venezuela.

As venezuelan expatriates, Alex and I would go reflecting on the country´s matters for hours, dissecting aspect after aspect of our voluptuous idiosyncracy. One night we were discussing the 04-11-2002 events that lead to the brief overtrhown of Hugo Chávez. Alex had just received a copy of a book that fully reconstructed what had happened that day almost on an hour to hour basis: The Silence and The Scorpion: The Coup Against Chávez and the Making of Modern Venzuela, by american writer Brian A. Nelson, a young academic at the Center for American and World Cultures at Miami University in Oxford, Ohio.

Exceptionally well written, potent and accurate, the book was built on hundreds of hours of interviews with both sides of the coin: oppositionist “marchistas” that attended the million-person demonstration all over the streets of Caracas; Chávez loyalists who movilized to the surroundings of “Miraflores”, the presidential palace, to defend the “revolution”; and high rank military officers forced to make the biggest decission of their carreers on those critical moments. Nelson spoke to an incredible ammount of people, remarkably managing to gain acces to key players on each field.

Reading The Silence and The Scorpion made a huge impression on me for a number of reasons: because a non venezuelan could dive so deep (and probably deeper) into our national neurosis; because of its vibrant narrative and exhaustive research work; because the events so cleverly portraited forever change mine and millions of others life for good; because I was there and it wasn´t that long ago; yet the course of history was forever modified.

The 2009 Books of the Year list by The Economist have included Brian A. Nelson´s The Silence and The Scorpion: “A scrupulous account of one of the most important, yet most misunderstood events in recent South American history. It should be read by all those who believe that Hugo Chávez is a worthy champion of democracy and the oppressed”.

This interview was conducted between the months of december 2009 and january 2010. It´s been an infinite priviledge (as well as a pleasure) having the opportunity of working with someone like Brian, who´s phenomenal break into the literary scene only give us a clue of what his talent´s got yet to offer.



"The Silence and The Scorpion" is a very suggestive title, seems to talk about a place, but also about a character or circumstance...

Yes, “the silence” is a place in Caracas. It’s the area around the presidential palace where the violence occurred. For many Venezuelans “the silence” (el silencio) has now become synonymous with the bloodshed of April 11 and the coup.

Why did they call it the Silence? Once upon a time, back in the 1880s when the palace was built, this area was set apart from the center of Caracas. Old paintings of the palace show a beautiful pastoral area, so it really was a serene and quiet place. Today, however, it has been consumed by Caracas and is one of the most densely populated areas of the city. It’s somewhat ironic that a place called the silence is now interminably noisy.

“The Scorpion” comes from an old fable that one of the central characters in the book, General Usón, told me in our first interview. Usón was a close friend of Chávez’s but he defected to the opposition after the coup. In 2004 Usón was imprisoned for causing “insult and injury” to the Venezuelan military because of a TV interview he gave. The fable is about a scorpion and a frog. It goes like this: a scorpion tries to convince a frog to carry him across the river. The frog is initially afraid of the scorpion, but is eventually won over. When they are halfway across the river, the scorpion suddenly stings the frog. “What have you done?” cries the frog. “Now I am going to die and you will die with me.” To this the scorpion simply shrugs and says, “It’s my nature.” In our interview Usón compared Chávez to the scorpion—as someone who might have good intentions, but who is, by his nature, aggressive and militant by nature. I think it is interesting that Usón made this analogy before he was arrested. The comparison was not made vindictively, but as an observation by someone who had known Chávez personally for more than 25 years.

I want to ask you about the circumstances of your arrival in Venezuela as an AFS student in 1988.

I have to laugh when I think about how I ended up in Venezuela. It’s funny because Venezuela has become a huge part of my life, yet I never actually chose to go there. It was chance.

When I was applying to AFS—I must have been seventeen—I knew that I needed to learn another language, yet, honestly, I wasn’t quite brave enough to choose a really hard language like Chinese or Japanese. I knew that Spanish was supposed to be easy to learn so on my application, in the part where they ask which country you want to go to, I simply wrote “Spanish speaking.” I could have ended up anywhere between Tierra del Fuego and Madrid. About six months later I discovered that I was going to Maracaibo, Venezuela. I had heard that name, Maracaibo, but I had no idea where it was and I had to look it up on the map.

It’s one of those little decisions that change your life forever. There was no well-constructed plan. In fact, it was a short-sighted decision (based on the thinking of a teenager) that had long-term consequences. My major in college, my first job, my graduate field work, and my first book were all a consequence of writing “Spanish speaking” on that application.



Did you witness the February 1989 riots in Caracas? If so ¿Can you describe the impression it made on you?



I was in Maracaibo, which is Venezuela’s second largest city, during the riots of 1989. There was a great deal of looting there and some violence, but it was not as intense as in Caracas. One of the things I remember most distinctly was the day it began. Three of my host-brothers and I had just returned from school. I remember coming into the kitchen where we had a small black and white TV and seeing the first images of the looting. I can still see it in my mind: There was a man kneeling in front of one of those big steel garage doors that they use to protect the entrances to supermarkets (you know, Santa Marías). And there was this guy with a blowtorch about to cut through it—he had one of those heavy face masks and everything. He lit the torch and started cutting. Behind him was a huge crowd of people waiting to sack the store as soon as he’d broken through. As the camera pulled back, I realized that it was the supermarket three blocks from our house. It was that close. Not long after that, the government cut all the TV networks and the screen turned to static and snow.

I also remember the military curfew which, if I remember correctly, started every day at 6 p.m. That was, I think, the greatest fear we all had—that the military could kill you for any reason. We knew this was happening. It was martial law. In fact, we knew a family who had an emergency and tried to get to the hospital after curfew and they were all killed when they approached a military checkpoint. Even during the daytime you avoided leaving the house because you didn’t know what might happen.

The whole thing was very surreal. This was before the internet and DirecTV, so you had very little idea what was going on, so your imagination ran wild. Getting information became very, very important. There were all these rumors and strange stories going around. It was all based on someone’s uncle’s brother-in-law or someone’s second cousin who knew a politician or a general, etc.

When did you leave Venezuela? Did you follow the Venezuelan socio-political scene at the distance? How did you approach Chávez’s rise?



I returned to the United States in July 1989 and, yes, I did continue to follow what was happening in Venezuela for two reasons: First because of my friends and host-family still in Venezuela. And second, because of the Caracazo. That really stuck with me.

Oddly, the thing about the Caracazo that made the biggest impression on me was the macroeconomics of it. I know that doesn’t sound very sexy, but that’s what intrigued me. The riots showed me the power of economics. In February 1989 Venezuelans began to loot and riot because of macroeconomics. Soldiers came out into the street to kill them because of macroeconomics. It was the result of a package of reforms put in place by President Carlos Andrés Pérez. Bowing to pressure from international lending agencies, Pérez’s reforms caused a sharp rise in the cost of many goods and services—most importantly gasoline. That’s what sparked the crisis and it really changed the way I perceived the world. I realized that economics is not necessarily a casual ebb and tide of forces, not an indifferent system of incentives or a helping hand. It can be a violent and destructive thing. As you know, it had incredible effects on Venezuelan society—savings accounts were sucked away, real wages plummeted, pensions were eroded away by inflation. Essentially, the Venezuelan middle class was knocked into the lower class overnight. I remember very clearly how my host father, a professor of law, had to walk to work for three months because he couldn’t afford a 50 dollar battery for his car.

So when I returned to the United States and began college I double majored in Economics and International Studies, largely because of my experiences in Venezuela the previous year.

What did I think of Chávez initially? I thought the revolution was a great idea. I thought that Venezuela needed radical change to turn itself around. After all, I’d been going back to Venezuela about once a year (sometimes more) throughout the 1990s, so I was getting these regular snapshots of Venezuela’s socio-economic decline. The scandals, the corruption, the bank failures, the crime. So it seemed completely necessary to push “reset.” To wipe the slate clean and start all over. It’s a classic case of “be careful what you wish for.” At the time I thought (like most people) that it couldn’t get any worse. That it was worth taking a risk on a political unknown to turn the country around.

Much later, I spoke with some of Chávez’s campaign advisers for the 1998 election and they told me that they knew that Chávez was much more radical than the public realized, but they made sure he spoke as little as possible about his long-term plans. Instead they cast him as the independent, the one who would clean up the mess of the two traditional parties. People often forget about that: That Chávez was elected on a backlash to the two traditional powers, and not because of who he was. Most of us fell in love with the story of Hugo Chávez, not realizing who the real Hugo Chávez was.

Where were you when the 04-11-2002 events occurred? What were your first feelings at getting word of what had happened?



I was in the United States, in my last weeks of graduate school, when the coup occurred. I had visited Venezuela that last Christmas but, to be honest, I had not been following the political situation that closely as I was neck-deep in my studies. When the coup occurred, I was still very much in favor of Chávez and given the limited coverage in the States, I assumed that it had been a “classic coup”—a conspiracy within the military likely backed by the United States. After all, Chávez had already forged very close ties with Cuba as well as Iraq, Iran, and Libya. He was also speaking out against the U.S. invasion of Afghanistan. With Venezuela as the fifth largest supplier of oil to the U.S., it made sense that the United States would want to get rid of him. The fact that the military installed a former oil company executive, Pedro Carmona, as interim-president, helped solidify my opinion that the coup was about ensuring that one of America’s most stable suppliers of oil was not lost.

It wasn’t until I arrived in Venezuela in September, five months later, that I began to reconsider things. Many Venezuelans that I respected told me how mortified they had been when Chávez made his miraculous return. I wondered how they could support the ouster of a democratically-elected president. So I decided to take a closer look.

I quickly realized that certain things just didn’t add up. Many things just didn’t fit the “classic coup” scenario. For example:

1. How could this be a classic coup if the military never attacked anyone? In fact, the military rebelled by NOT acting; by refusing to follow Chávez’s orders that they stop the march that was converging on his palace.

2. If the Chávez government was the victim of a coup, then why was it the one that cut the signals of all of the TV stations, thereby blocking out coverage of the violence around the palace?

3. Why did the Venezuela Supreme Court—which was entirely appointed by Chávez’s party—rule that there had been no coup at all, but rather a power vacuum precipitated by the executive branch?

4. Perhaps most importantly, if the Venezuelan government was the victim, then why did it launch a major cover-up of the events? Why did it suspend the Truth Commission, destroy evidence, and fire police detectives and prosecutors who tried to investigate what had happened?

There was definitely something else going on here. Yes, it was clear that the military had broken the law and so had Interim-president Carmona, but there was another story here that was not being told. That’s what piqued my interest.

Why and how did you decide to write "The Silence and the Scorpion?


It’s probably easier to answer that question by explaining what kind of book I didn’t want to write.

First, I knew I didn’t want to write a boring drawn-out history book about Venezuela that only a handful of people would want to read. Especially when what was happening in Venezuela was so fascinating.

Second, I didn’t want to feel like I was lecturing people about Venezuela. That’s one of the things that annoys me about travel writing, that it is about the author and not the place. Instead, I just wanted to show it. I was pretty sure that if I could do that; if I could just put reality “in front of the camera” then I would be creating something very original. Because that’s what you can’t get from a newspaper or magazine—that level of detail, that feeling of being there. I really wanted the reader to feel like I had just dropped them in the middle of Caracas. I wanted to recreate the feeling of discovery that people have when they go overseas for the first time. For example, I intentionally didn’t translate many Spanish words and I didn’t explain everything up front because I wanted the reader to feel a little disoriented, like you would if you had just gotten off a plane. There is an excitement in that confusion that I wanted to capture. Little by little—interspersed in the action—I gave the reader the background they needed to understand how Venezuela got to this point.

After I had determined what I didn’t want, it was easy to pick the coup because it was the most important and compact event that encapsulated what life is like in Venezuela today. It showed how Chávez has polarized Venezuela--why some people fight so hard for Chávez and why some people fight so hard to get rid of him.

How was the researching-interviewing process? How long did it take you to gather the information and testimonials? Was it difficult getting people to share their testimonials?






Good God, it took forever! [Laughing]

Okay, I admit that the beginning was a pleasure—conducting interviews is a great deal of fun. You are traveling around to different parts of the country, meeting new people, listening to their stories, learning new things. I met some of the actors half a dozen times and, as a consequence, many of them became my friends.

But then I had to take each of those recorded interviews and transcribe them. Which means that I had to sit with a tape-recorder to my ear, press play, listen to a few words, press stop, type those words into the computer, press play again, listen to a few words, press stop, etcetera, etcetera. And of course, we are talking about hundreds and hundreds of hours of interviews. Then major parts of those interviews had to be translated into English, then woven into the main story. God, it was tedious! I felt like one of the designers for The Lord of the Rings: one of those guys who spends months making the detailing on a scabbard that no one will ever notice in the film. But in the end there was a payoff: Since I had thousands of pages of testimony on my computer it was much easier to patch the book together and much easier to search through all the testimony to find links between the characters.

This became my cycle of writing: I would do a series of interviews; transcribe them and translate them; then I would check my other sources—videos, photographs, newspaper articles, etc. to make sure that the testimony was credible; then (and only then) I would weave them into the main story. Then I would look at the finished product and find out what I was missing, so I would interview the person again or interview other people and start the whole cycle from the beginning.

Overall, people were very generous with their time and it was not hard to get interviews. The fact that I had lived in Venezuela in high school and kept in touch with all of my friends was a huge advantage here because many of my friends had split into the pro- and anti-Chávez camps and helped me get interviews with key people. This meant that most of the time I wasn’t interviewing strangers, I was interviewing a friend of a friend. That made a big difference in what people were willing to share with me. I was already a confidant. Yes, now that I think about it, I was very lucky, because I know that I got access to people on both sides that few foreign journalists could have gotten.

The only people who did not respond to a request for a second interview were the Tupamaros—one of the urban guerrilla groups in Caracas. I met with six of them and had a fascinating interview, but I think someone in their hierarchy told them not to go talking to any more “gringo” journalists, so that was the end of that. In hindsight, I have to admit, they told me things they probably should not have: how the government gave them money and sent some of them to Cuba for insurgency training, etc. (These are things that the government denies doing.)

What are the main conclusions you have reached after all the research work done on the 04-11-2002?



My main conclusion about the coup was that no one was innocent. The government, the military, and the opposition all did illegal things that contributed to the crisis and they all bear responsibility.

Concerning the Chávez government, it completely destroyed the rather romantic view I had of revolutionary socialism.

Why? Because the facts are undeniable: Gunmen and National Guard troops under orders from the Chávez government committed massive human rights violations against the opposition marchers and journalists as they approached the presidential palace. It was an unnecessary and completely avoidable act by the government (the biggest prong of the march was actually turned away with teargas, proving that violence was not necessary). In the aftermath the government not only blocked an independent investigation, but it harassed many of the victims and their attorneys, jailed innocent people in order to have scapegoats, and funded TV shows and documentary films to spin events in its favor.

In many ways the government’s reaction to the violence is much more telling than the violence itself. It was a critical moment because the government had a choice: it could have jailed the gunmen and National Guard troops who were caught on film and in photographs shooting at the marchers. This would have provided some reconciliation for the victims and proven that the government applies the law equally to all citizens. It did NOT choose that route. Instead, it began building up lies on top of lies to protect itself.

But perhaps the government knew full well that it had to lie because the stakes were so high. That is, a true independent investigation could very likely topple the government. After all, former Venezuelan president Carlos Andréz Pérez was impeached simply for sending campaign funds to a candidate in Nicaragua. How quickly would Chávez be impeached if a proper investigation were held into the violence on April 11th? Rest assured that Chávez has thought of this. I’m sure he’s also thought of former Peruvian President Alberto Fujimori, who is in jail for complicity in the killing of his opponents in Peru. Recall that Hugo Chávez spent two years in jail after his own coup attempt in 1992 and he didn’t like it. He knows that if he loses power in Venezuela he will likely face a prison term. Think about that for a second and how much that influences his decisions.

Again, Carlos Andréz Pérez was placed under house arrest for illegal campaign contributions to a single country, but it is well known that Chávez has meddled in the internal affairs of Mexico, Peru, El Salvador, Honduras, Brazil, and Colombia—not to mention the 800,000 dollars in a briefcase earmarked for Cristina Fernández de Kirchner in Argentina. Sending rocket launchers, ammunition, and money to the Colombian FARC? Also illegal. All of these cases remain uninvestigated in Venezuela because of Chávez’s control over the Parliament, the Supreme Court, and the Justice Department (Fiscalia). But if he loses power, the incoming government is surely going to go after him.

Obviously, many things are driving Hugo Chávez—his ardent belief in socialism, his distrust of the United States and the West (which to some degree is understandable given it’s historic role in Latin America), and his desire to become a legendary figure who can unite Latin America at least as well as his political muse, Simón Bolívar. But as someone who has studied Chávez’s record on human rights, I believe his fear of incarceration is also a factor. His repeated (and finally successful) attempts to change the constitution to allow for his indefinite re-election may be viewed through this lens. Yes, Hugo Chávez wanted to end term limits so that his revolution could continue, but I believe he also wanted to end term limits to protect himself from the cascade of lawsuits he will face if he has to relinquish power.

So that is why the experience of writing this book has destroyed my romantic vision of the revolutionary left. The discovery of the intentional use of violence on April 11th was the tipping point. It proved that the Chávez government is willing to violate the country’s laws and its constitution to advance its goals. In other words, Chávez believes that his revolution is more important than the law, more important than democracy. That’s a very dangerous thing. What’s more, I realized that the goals of the revolution are not as lofty as its leader professes; they are much more about the short-term, self-preservation, survival. Chávez acts as if he has picked up the banner of Ché Guevara, but he is merely cloaking himself in Ché’s image, in large part for his own protection.

Newsweek 2010 predictions includes a new coup d'etat in Venezuela. Having lived in the country; having had a permanent, direct rapport with Venezuelans for over twenty years; having written one of the most documented accounts of the April 2002 events to this date. How do you foresee Venezuela`s socio-political scenario evolving in the future?



I believe that Newsweek made that prediction because of a story they published in December 2007 by Jorge Castañeda right after Chávez lost the constitutional amendment referendum that would have allowed for his perpetual re-election (a referendum he later repackaged and won). That article discussed how Chávez tried to steal the vote on election day when he realized he was going to lose, but that General Baduel and the military high command “virtually threatened him with a coup d'état” if he did so. Newsweek believes that if Venezuela came that close to a coup in 2007, then it is even more likely in 2010 given the deteriorating economy and skyrocketing crime (Caracas is now the murder capital of the world, with twice as many homicides as Johannesburg, the second worst city).

While I do think that the deteriorating economy is hurting Chávez and is putting significant pressure on him, I think Newsweek has missed the point of the 2007 story. The point is not that Chávez was almost the victim of a coup, the point is that Chávez avoided a coup by appeasing his opponents, then he quietly regrouped and eventually got rid of them. Today General Baduel is sitting in jail (without a trial) and Chávez has successfully reshuffled the military high command to exorcise those he suspected of disloyalty. His control over the military is once again very strong. This is essentially what Chávez did after the April 11 coup: he temporarily retreated because he knew his position was weak, but then he methodically laid his plans and slowly and steadily purged his government and the military of all those he suspected of disloyalty. This is why many people thought it was an “auto-coup”—that Chávez had orchestrated the whole thing—because he emerged stronger than ever. (It wasn’t an auto-coup, but many people thought it was.) The lesson is that Chávez is a survivor.

So I am doubtful that there will be a military coup this year and I hope for Venezuela’s sake that there is not a violent or illegal change of government. But what is interesting is the growing fantasy of a coup, especially in the opposition. Many people want regime change in Venezuela. They dream about it. Any way they can get it. Why? Because they feel that all of the democratic paths have been exhausted. They don’t feel that protests work; they don’t feel that referendums work; they don’t feel that the courts work. They have lost faith in the institutions that should have protected against what they feel they are faced with now: a president-for-life. Most importantly, they have lost faith in the National Election Council, which Chávez does indeed control and, I feel, was a big part for his “victory” during the recall referendum of 2004.

Friday, 15 January 2010


LAS MANOS CALIENTES DE PIBO MÁRQUEZ: ADELANTE SIEMPRE

de Cecilia Giffard


Era el año 2006 y yo me encontraba en Maracay produciendo, para Vale TV, Canal 5, un especial sobre el Festival Internacional de Tradiciones Afroamericanas (FITA). Aunque fuera del recinto del Festival, en los jardines, los sistemas de riego trabajaban duro por mantener la grama húmeda y fresca, los pasillos del Hotel Maracay bullían al ritmo del calor intenso y la energía de los muchos participantes. Caminar resultaba difícil. Miembros del equipo de producción subían hasta la terraza, donde estaba ubicado nuestro Master, con una cava repleta de hielo y botellitas de agua mineral que nos devolvían la vida. Entre los músicos y creadores extraordinarios de varios continentes y docenas de países que se encontraron ese año, estaba Joel "Pibo" Márquez, el gran percusionista de Venezuela, traduciendo del español al francés y del francés al español para ayudar a sus colegas y amigos francoparlantes a hablar con los medios. Recuerdo, especialmente, a uno de esos músicos inspirados, brillantes y sencillos que pudimos entrevistar gracias a la mediación de Pibo: Cheick Tidiane Seck, uno de los músicos contemporáneos mas influyentes de Mali.


Pibo es un hombre alto, apuesto y juvenil; sonríe y se mueve con gracia. Tiene un hablar suave y un acento de lo mas "neutral", resultado de las circunstancias poco convencionales de su vida: originariamente barloventeño, esto es, de la tierra afrocultural por excelencia de Venezuela, creció y se formó en Catia, epicentro de la cultura popular urbana de Caracas (una ciudad dentro de la ciudad)

y muy joven se embarcó en un largo viaje de aprendizaje por todo el mundo que le tomó veinte años y lo convirtió en un hombre fusión, de aquí, de allá y de todas partes.

En un momento determinado los medios empezaron a correr en dirección a la entrada, también gente del público y otros artistas: al Hotel Maracay llegaba una leyenda de la percusión latina; un hombre que había sido pieza clave del trabajo de gente como Tito Puente, Ray Barreto y, sobre todo, Eddie Palmieri. Uno de esos prodigios musicales increíbles del Spanish Harlem de Nueva York, el autor del sensacional "Little Sunflower", Manny Oquendo. Venía acompañado con la otra mitad del "Conjunto Libre", el bajista Andy González.

Se calentó la audiencia esperando el "performance" del legendario astro. Pero la aparición de Oquendo se fue postergando, hasta que, finalmente, con la orquesta parada en el escenario, se anunció que por razones de fuerza mayor ese día no podría presentarse. La banda quedaba, repentinamente, a la espera de alguien que tuviera la estatura, la calidad y el valor de sustituir a Manny Oquendo. Entonces, tras unos minutos de silencio, de consultas y por decisión de los veteranos músicos, se sentó Joel "Pibo" Márquez, el joven percusionista de Venezuela, el de las Manos Calientes...

He sabido que tu familia es originaria nada mas y nada menos que de Barlovento. Para aquellos que no conocen nuestro país ¿Puedes hablarnos un poco de la importancia de esta zona en la cultura musical venezolana y de la influencia que ha tenido en ti tener un origen barloventeño?


Barlovento tierra ardiente y del tambor, es una perla entre montañas, ríos y mares con gente buena y sencilla que da todo su corazón y empeño. Tenemos orígenes en la Madre África, y de allí las particularidades culturales que existen en la región. Para mi ha sido mi carácter, mi vida y mi alma, todas sus costumbre y toda su forma corre por mis venas.

Tu infancia transcurrió en el oeste de Caracas, es una zona paradigmática, casi mítica de la capital venezolana, de la que tantos talentos han salido ¿Cómo fue crecer en Catia?

Catia me dio la visión de ciudad y carácter de mundo, en Catia la gente lucha por superarse y la condición de vida que existe ahí te enseña a prestar atención a todo, a "estar pila". Quien nace y/o crece en catia puede vivir en cualquier lugar del mundo.

¿Cómo te iniciaste en el mundo de la música? ¿Cómo encaminaste tus primeros pasos para convertirte en un músico profesional?

En mi casa siempre habían grupos de gaitas en diciembre o de salsa en otras épocas, tuve esa gran suerte y de allí sale esa gran pasión por la música

Háblanos de música en aquella primera etapa. ¿Qué escuchabas? ¿Qué músicos te influenciaron?

Cuando tocaba en mi escuela, se oía el Burrito Sabanero y aguinaldos y villancicos; tocaba en la iglesia Madre Cabrini (de Catia) en el grupo de gaitas, y oía toda la salsa que ponían en mi casa; me gustó muchísimo Ray Barreto (Rican/Struction) y Mongo Santamartia

En 1989, siendo casi un niño, decides irte a vivir a Europa y ampliar tus vivencias musicales, tus experiencias. Ya han pasado veinte años de eso. ¿Cómo fue la movida que encontraste en Europa? ¿Qué te aportó como persona y como creador?

Primero me fui a Colombia, donde duré como 7 años y después a Italia para terminar en París. ¡Y ya no era tan niño cuando me fui! jaja. Todos los viajes han servido para tener una óptica mas amplia de la música y la cultura en general. Aprendí a sentirme mas Venezolano sin ofender, denigrar o compararme con otras realidades y respetar tanto a Venezuela como a los otros países; a veces en Venezuela, el venezolano no respeta a su país y venera a los otros países sin motivos, solo por la idea de que todo lo de afuera es mejor (es mejor y peor)



Te estableces definitivamente en Francia y creas la agrupación Manos Calientes, un experimento que incorpora cantidad de ritmos y texturas: jazz, música étnica, colaboraciones con leyendas de la música…Háblanos un poco de Manos Calientes.

Es un grupo creado para poder tocar todo lo que me gusta, sin denominación ni estilo definido, un grupo que puede sonar como queramos que suene, con una búsqueda por la buena música y el riesgo de la improvisación

Tienes al menos cinco discos publicados: “Con las Manos Calientes”, “Afropolitanos”, “En Vivo”, “Caminos” y “Descarga Criolla”. Háblanos un poco de ellos.



Aquí te falta “Fasero”. Todos mis discos reflejan la forma en la que estaba viviendo en el momento en el que los grabé: son como mis hijos

Has estado muy activo en el mundo de los festivales internacionales. Tocas regularmente con músicos extraordinarios de Europa o América. ¿Qué te aporta la participación en este tipo de eventos?

Aprendo; uno nunca para de aprender y lo mejor es que eso te mantiene en una búsqueda y te da carácter humilde; no hay divismos o medias famas, la música es un leguaje, a veces es bonito, a veces es feo, o nostálgico…

¿Hacia donde se dirige el mundo de la música caribeña? ¿Cual es el futuro? ¿Qué proyectos nos preparan Pibo Márquez y los Manos Calientes?

La música se dirige a la perfección, aunque no la consiga. Estoy terminando otro disco, viajes, conciertos, familia y un programa de televisión que sale el dia 21 de enero a las 10:30 PM por TVES. Se llama OIDO AL TAMBOR y es un musical con entrevistas, muy honesto y divertido. Y lo que venga…

Un millón de gracias Pibo. Un abrazo.

Otro para ustedes también…











Tuesday, 5 January 2010

ANA Y LOS CRUDIVEGANOS: UNA CONVERSACIÓN CON LA ESCRITORA ANA MORENO, AUTORA DE "DIARIO DE UNA VEGETARIANA" Y "LA DIETA ORIGINAL" Por José Roversi



Nuestra búsqueda de un tipo de alimentación que nos brindara un mayor grado de realización física y espiritual nos ha presentado gente y circunstancias interesantísimas. Una de ellas ha sido el documental Que Crudo lo Tenemos del periodista malagueño Pablo Torres. El trabajo de Pablo, además de una experiencia audiovisual y humana fuera de lo común, nos trajo una inesperada y agradable sorpresa: la joven escritora Ana Moreno, una de esas personas que, proponiéndoselo o no, crea tendencias gracias a una rara mezcla de talento, idealismo y encanto personal. Autora de mas de quince libros sobre vegetarianismo y crudiveganismo, decidida emprendedora del 2.0 y amante de los gatos...
Después de miles de años de evolución parece que no hemos aprendido a comer. ¿Por qué comemos como comemos? ¿Por qué los animales, por instinto, son capaces de reconocer de inmediato lo que necesitan comer y lo que no y en cambio nosotros insistimos en consumir alimentos que nos hacen daño?

Bajo mi punto de vista, hay una parte del desarrollo humano que nos proponen que tiene que ver con “atontar a la especie”, hacerla débil y floja. Por ejemplo, un americano, el “modelo a seguir para occidente”, va a todas partes sentado en el coche, que además es automático, climatizado con aire acondicionado o calefacción, no pasa frío ni calor, no se cansa, no tiene ni que mover el brazo para cambiar las marchas… Pasar frío y calor, o cansarse, es algo muy necesario y útil para la salud. Si extrapolamos este sencillo ejemplo de lo micro a lo macro, nos damos cuenta que al buscar las comodidades hasta el extremo, nos hemos apartado tanto de la esencia del ser humano, que ya no sabemos si tenemos hambre o no, si lo que sentimos es sed, si comemos porque toca, si tenemos el paladar atrofiado para sabores sencillos, etc. Nos hemos apartado tanto de nuestra esencia que no sabemos lo que es el instinto, lo hacemos todo como robots, porque toca; o como una especie atontada, para calmar la ansiedad, llenar un vacío, por aburrimiento…

Das una notable importancia a la desintoxicación: tienes un programa de una semana y uno de dos. ¿Cuales son los beneficios prácticos de seguir estos programas? ¿Cómo afecta nuestro día a día? ¿Son experiencias muy exigentes?

El principal beneficio de la desintoxicación es volver a conectarse con uno mismo, volver a sentir hambre de verdad, aprender a comer, a disfrutar de sabores sencillos, de sus olores, de su textura… Al eliminar tóxicos y reconectarse se duerme y se descansa apropiadamente, mejora el humor, la alegría y las ganas de vivir, es soltar un lastre que nos pesa, que nos va matando poco a poco sin que nos demos cuenta. No son experiencias muy exigentes porque, tal y como yo enfoco los programas de depuración, no se pasa hambre, dado que no hay límite de cantidad. Sí exige un compromiso porque hay que comer lo que se marca, y no otros alimentos, y para ello hay que ser disciplinado, sobre todo si se trabaja fuera de casa. El caso es que estos programas ya los han seguido muchas personas y los han hecho perfectamente y con alegría, sin saltarse nada. Se siente uno tan bien cuando lo está haciendo, que se engancha. De hecho ha habido gente que me ha preguntado si lo podía alargar a 1 mes…

De acuerdo al último estudio (2009) sobre el impacto de comer carne sobre nuestra salud realizado por investigadores del National Cancer Institute de los EEUU, sobre una muestra de 523.000 personas a lo largo de diez años, resulta que de hecho SI que es sumamente nocivo incluirla en la dieta. Sin embargo, muchos nutricionistas insisten en que, moderadamente, no sólo es saludable sino necesaria para mantener una buena salud. ¿Tu qué opinas Ana?

No hay nada que tenga la carne que no se pueda encontrar en otros alimentos, nada. Por tanto, ¿para qué la iba a comer? Me extraña que un nutricionista, que sabe la composición de los alimentos, la recomiende, sabiendo que todos sus nutrientes se pueden encontrar en otros alimentos no cárnicos, que además no llevan asociados sus efectos perjudiciales, y para cuyo consumo no es preciso matar a un pobre animal que no tiene culpa de nada…

A raíz del cambio en nuestra forma de comer me he encontrado con un fenómeno que antes, por razones obvias, desconocía: que los vegetarianos enfrentan una cantidad muy grande de inconvenientes a la hora de llevar una vida normal fuera de la seguridad de la propia casa, de la propia cocina. Socializar también te presenta distintos retos. Incluso en formularios de solicitud de empleo he notado que a menudo se inquiere si el postulante es vegetariano. ¿Cómo ves este tema? ¿Cómo lo has enfocado? ¿Qué recomiendas a los nuevos vegetarianos?





Me hace gracia porque yo misma he puesto alguna oferta de empleo preguntando si el postulante era vegetariano, pero como un plus, no como un contra. Hoy en día es mucho más sencillo que hace 20 años, cuando yo empecé. De hecho ahora hasta puede que esté un poco de moda, y eso ayuda. Siempre digo que la vida es tan sencilla o tan complicada como uno la quiera hacer. No veo inconveniente en hacer 2 comidas diarias: desayuno y cena, y a medio día, si estás en el trabajo o en un ambiente imposible para el vegetariano, tomar fruta, frutos secos, frutas desecadas o una ensalada verde. Si tienes alguna reunión de compromiso a la hora del almuerzo, siempre puedes pedir una ensalada de pollo sin pollo en cualquier sitio, llevarte la comida de casa, o buscar alguna solución ingeniosa.

Durante nuestra larga búsqueda de una forma de comer que resultase saludable nos encontramos con el tema de las cocciones, uno sobre el que sabemos muy poco normalmente. Parecería que lo mejor es no cocer los alimentos. Sin embargo, para muchas personas resulta un esfuerzo demasiado grande ¿Cuales son las cocciones que es preferible adoptar y por qué? ¿Cuales son las que debemos evitar definitivamente y por qué? y ¿Podemos ser crudívoros sin renunciar al placer de comer?

Desde que como principalmente crudivegano es cuando más placer estoy experimentando al comer. Es algo difícil de explicar que sólo podrías comprobarlo si lo pruebas. Los sabores son tan puros, tan sencillos, tan auténticos… se siente uno tan bien cuando los sabe apreciar, realmente es muy liberador. He visto gente a mi alrededor, que ponía sal a todo antes de probarlo, y que al empezar a comer crudo, sin darse cuenta, se han olvidado de la sal y han dejado de usarla, por poner un ejemplo. El calor destruye propiedades en los alimentos, así que cuanto menos de caliente estos, mejor. La cocción al vapor o el escaldado suave serían las formas de cocción más apropiadas, las que más desaconsejo son los fritos y los horneados.

Eres la autora de muchos libros. Te quiero preguntar por dos en particular: La Dieta Original y Diario de Una Vegetariana.

“La Dieta Original” es mi primer libro como crudivegana, al que le sigue “Crudo en la Nevera”; creo que es una buena base para empezar con los crudos pues el enfoque versa sobre crudiveganismo para desintoxicarse, y establece hábitos saludables desde esta óptica. Se puede comer crudivegano y tener una alimentación muy densa, aunque parezca mentira, y de hecho es un error muy frecuente en muchos nuevos crudistas. Por ello, comenzar sentando las bases de una alimentación cruda ligera creo que es una buena idea para asegurarse el éxito en el seguimiento de esta filosofía alimentaria.

“Diario de una Vegetariana” es un libro que escribí para reírme y para que los que lo lean se rían. Son historias reales, propias y ajenas, que te pasan cuando eres vegetariano. Están todas tratadas con humor y con el deseo de desdramatizar situaciones y reírse de uno mismo. Es el día a día de una vegetariana que lo es desde hace 20 años, con situaciones de todo tipo: viajes, amor, trabajo, enfermedad…

¿Qué ha significado para ti el convertirte en crudivegana? ¿Cómo ha cambiado tu vida?

Me siento más auténtica, más yo, es como que me he encontrado a mi misma. ¿Sabes cuando encuentras algo que parece que has sido tu siempre, pero que no lo sabías? Es cuando realmente me siento bien, feliz, sana, ágil, despierta, descansada, con mejores sentimientos, más… ¿cómo lo diría? … más pura. Mi novio me ha visto tan feliz y tan bien, que me ha copiado, así que en casa es sencillísimo. A mis amistades y familiares les parece fenomenal también, porque me ven mejor que nunca. Creo que la gente me entiende mejor ahora que como crudo que cuando les dije hace años que era vegetariana, el argumento de que los alimentos crudos son más sanos es muy entendible para todo el mundo y, como la carne cruda suele resultar “asquerosa”, todo el mundo entiende que sea cruda y vegetariana.

Un millón de gracias Ana y mucho éxito con tu obra.

Muchas gracias a ti, me han gustado mucho tus preguntas. Abrazos.

Estudio Cancer National Institute marzo 2009:










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