Mostrando entradas con la etiqueta audio. Mostrar todas las entradas
Mostrando entradas con la etiqueta audio. Mostrar todas las entradas
lunes, 16 de enero de 2012
Entrevista radiofónica con una amiga bloguera
Quisiera llamaros la atención a un excelente programa de radio, Olvida tu equipaje, que he mencionado aquí en el blog de vez en cuando. Esta vez lo apunto por una entrevista de especial interés para la comunidad de blogueros de "memoria histórica." Nuestra compañera Maria José Barreiro López de Gamarra, cuyos múltiples blogs están enlazados aquí (Radio BCN siendo el primero que leí), aparece entrevistada en la emisión del 30 de diciembre de 2011. ¡Os animo a escuchar a esta "luchadora antifascista"!
domingo, 20 de febrero de 2011
Programa radiofónico en internet sobre escritores exiliados
El programa radiofónico Olvida tu equipaje tiene una interesante emisión del 18 de febrero sobre escritores exiliados españoles. Se puede escuchar y bajar en mp3 el programa pinchando aquí.
jueves, 14 de octubre de 2010
Proyecto de la guerra civil de la Facultad de Periodismo de la Universidad de Texas-Austin
Cuando estoy muy metida en la investigación de un tema, como lo he estado estos últimos meses (y sobre todo, estas últimas semanas), siempre termino encontrando cosas inesperadas en internet. Anoche tropecé con un sitio muy interesante sobre la guerra civil, de la Universidad de Texas-Austin (UT-Austin). Es casi imposible resumir el contenido de esta página, por el número de enlaces, pero intentaré explicar un poco lo que es.
Durante los últimos años, especialmente en el contexto académico o universitario, el tema de la guerra civil ha ido cobrando fuerza en los Estados Unidos. Me alegra ver que la gente tiene más conciencia sobre el legado de la guerra y la dictadura franquista, pero casi me atrevería a decir que el tema se ha puesto "de moda" (y, de hecho, ya lo estaba antes, pero no de una manera tan visible). Parece que leo más y más de grupos de estudiantes que recogen testimonios orales, o que asisten a exhumaciones, por ejemplo. No sé si fue el primero el grupo de la Universidad de San Diego, pero es un buen ejemplo de lo que hablo. Se reúnen investigadores de diferentes campos disciplinarios, estudian con expertos y reciben una formación antes de emprender el proyecto. Aprenden antes de ir, y también in situ, que es la mejor manera de hacerlo. Muchas veces, al volver aquí, publican sus datos, artículos, fotos o videos.Con tal que todo esto se haga de una manera respetuosa e informada y habiendo llegado a un acuerdo entre todos los involucrados, creo que está bien, especialmente si, al volver aquí, se puede compartir la información obtenida.
La web de la UT-Austin procede de la Facultad de Periodismo. Hay un apartado dedicado totalmente a la guerra civil. Según lo explica la web, durante el verano de 2008, un grupo de estudiantes matriculados en una clase de historia oral (en Texas) aterrizó en Cádiz para empezar a grabar testimonios orales. El proyecto fue coordinado por Maggie Rivas-Rodríguez, una profesora de periodismo en la universidad. La mayoría de las descripciones de los proyectos está en inglés, pero hay fragmentos de entrevistas que se pueden escuchar (puede ser un poco difícil encontrar los enlaces, pero sí que están allí) y leer en su versión original también.
En este enlace, por ejemplo, encontraréis una descripción del proyecto de María Jesús Ruiz, quien, a principios de los años 80, grabó en pueblos sevillanos testimonios sobre el franquismo. Hay otros artículos y mini-entrevistas con personas como un veterano de los "nacionales," un documentalista, un profesor, y otros. La web incluye fotos.
Durante los últimos años, especialmente en el contexto académico o universitario, el tema de la guerra civil ha ido cobrando fuerza en los Estados Unidos. Me alegra ver que la gente tiene más conciencia sobre el legado de la guerra y la dictadura franquista, pero casi me atrevería a decir que el tema se ha puesto "de moda" (y, de hecho, ya lo estaba antes, pero no de una manera tan visible). Parece que leo más y más de grupos de estudiantes que recogen testimonios orales, o que asisten a exhumaciones, por ejemplo. No sé si fue el primero el grupo de la Universidad de San Diego, pero es un buen ejemplo de lo que hablo. Se reúnen investigadores de diferentes campos disciplinarios, estudian con expertos y reciben una formación antes de emprender el proyecto. Aprenden antes de ir, y también in situ, que es la mejor manera de hacerlo. Muchas veces, al volver aquí, publican sus datos, artículos, fotos o videos.Con tal que todo esto se haga de una manera respetuosa e informada y habiendo llegado a un acuerdo entre todos los involucrados, creo que está bien, especialmente si, al volver aquí, se puede compartir la información obtenida.
La web de la UT-Austin procede de la Facultad de Periodismo. Hay un apartado dedicado totalmente a la guerra civil. Según lo explica la web, durante el verano de 2008, un grupo de estudiantes matriculados en una clase de historia oral (en Texas) aterrizó en Cádiz para empezar a grabar testimonios orales. El proyecto fue coordinado por Maggie Rivas-Rodríguez, una profesora de periodismo en la universidad. La mayoría de las descripciones de los proyectos está en inglés, pero hay fragmentos de entrevistas que se pueden escuchar (puede ser un poco difícil encontrar los enlaces, pero sí que están allí) y leer en su versión original también.
En este enlace, por ejemplo, encontraréis una descripción del proyecto de María Jesús Ruiz, quien, a principios de los años 80, grabó en pueblos sevillanos testimonios sobre el franquismo. Hay otros artículos y mini-entrevistas con personas como un veterano de los "nacionales," un documentalista, un profesor, y otros. La web incluye fotos.
Entrevista a Isaac Rosa
Isaac Rosa es, sin duda, uno de mis escritores preferidos de los últimos años. Sólo he leído La malamemoria (luego re-editado como ¡Otra maldita novela sobre la guerra civil! ) y El país del miedo, pero la experiencia fue suficiente para convencerme de que éste es un novelista a seguir. Me gustan libros que me hacen pensar -- no me gustan las lecturas "fáciles" o de verano. Es imposible leer a Isaac Rosa y no pensar -- pensar y querer investigar más. Por alguna razón, sigue escapándome El vano ayer, pero pronto lo leeré.
Me empezó a interesar Rosa por el tema de la memoria, pero es verdad que El país del miedo es un libro muy diferente que los anteriores. Como dice el autor, no se trata del pasado, sino del presente, del ahora. Es una novela muy pertinente para la actualidad.
Hace unos días, un amigo bloguero me envió un enlace a una entrevista con el autor titulada "Isaac Rosa en el País sin Memoria." Se puede escuchar y descargar aquí. Dura aproximadamente 50 minutos.
Isaac Rosa también escribe el blog Trabajar cansa en el diario Público.
Me empezó a interesar Rosa por el tema de la memoria, pero es verdad que El país del miedo es un libro muy diferente que los anteriores. Como dice el autor, no se trata del pasado, sino del presente, del ahora. Es una novela muy pertinente para la actualidad.
Hace unos días, un amigo bloguero me envió un enlace a una entrevista con el autor titulada "Isaac Rosa en el País sin Memoria." Se puede escuchar y descargar aquí. Dura aproximadamente 50 minutos.
Isaac Rosa también escribe el blog Trabajar cansa en el diario Público.
domingo, 10 de octubre de 2010
Entrevista a Barricada en el Diario de Mallorca
 |
| foto de Wikipedia/20 Minutos |
En: El Diario de Mallorca
Enrique Villarreal, líder de Barricada
´Es una vergüenza cómo se trata en los colegios la Guerra Civil´
El grupo de rock homenajeará este domingo a las víctimas de Can Sales y actuará en la Fira del Dis
G. RODAS. PALMA. Después de tres años recorriendo el lado de los perdedores de la Guerra Civil española, el grupo de rock Barricada llega a Palma para erigirse en protagonista de la Fira del Disc, donde el próximo domingo, a partir de las 18.00 horas, presentará el contenido de La tierra está sorda: 18 canciones y un libro de casi 200 páginas. Antes, visitarán la tumba de Matilde Landa en el cementerio de Palma y participarán, a las 14.30 horas, en un homenaje a las prisioneras de Can Sales, en el edificio de la antigua prisión (en la parte de atrás de la actual Biblioteca).
–Se anuncian tres horas y media de Barricada para la Fira del Disc. ¿Serán suficientes?
–Son necesarias. Queremos que el público salga aburrido de Barricada. Tres horas y media sobre un escenario pueden destruirte, la edad no perdona, pero físicamente lo llevamos bien.
–Eso será porque acuden a diario al gimnasio o porque han hecho un pacto como el de los Stones.
–Al gimnasio no he vuelto desde mis tiempos de estudiante y en el diablo creo lo mismo que en Dios, es decir, nada. El no beber ni tomar sustancias psicotrópicas, algo que tanto yo como Alfredo Piedrafita hacemos desde hace cuatro años, ayuda. Sin todo eso estamos más centrados en nuestra historia.
–Una historia, la de Barricada, que ha hecho parada en la Guerra Civil española. ¿Por qué?
–Por reconocer la propia ignorancia más que por cumplir un papel docente. Sentía vergüenza de no tener ni idea de una época de la historia de España marcada por toneladas de ilusión y tragedia. La lectura de La voz dormida, libro de Dulce Chacón, me empujó a investigar. El resultado de ese trabajo han sido 18 temas de los que he compuesto diecisiete basados en historias que he conocido a través de esta investigación.
–¿Qué le explicaron en el colegio sobre este episodio negro de nuestra historia reciente?
–Nada. Los de mi generación –yo tengo 51 años– no teníamos ni siquiera esa página y media dedicada a la Guerra que sí tiene mi hija. Es una vergüenza cómo se trata el tema de la Guerra Civil en los colegios aún hoy, una historia que quieren mantener enterrada.
–Usted creció cerca de uno de los campos de concentración más siniestros del franquismo.
–Sí, el del Fuerte de San Cristóbal, junto al barrio de La Txantrea, en Pamplona. Los presos recibían un trato humillante. El 22 de mayo de 1938 se produjo una fuga de 796 presos, de los que 207 fueron asesinados. Trabajando en este proyecto conocí a Ernesto Carratalá, superviente no sólo de este penal sino también de los de Burgos, Isla de San Simón, Astorga y Cárcel Modelo de Barcelona, como bien relata él en su publicación Memorias de un piojo republicano (Editorial Pamiela 2007).
–Durante su investigación, ¿hubo más lágrimas que rabia?
–Al principio el tanto por ciento era muy parecido. Aún hoy sigo leyendo libros que ahondan en el tema y sigo visitando antiguos campos de concentración, trincheras, he visto abrir fosas comunes, he asistido al traspaso de huesos de una fosa común a un cementerio... Son momentos muy emotivos en los que te sientes muy triste.
domingo, 26 de septiembre de 2010
Programa radiofónico en internet sobre la memoria histórica en Canarias
El blog "Taimamos," basado en Canarias, tiene un programa radiofónico disponible para escuchar y descargar en internet "sobre el incumplimiento de la Ley de Memoria Histórica por parte de Ayuntamiento de Santa Cruz de Tenerife y de sus consecuencias jurídicas." Escuchad y descargadlo aquí. Es de 55 minutos, pero no todo el programa es sobre el asunto de la memoria histórica.
Participan: Josemi Martín, Agustín Bethencourt, Samuel Pulido, Iván Suomi
Participan: Josemi Martín, Agustín Bethencourt, Samuel Pulido, Iván Suomi
miércoles, 2 de junio de 2010
Entrevista en Radio Klara con Miguel Ángel Rodríguez Arias
Noticia recibida via un mail.
De: www.radioklara.org
Audio. Comentarios y Música. Memória histórica. Entrevista Miguel Angel Rodríguez Arias
dimarts 1 de juny de 2010
En el programa Comentarios y Música, Claudio entrevista a Miguel Angel Rodríguez Arias. Miguel Ángel Rodríguez Arias, profesor ayudante de Derecho penal internacional de la UCLM, investigador del Instituto de Derecho penal Europeo e Internacional, miembro del Consejo de Dirección de la Sociedad Internacional de Defensa Social con sede en Milán, Presidente de los Jóvenes penalistas del Grupo Español de la Asociación Internacional de Derecho penal, Secretario Adjunto del Portal Iberoamericanao de las Ciencias Penales.
Autor del libro El caso de los niños perdidos del franquismo, que dio lugar a las actuaciones de la Audiencia Nacional y otras numerosas publicaciones en la materia.
Puedes encontrar la entrevista desde:
http://audio.urcm.net/Memoria-historica-Entrevista
http://audio.urcm.net/archivo/mp3/miguel_angel_rodriguez_arias_memoria_historica_290510.mp3
http://www.ivoox.com/memoria-historica-entrevista-miguel-angel-rodriguez-arias-audios-mp3_rf_293755_1.html
http://www.ivoox.com/memoria-historica-entrevista-miguel-angel-rodriguez-arias_md_293755_1.mp3
De: www.radioklara.org
Audio. Comentarios y Música. Memória histórica. Entrevista Miguel Angel Rodríguez Arias
dimarts 1 de juny de 2010
En el programa Comentarios y Música, Claudio entrevista a Miguel Angel Rodríguez Arias. Miguel Ángel Rodríguez Arias, profesor ayudante de Derecho penal internacional de la UCLM, investigador del Instituto de Derecho penal Europeo e Internacional, miembro del Consejo de Dirección de la Sociedad Internacional de Defensa Social con sede en Milán, Presidente de los Jóvenes penalistas del Grupo Español de la Asociación Internacional de Derecho penal, Secretario Adjunto del Portal Iberoamericanao de las Ciencias Penales.
Autor del libro El caso de los niños perdidos del franquismo, que dio lugar a las actuaciones de la Audiencia Nacional y otras numerosas publicaciones en la materia.
Puedes encontrar la entrevista desde:
http://audio.urcm.net/Memoria-historica-Entrevista
http://audio.urcm.net/archivo/mp3/miguel_angel_rodriguez_arias_memoria_historica_290510.mp3
http://www.ivoox.com/memoria-historica-entrevista-miguel-angel-rodriguez-arias-audios-mp3_rf_293755_1.html
http://www.ivoox.com/memoria-historica-entrevista-miguel-angel-rodriguez-arias_md_293755_1.mp3
jueves, 15 de abril de 2010
Canción: "Yo estoy con Garzón"
Leí de esta canción en 20 Minutos.es:
Le hacen una canción al juez Garzón
* Un dúo musical ha compuesto una canción para apoyar al juez Garzón, que será juzgado por un presunto delito de prevaricación.
* Aseguran que sería "vergonzoso" que Manos Limpias y Falange "se llevaran el gato al agua" con la inhabilitación del magistrado.
EFE. 15.04.2010 - 19.06 h
El abogado de Baltasar Garzón, Enrique Molina, ha asegurado este jueves que el juez no siente que haya una persecución por parte del Tribunal Supremo y que plantear esa posibilidad es “desde el punto de vista de un profesional, algo inasumible”.
Así lo ha afirmado Molina tras finalizar la declaración como imputado de Garzón en el Tribunal Supremo (TS) en relación con la querella que se tramita contra él por el dinero que presuntamente percibió del Banco Santander durante su estancia en la Universidad de Nueva York, entre 2005 y 2006.
Además, Molina ha afirmado que las manifestaciones de apoyo al juez de la Audiencia Nacional "le perjudican" porque, en su opinión, cualquier manifestación que se haga para perturbar el sosiego de un Tribunal de Justicia perjudica al propio encausado.
Según ha indicado, Garzón "considera y siente que le perjudican en ocasiones las manifestaciones de apoyo a su favor, que no son controladas por él", "respeta por completo lo que es la función del instructor, la función del Tribunal Supremo y reconoce que desde el momento que le han citado tiene que someterse a lo que son las reglas del juego".
También ha dicho que hacer frente a tres causas de "tres frentes coordinados" es complicado, pero que Garzón está tranquilo porque es una persona que "tiene la espalda muy ancha por los años de profesión".
Molina fue fiscal en la Audiencia Nacional y trabajó con Garzón en el desmantelamiento del entramado político, social y mediático de ETA y es el letrado de Carmen Rodríguez Quijano, la esposa del presunto cerebro de la trama de corrupción del 'caso Gürtel', Francisco Correa.
Escuchar la canción aquí:
Entrevista con uno de los cantantes, sobre el motivo de la canción:
Le hacen una canción al juez Garzón
* Un dúo musical ha compuesto una canción para apoyar al juez Garzón, que será juzgado por un presunto delito de prevaricación.
* Aseguran que sería "vergonzoso" que Manos Limpias y Falange "se llevaran el gato al agua" con la inhabilitación del magistrado.
EFE. 15.04.2010 - 19.06 h
El abogado de Baltasar Garzón, Enrique Molina, ha asegurado este jueves que el juez no siente que haya una persecución por parte del Tribunal Supremo y que plantear esa posibilidad es “desde el punto de vista de un profesional, algo inasumible”.
Así lo ha afirmado Molina tras finalizar la declaración como imputado de Garzón en el Tribunal Supremo (TS) en relación con la querella que se tramita contra él por el dinero que presuntamente percibió del Banco Santander durante su estancia en la Universidad de Nueva York, entre 2005 y 2006.
Además, Molina ha afirmado que las manifestaciones de apoyo al juez de la Audiencia Nacional "le perjudican" porque, en su opinión, cualquier manifestación que se haga para perturbar el sosiego de un Tribunal de Justicia perjudica al propio encausado.
Según ha indicado, Garzón "considera y siente que le perjudican en ocasiones las manifestaciones de apoyo a su favor, que no son controladas por él", "respeta por completo lo que es la función del instructor, la función del Tribunal Supremo y reconoce que desde el momento que le han citado tiene que someterse a lo que son las reglas del juego".
También ha dicho que hacer frente a tres causas de "tres frentes coordinados" es complicado, pero que Garzón está tranquilo porque es una persona que "tiene la espalda muy ancha por los años de profesión".
Molina fue fiscal en la Audiencia Nacional y trabajó con Garzón en el desmantelamiento del entramado político, social y mediático de ETA y es el letrado de Carmen Rodríguez Quijano, la esposa del presunto cerebro de la trama de corrupción del 'caso Gürtel', Francisco Correa.
Escuchar la canción aquí:
Entrevista con uno de los cantantes, sobre el motivo de la canción:
Mañana en "La Memoria," un programa sobre "el acoso al juez Garzón"
Me alegra saber que Programa la Memoria va a tratar el caso contra el juez Garzón, mañana, a las 21,30 h en Radio Andalucía. Recordad, si no podéis escuchar en directo, siempre hay la posibilidad de bajar el archivo después. Para hacerlo, pinchar aquí, buscar el título del programa, y pinchar en XML. Luego, buscar la fecha en que se emitió el programa, y pinchar con el botón derecho para bajar. Es muy fácil, y así he podido guardar decenas de programas. Abajo copio y pego la sinopsis del coloquio de mañana:
Intervienen el magistrado del Tribunal Supremo, José Antonio Martín Pallín, la vicepresidenta de la Asociación Memoria y Justicia de Andalucía, Paqui Maqueda y el historiador del comité de expertos de Garzón, Francisco Espinosa.
El programa “La Memoria” de Radio Andalucía, dirigido y presentado por Rafael Guerrero, dedica su emisión del viernes, 16 de abril, a un coloquio sobre el tema más candente de la actualidad española en estos momentos: el acoso al magistrado juez andaluz Baltasar Garzón.
Según todos los indicios, el magistrado jiennense de la Audiencia Nacional podría ser suspendido en sus funciones por el Consejo General del Poder Judicial en la reunión plenaria que mantendrá el próximo jueves, día 22 de abril. Es por ello que esta semana se ha iniciado una movilización social impresionante dentro y fuera de España a favor del juez acusado desde el Tribunal Supremo de prevaricación por intentar investigar los crímenes del franquismo, del mismo modo que lo hizo con las atrocidades cometidas por las dictaduras argentina y chilena.
Encierros de intelectuales y artistas, actos multitudinarios de apoyo como el celebrado en la Universidad Complutense de Madrid, querellas contra el juez que acusa a Garzón de prevaricador, concentraciones por diversos lugares de España, demandas en Argentina para que desde allí se investigue el genocidio franquista que aquí no se permite encausar, etc. Son algunos ejemplos de la reacción social de apoyo al juez español que con tanta valentía se ha destacado en la persecución del terrorismo, del narcotráfico y de los crímenes contra la humanidad cometidos en España y en América Latina.
El programa “La Memoria”, en un intento de desentrañar las claves de un asunto tan candente y tan trascendente para la democracia española, ha celebrado esta semana un interesante coloquio en el que intervienen el magistrado del Tribunal Supremo, José Antonio Martín Pallín, la vicepresidenta de la Asociación Memoria y Justicia de Andalucía, Paqui Maqueda y el historiador que formó parte del comité de expertos del juez Garzón, Francisco Espinosa.
Emisión.- Viernes, 16 de abril, a las 21,30 horas en Radio Andalucía Información.
Descarga en internet.- Los últimos programas, a través de www.rtva.es por “radio a la carta” y el histórico de todos los programas emitidos, a través del blog del programa “La Memoria”: http://blogs.canalsur.es/lamemoria/
Suscripción por internet.- Se aconseja la suscripción por el sistema podcasting, siguiendo las instrucciones en www.rtva.es a través de “radio a la carta”.
miércoles, 3 de febrero de 2010
Los niños robados del franquismo, en Radio Euskadi
Pronto pienso escribir por lo menos un post sobre los correos electrónicos que he estado recibiendo sobre el caso de los "niños perdidos" del franquismo. Si no he escrito nada al respecto hasta ahora, es sólo por una falta de tiempo; este tema requiere -- y merece -- una atención especial y detenida que no lo he podido dedicar con los deberes del principio del semestre. Por el momento, me limito a dirigiros a este programa radiofónico. La entrevistada es Cristina Carrasco, cuya historia se ha relatado aquí en un artículo relacionado.
Niños robados
I.A. - 02/02/2010 | eitb.com |
Es triste hablar de desaparición de niños recién nacidos en el siglo 21. Ocurre en la actualidad y en el marco de muchos países del tercer mundo. Pero también en escenarios muy cercanos a nosotros.
Nos acercamos a la Línea de la Concepción, años 60, nacimientos masivos. Pleno auge de la natalidad en España y son muchas las mujeres que por unas causas u otras, tras un parto complicado recibían la noticia del fallecimiento de sus hijos.
Muchas de estas madres no veían el cuerpo de sus hijos, el protocolo en el paritorio era bien distinto al actual: la mujer estaba sola junto al equipo médico y era habitual emplear la anestesia general en casos complicados donde se retrasaba el nacimiento.
El caso es que estas madres salían del hospital con la certeza de haber perdido a sus hijos. Pero el paso del tiempo siempre desvela la verdad y para estas circunstancias no podría ser menos: en la actualidad hay claros indicios de que muchos de los nacidos fueron cambiados retorcidamente por otros bebés fallecidos.
Sus familias quieren saber la verdad, hoy en la "Noche Despierta" escuchamos el testimonio de la hermana de uno de estos bebés que será ahora un hombre ajeno a sus verdaderos orígenes.
Niños robados
I.A. - 02/02/2010 | eitb.com |
Es triste hablar de desaparición de niños recién nacidos en el siglo 21. Ocurre en la actualidad y en el marco de muchos países del tercer mundo. Pero también en escenarios muy cercanos a nosotros.
Nos acercamos a la Línea de la Concepción, años 60, nacimientos masivos. Pleno auge de la natalidad en España y son muchas las mujeres que por unas causas u otras, tras un parto complicado recibían la noticia del fallecimiento de sus hijos.
Muchas de estas madres no veían el cuerpo de sus hijos, el protocolo en el paritorio era bien distinto al actual: la mujer estaba sola junto al equipo médico y era habitual emplear la anestesia general en casos complicados donde se retrasaba el nacimiento.
El caso es que estas madres salían del hospital con la certeza de haber perdido a sus hijos. Pero el paso del tiempo siempre desvela la verdad y para estas circunstancias no podría ser menos: en la actualidad hay claros indicios de que muchos de los nacidos fueron cambiados retorcidamente por otros bebés fallecidos.
Sus familias quieren saber la verdad, hoy en la "Noche Despierta" escuchamos el testimonio de la hermana de uno de estos bebés que será ahora un hombre ajeno a sus verdaderos orígenes.
Todas las emisiones de "la Memoria," ya disponibles para descargar
El programa radiofónico La Memoria, con Rafael Guerrero, anuncia su regreso para el 19 de febrero, y recuerda que todas las emisiones ya están disponibles para descargar por medio de Blip.tv. Se recomienda mucho la visita a la web del programa. ¡Escuchémoslo y aseguremos que se siga emitiendo!
Todas las emisiones del programa LA MEMORIA ya están disponibles en el ARCHIVO SONORO para quien se las quiera descargar y escuchar tranquilamente y a cualquier hora desde internet. Tan sólo hay que seguir las instrucciones que están a la derecha para conseguirlo a través de la página web blip.tv.
El programa comenzó sus emisiones en octubre de 2006 y actualmente se encuentra en su cuarta temporada.
viernes, 22 de enero de 2010
Hoy en "Olvida tu equipaje," la escritora Enriqueta de la Cruz
El blog y programa radiofónico Olvida tu equipaje nos informa de una entrevista hoy con Enriqueta de la Cruz, autora de Memoria vigilada:
Enriqueta de la Cruz nos visita en OLVIDA TU EQUIPAJE para presentarnos en directo su tercera novela, "Memoria vigilada". Ya anteriormente Enriqueta ha estado con nosotros para hablarnos de “El Testamento de la Liga Santa” (novela de investigación y análisis sobre la Transición española) y "Nada es lo que parece" (relato de acción, no exenta de análisis crítico, con el trasfondo del periodismo y de inquietantes tramas en un mundo globalizado).Este viernes hablaremos con ella de “MEMORIA VIGILADA”. Esta novela trata la historia de una familia que puede ser cualquier familia de España posterior a la Guerra Civil. Investigar un episodio del pasado familiar se va complicando hasta revelar una terrible verdad sobre la España de la posguerra y la Transición. Se trata de un inquietante viaje a lo más oculto de los poderes e intereses que luchan por mantener en su sitio la losa del olvido y el pasado.Es libro nos ofrece una perspectiva inédita sobre el trasfondo de la lucha por recuperar la memoria histórica democrática y romper la impunidad del franquismo.En clave de novela negra, la autora denuncia la sórdida lucha de los oscuros poderes que intentan impedir la recuperación de la memoria, colectiva e individual, la recuperación de los valores que animaron a La República; que se reconozcan públicamente los derechos de las víctimas a la verdad, la justicia y la reparación y que se juzguen los crímenes contra la humanidad que basaron la dictadura.Esta novela, viene a formar parte de una trilogía, junto con “El testamento de la Liga Santa” y “Nada es lo que parece”. Cada una con su propio lenguaje y ritmo, completan un cuadro de conjunto sobre nuestro país.La obra, como esta misma novela también está impregnada de periodismo, de reportaje, de crónica de actualidad y lo está muy a propósito, en el lenguaje, en el planteamiento cuasi cinematográfico de algunas escenas o personajes, en el ritmo y estructura y en la inspiración de contenidos.Enriqueta de la Cruz nació en Fuente del Maestre (Badajoz) y reside en Madrid. Ha trabajado y colaborado en diversos medios de comunicación como Radio Nacional, Cambio 16, Tribuna, Nuevo Lunes, diario Ya y Radio 80. Ha sido asesora del Ministerio de Economía. Está especializada en temas de Política, Economía, Laboral y Sociedad.Será como siempre un placer y un honor esta nueva colaboración de Enriqueta con "Olvida tu equipaje".
martes, 12 de enero de 2010
Documental y entrevista sobre mujeres estadounidenses en la guerra civil
Into the Fire (2002) es una película documental, dirigida por Julia Newman y disponible para ver en Google Video, sobre las 80 mujeres estadounidenses que se juntaron con los casi 3.000 hombres voluntarios en la guerra civil. El documental incluye entrevistas con Martha Gellhorn, corresponsal conocida de guerra y tercera esposa del escritor Ernest Hemingway. Bajo el vídeo he puesto una entrevista extensa entre la directora y Amy Goodman, que dirige el programa radiofónico Democracy Now. Se puede escuchar y descargar el mismo programa en un archivo mp3, que fue emitido el 30 de abril de 2007. Un dato interesante es que los padres de la directora apoyaron la causa republicana en la guerra civil, y fue, en parte, lo que le motivó a investigar las historias desconocidas de estas mujeres valientes.
De: democracynow.org
Fighting Fascism: The Americans–Women and Men–Who Fought In the Spanish Civil War
In July 1936, rightwing military officers led by fascist General Franco attempted to overthrow the newly elected democratic government of Spain. Hitler and Mussolini quickly joined in support of Franco. In response, nearly 3,000 Americans defied the US government to volunteer to fight in the Spanish Civil War, they called themselves Abraham Lincoln Brigade. We speak with two surviving veterans, Moe Fishman and Clarence Kailin. We also play excepts form the documentary “Into the Fire: American Women in the Spanish Civil War” and speak with filmmaker Julia Newman.
“No man ever entered the earth more honorably than those who died in Spain.” Those are the words of Ernest Hemingway. He was referring to the Americans who volunteered for the Spanish Civil War, the first major battle against fascism.
In July 1936, rightwing military officers led by General Franco attempted to overthrow the newly elected democratic government of Spain. Hitler and Mussolini quickly joined in support of Franco. The Spanish Civil War lasted until 1939. Half a million people are believed to have died on all sides.
Yesterday in New York, hundreds gathered to honor an exhibit at the museum of the City of New York called “Facing Fascism.” Among those there was Julia Newman who made the film, "Into the Fire: American Women in the Spanish Civil War. The film begins with Martha Gellhorn, a world-renowned war correspondent. She was the third wife of Ernest Hemingway.
* “Into the Fire: American Women in the Spanish Civil War”–excerpt of documentary. Courtesy, First Run Features.
Ruth Davidow–one of the nearly 80 American women who fought in the Spanish Civil War. They joined over 2,700 of their countrymen in defiance of their government to volunteer for what was known as the “Good Fight.” The Americans who fought fascism in Spain called themselves the Abraham Lincoln Brigade.
Today, an hour on the Spanish Civil War and the Americans–women and men–who fought in it.
* Julia Newman, producer and director of “Into the Fire: American Women in the Spanish Civil War”.
* Clarence Kailin, one of the surviving veterans of the Abraham Lincoln Brigade.
* Moe Fishman, one of the surviving veterans of the Abraham Lincoln Brigade. He is executive secretary of the * Veterans of the Abraham Lincoln Brigades*.
AMY GOODMAN: “No man ever entered the earth more honorably than those who died in Spain.” Those are the words of Ernest Hemingway. He was referring to the Americans who volunteered for the Spanish Civil War, the first major battle against fascism.
In July 1936, rightwing military officers led by General Franco attempted to overthrow the newly elected democratic government of Spain. Hitler and Mussolini quickly joined in support of Franco. The Spanish Civil War lasted until 1939. Half a million people are believed to have died on all sides.
Yesterday in New York, hundreds gathered to honor an exhibit at the museum of the City of New York called “Facing Fascism.” Among those there was Julia Newman, who made the film, Into the Fire: American Women in the Spanish Civil War. The film begins with Martha Gellhorn, a world-renowned war correspondent. She was the [third] wife of Ernest Hemingway.
MARTHA GELLHORN: I was in Germany in 1936 and could not avoid seeing these headlines about the “red swine dogs” in Spain. I had been in Spain, but I knew nothing about what had happened, that the king had gone, that there was a republic, but all I needed was to read in a German paper that it was the red swine dogs to know whose side I was on: theirs.
VIRGINIA COWLES: “In spite of numerous and conflicting political terms used to classify the Spanish conflict, the fundamental issue lies neither between republicanism and fascism nor between communism and monarchism. Mainly and simply it is a war between the proletariat and the upper classes.”
MARTHA GELLHORN: The Spanish called it “la Causa”—the cause—and it was the cause. It was the place where, of course, the Second World War could have been stopped, because it was a tryout for both Hitler and Mussolini.
RUTH DAVIDOW: By nonintervention, we were actually helping the fascists, because they were getting materials from everywhere. Everybody knew that. And to me, we didn’t really believe in our democracy. It really shattered me. So I made that decision almost overnight.
AMY GOODMAN: Ruth Davidow, one of the nearly eighty American women who fought in the Spanish Civil War. They joined over 2,700 of their countrymen here in the United States, in defiance of the US government, to volunteer for what was known as “the Good Fight.” The Americans who fought fascism in Spain called themselves the Abraham Lincoln Brigade. That clip was from an excerpt of Into the Fire, that began with the third wife of Ernest Hemingway, the premier war correspondent Martha Gellhorn.
Julia Newman is the producer and director of that film, joining us in the studio today. Explain the significance of these women joining US men in going to fight for Spain, why you did this documentary.
JULIA NEWMAN: They were extraordinary people, but they were ordinary people who had found their way to a cause that caught their heart. And this is part of my own background. My parents were supporters of the republican side in the Spanish Civil War, and they had friends who fought and died in Spain. And I realized that I knew nothing about the fact that there were eighty women who had gone to Spain as volunteers to serve, primarily as medicals, in support of the international brigades. And I wanted that history to be known.
AMY GOODMAN: Explain who Martha Gellhorn was.
JULIA NEWMAN: Martha Gellhorn was a writer and correspondent and a novelist who was quite well known in this country for a book she had written about the sufferings of the Americans under the Depression called The Trouble I’ve Seen. And Spain was her first foreign war, her first war of any kind, and she went there to see what was happening to the Spaniards in that war. She went there with Hemingway. Actually, she followed him there. They had agreed to go together. And she began reporting from the fronts. She had never been a war correspondent before and was very caught up in the cause.
AMY GOODMAN: I wanted to go now to another clip of the film. The most famous attack in the Spanish Civil War came in 1937, almost seventy years ago to the day in the town of Guernica. At 4:40 p.m. on the 26th of April, 1937, German and Italian war planes carpet-bombed the Basque town. Three-quarters of Guernica was destroyed, and as many as 1,600 civilians were killed. The attack was immortalized in Pablo Picasso’s “Guernica,” one of the most iconic paintings of the twentieth century. Franco claimed the attack on Guernica never took place and was, in fact, republican propaganda. This is how Virginia Cowles, a correspondent for the New York Times, described the incident. Her words are read by an actor.
VIRGINIA COWLES: "Dictators will keep agreements only as long as they are profitable. They will maintain order only as long as might forces them to. They will talk peace only until the day when they think they can make a war and win it.
"When I arrived, a press officer asked if I had been subjected to the Guernica propaganda, declaring that everyone knew that Guernica was not bombed by the whites, but burned by the reds.
“Guernica was a lonely chaos of timber and brick. One old man was inside an apartment house that had four sides to it, but an interior that was only a sea of bricks. I asked him if he had been in Guernica during the destruction. He nodded his head and declared that the sky had been black with planes. ’Aviones,” he said, ‘italianos y alemanes.’ The press officer turned pale. ‘Guernica was burned,’ he contradicted. The old man stuck to his point, insisting that after a four-hour bombardment, there was little left to burn. The press officer moved me away. ’He’s a red,’ he said.
“When later in the day we ran into two staff officers, he brought the subject up. ‘Guernica is full of reds,’ he said. ‘They all try to tell us it was bombed, not burned.’ ‘Of course, it was bombed,’ said one of the officers. ‘We bombed it and bombed it and bombed it. And bueno, why not?’ The press officer never mentioned Guernica again.”
AMY GOODMAN: Virginia Cowles, she was writing for the New York Times. This, from the film Into the Fire. Julia Newman, the significance of what was being said at the time?
JULIA NEWMAN: Well, Virginia Cowles got to Guernica right after the bombing and was shown around Guernica by a press agent, and Franco was putting out propaganda that said that anarchists had burned, had set fire to the city and that the Italians and the Germans had nothing to do with the destruction of the city. And Virginia Cowles got there and put the lie to that. She said what she saw, and what she saw was that the town had been just destroyed by German aircraft, primarily. And it was a revelation.
AMY GOODMAN: It’s interesting that recently in the New York Times, in reference to the exhibit, “Facing Fascism,” that they put the term “international fascism” in quotes, when you have here Virginia Cowles so powerful in describing fascism.
JULIA NEWMAN: It’s a bizarre thing to do all these years later, to say that international fascism is something that you would even begin to put in quotes. It was very real, and for a lot of people it continues to be that.
AMY GOODMAN: And, of course, the “Guernica,” the famous painting by Pablo Picasso, is also in reproduction in a tapestry at the United Nations. And listeners and viewers may remember right before the invasion of Iraq, when Colin Powell came to the United Nations to push for war, February 5, 2003, the tapestry of “Guernica” was shrouded so that that famous image of war, Picasso’s antiwar painting, would not be the backdrop of the news conferences of the US officials. When we come back, we’ll be joined by two survivors of the Abraham Lincoln Brigade.
[break]
AMY GOODMAN: Paul Robeson singing “Freedom,” the great singer Paul Robeson, a great supporter of the veterans of the Abraham Lincoln Brigade and those who went to fight in Spain, on this seventy-first anniversary of the beginning of that war, the seventieth anniversary of the bombing of Guernica. This is Democracy Now!, democracynow.org. I’m Amy Goodman.
I want to turn to the words of one of the surviving veterans of the Abraham Lincoln Brigade: Clarence Kailin. He’s ninety-two now. I interviewed Clarence a month ago at the Barrymore Theatre in Madison, Wisconsin.
AMY GOODMAN: Are you a pacifist?
CLARENCE KAILIN: Oh, yeah.
AMY GOODMAN: But you fought in the Spanish Civil War?
CLARENCE KAILIN: Yeah. Well, that takes a bit of an explanation, that we were fighting against fascism. And we were political enough to understand that, so it wasn’t for an adventure, and it wasn’t for money. It was fighting against Italy and Italian fascism and German Nazism, is what it was about. And we felt that if we lost the war, that World War II was pretty much inevitable, which is what happened. And it happened because Britain and France and the United States refused to give us any help at all. And so, we fought bare-handed at times.
AMY GOODMAN: Why didn’t the US intervene? And why did you go over as an American citizen without your government?
CLARENCE KAILIN: Well, yeah, our passports were stamped “not valid for travel in Spain,” so we had to go quietly, not tell people we were going. And we went because we understood what was happening over there, that Germany and Italy were both invading Spain and—two fascist countries—and so we went to stop fascism. This is what it was about.
AMY GOODMAN: Did you go with anyone you knew?
CLARENCE KAILIN: Yes, I did. I went with—there were six of us: two from Madison, two of us, and four from Milwaukee. And we went together.
AMY GOODMAN: Did you come back together?
CLARENCE KAILIN: No. I came back alone. It was sad, because I lost my best friend, who was a very famous scientist, even at a young age. And he was killed right at the end of the fighting. It was a very—it was a great shock to everybody.
AMY GOODMAN: You were injured also?
CLARENCE KAILIN: Yeah. I had a machine-gun bullet in my right elbow.
AMY GOODMAN: In the same fight where you lost your friend?
CLARENCE KAILIN: No. He died later on, yeah.
AMY GOODMAN: What was his name?
CLARENCE KAILIN: John Cookson. Yeah, well, I wrote a book about him. And, well, his story is in there.
AMY GOODMAN: What’s the book called?
CLARENCE KAILIN: It’s called “Remembering John Cookson,” yeah.
AMY GOODMAN: How old was he when he died?
CLARENCE KAILIN: Huh?
AMY GOODMAN: How old was he when he died?
CLARENCE KAILIN: Oh, about twenty-four. And the Spanish people felt that this book was so important that it was translated into Spanish, and they published it there, a Spanish edition. So I was happy with that.
AMY GOODMAN: When you came back to the United States, how were you received here?
CLARENCE KAILIN: Well, that depends. Coolly in many areas and, you know, our friends were very supportive. It was nice, but difficult.
AMY GOODMAN: Why coolly, and by who?
CLARENCE KAILIN: Well, you know, there was so much propaganda against us. And, well, that’s how public opinion was affected, you know? Although during the war, I think that about two-thirds of the public was supportive of what we were doing there. Yeah.
AMY GOODMAN: Why was it called the Abraham Lincoln Brigade?
CLARENCE KAILIN: Well, I guess they thought—the people who named it, I think they thought Lincoln was one of the great leaders, one of the best presidents we’ve had. And I agree with that.
AMY GOODMAN: Clarence Kailin, he’s ninety-two. He’s a survivor of the Spanish Civil War. I spoke to him in Madison, Wisconsin, though he was here in New York for the major event yesterday honoring those who fought in the Spanish Civil War. It happened at the City University of New York in the Museo del Barrio. And in a moment we’re going to be going to Harry Belafonte, who spoke there, but right now, one of those who attended is another Abraham Lincoln Brigade survivor: Moe Fishman, executive secretary of Veterans of the Abraham Lincoln Brigades, joining us in the firehouse studio. Welcome.
MOE FISHMAN: Thank you.
AMY GOODMAN: It’s good to have you with us, Moe. Talk about that time seventy-one years ago: the significance of the Spanish Civil War and how it relates to World War II. Do you think World War II would have happened if the outcome in the Spanish Civil War had been different?
MOE FISHMAN: I say no, and I’m reinforced by the fact that all of the Lincoln Brigade veterans felt the same way and all of the International Brigade felt the same way. The International Brigade, of which we were a part, consisted of about 40,000 to 45,000 volunteers from fifty-two countries who came to the aid of the Spanish Republic, and I want to emphasize “came to the aid of.” It was the Spanish Republic and their people who fought this war and deserved the major credit for the big fight that they put up, which gave the democracies a two-and-a-half-year window of opportunity to change from a policy of appeasing fascism, led by Chamberlain of Britain and subscribed to by Roosevelt, to one of actively fighting fascism. If they had actively fought fascism in 1936-1939, we would have stopped Hitler, and there would have been no World War II.
AMY GOODMAN: How would you have stopped Hitler? This was Spain. This was Franco. How would you have stopped Hitler?
MOE FISHMAN: Well, Hitler had been appeased by—they permitted him to rearm Germany, and it was done with the finances of both Britain and the United States, the financiers—financed it on credit—that permitted Hitler to march into Austria. And then Spain came along, and they were letting him do as he felt in Spain with this policy of appeasement. If they had turned to fighting fascism and opposing what he was doing, Hitler would not have attempted a two-front war, which he was trying like mad to avoid. He would not have been armed as much as he became armed, when he conquered one country after another and built a war machine that almost succeeded in conquering the world. And he would have been stopped if there had been a conflict, and there might have been. He might have been rash enough to start something there. He would have had a two-front war to confront, and it would have been a minor kind of war. It would not have been World War II, where fascism almost won, and 60 million dead and destruction beyond compare. And, no, there would have been no Holocaust, if Hitler had been stopped in Spain in 1936-39.
AMY GOODMAN: Moe Fishman, I want to turn to another excerpt of the film Into the Fire. This clip begins with a narrator reading the words of Eleanor Roosevelt and ends with the words of Ernest Hemingway.
ELEANOR ROOSEVELT: “Three very interesting people came to dine with us last night: Ms. Martha Gellhorn, Mr. Ernest Hemingway, both writers, and Mr. Joris Ivens, a [inaudible] maker of films. After dinner, the two men showed us a film which they made. The profits are going into the purchase of ambulances to help the sick and dying in a part of the world which is at present war-torn.”
ERNEST HEMINGWAY: The men, who never fought before, who were not trained in arms, who only wanted work and food, fight on.
AMY GOODMAN: That was the voice of Ernest Hemingway in this film called The Spanish Earth. But Roosevelt would not arm the Spanish government.
MOE FISHMAN: He joined in the Non-Intervention Committee. He didn’t join the committee, but he agreed with them, and he enforced an embargo in the United States which called for no arms being sold to the republic. Let me remind you, the republic didn’t want volunteers. The republic didn’t want anybody to join them. All they asked for is what was happening normally in the world at that time, where a democracy could just buy arms for money from another democracy. And this Non-Intervention Committee, formed by Chamberlain, agreed to by Roosevelt, so Roosevelt has an embargo and will not sell arms to Spain, will not sell them any trucks, and so on and so forth. And this—if they had simply sold the arms, the Spanish Republic would have beaten the fascists.
AMY GOODMAN: Julia Newman, Eleanor Roosevelt disagreed with her husband. Eleanor Roosevelt was a close friend of Martha Gellhorn, the war correspondent.
JULIA NEWMAN: Yes. She did everything she could to help convince FDR to go against the embargo. Ultimately, he was too politically frightened—I guess isn’t too strong a word. He was a consummate politician, and he did not want to alienate what he saw as a collection of powerful lobbies in this country who were primarily Catholic, but who were pro-Franco. There was a strong movement here that was pro-Franco, along with the fact that most Americans were not.
AMY GOODMAN: Led by a powerful radio talk show host.
JULIA NEWMAN: Named Father Coughlin, yes. Father Coughlin was the radio priest, and he was quite rabid in rallying his listenership to Franco, to the right.
AMY GOODMAN: Moe Fishman, you are ninety-one years old right now. You fought in the Spanish—
MOE FISHMAN: A young ninety-one.
AMY GOODMAN: Very young. You fought in the Spanish Civil War.
MOE FISHMAN: Yes.
AMY GOODMAN: When you came back, it was World War II, yet many of you were vilified. The FBI called you “premature anti-fascists”?
MOE FISHMAN: Yes.
AMY GOODMAN: What does that mean?
MOE FISHMAN: It means that you understood fascism before everybody else. They tried to make it a nasty word. For, unfortunately, most American historians, World War—fascism, the fight against fascism in the United States doesn’t begin—World War II doesn’t begin until Pearl Harbor. This way, they avoid dealing with the Spanish Civil War, dealing with the fact that Roosevelt, President of the United States, was wrong on this question, that World War II could have been prevented. He could have been one to do it. And secondly, we were dubbed “reds.” It’s not true that all who fought against fascism were reds then, were reds while the fight was going on in World War II, and are reds today.
AMY GOODMAN: Speaking of that, I want to turn to another clip of Into the Fire: the women who fought. Into the Fire includes the voices of many American women who volunteered for the Spanish Civil War. Decades later, they described why they joined.
EVELYN HUTCHINS: I couldn’t be a nurse. I wasn’t a nurse. I couldn’t be a doctor, because I wasn’t a doctor. And I wanted to go. And I was doing a lot of driving. I helped to collect clothes and to advertise what was happening in Spain. And that’s what gave me the idea in the first place. If I could do that here, I could do it in Spain just as well. And that would replace some man who would then be able to do what I really wanted to do, which is go up front.
HELEN FREEMAN: I met some friends and went to a meeting. And the meeting was called to aid Spanish democracy. All the different unions were supporting the group. They asked for nurses and doctors and volunteers to go to Spain. And so, I volunteered. They called us in and started organizing the trip. Meeting with the different people who were going, like Fredericka Martin, Lini DeVries, and my friend Anne Taft, who was graduated from the same school that I did. People had to resign from their jobs. Most of us were young nurses. And so, that’s why they had meetings to teach the young people what to expect when they get over there. How are you going to cope under these difficult situations? Can they do a good job while they leave responsibilities at home? Anyway, January 16, 1937, we left for Spain.
UNIDENTIFIED WOMAN: I think, basically, it was because I was a nurse that I was very upset about the kind of things that were happening, not only to Jews in Germany, people in Spain and people in Ethiopia. And, you know, for a while, I thought this had nothing to do with us, that these people had to fight their own battles. I was against another world war. I was sort of an isolationist without thinking about it. But as things got worse, and when they went into a country that just had democratically elected a new government, and our own government, which said they were democratic and believe in elections, put an embargo on them. I was terribly upset.
SALARIA KEA: I was not a political person, because you shifted too much.
See, I didn’t know about fascism. Here’s the thing that brought everything to me. It was the way Germany was treating the Jews. I never really thought that white people do against white people, because we don’t look at you as French or Italian. You’re white. I have met a lot of Jewish people who had left Germany, and they told us about what Hitler was doing to them. It was like the Ku Klux Klan. So now, we’re matching what is happening in Germany to the Jews to us here in the United States. So I went downtown to this meeting, and the meeting was all these people from foreign countries, and they said to me that they hoped to go to work with the republican side. So they said, “Would you like to go with us?” I said yes. The next thing I knew, I was accepted to go to Spain.
CELIA GREENSPAN: Personally, I went because my husband was there, and I got to Madrid early in October. And I felt I had a skill and I could work there, I could do or contribute to the fight against fascism that we knew was taking place.
ESTHER SILVERSTEIN: Oh, it was all around me, from the time the war started. By that time, I wasn’t exactly politicized, but I was certainly aware. And I was in the United States Public Health Service, the Marine hospital that took care of the various trade unions from the waterfront early in 1937. I volunteered to the Spanish War Relief Organization. I had to pass an examination. And they wanted to be sure that they weren’t sending out an adventurist. I was sort of overweight, and I wore glasses. I wore my hair in a bun. And it’s hardly likely I would look like an adventurist, but just the same. And they all passed me, and I went on to New York and joined up with a group of people from Chicago and here and there.
IRENE GOLDIN: Somebody mentioned that nurses were needed in Spain, and I decided I would apply. And I was accepted immediately, and I was to leave in one month. There was one question that asked, “Why do you want to go to Spain?” And I all I wrote was, “To fight against fascism.” And I was accepted.
AMY GOODMAN: The voices of women. Almost eighty fought or went to Spain to participate in the Spanish Civil War, 1936-1939. Moe Fishman, we heard an African American nurse describing her experience. What about the forces, the veterans being integrated, those who fought, the volunteers?
MOE FISHMAN: The Abraham Lincoln Brigade was the first American military unit that was completely integrated. We had officers, we had ordinary soldiers, sergeants, etc. It didn’t happen in World War II, where the black brothers from the United States fought so valiantly with white officers, and it didn’t happen until Truman in 1948 integrated the United States Army by an official decree. He didn’t dare go to Congress to do it.
I want to make one more point. Fascism, the word has been bandied about a lot, and I want people to remember that it is not just the racist aspect of fascism. If you want to understand fascism, it is the negation of everything that is democratic. It makes it impossible to have a trade union, a neighborhood organization, to fight for civil liberties. It is a system that is terrible.
And in conclusion, I would like to tell you that there is a monument that we’re very proud of that’s going up in the San Francisco on the Embarcadero, and if you would like to send some funds, get on your computer and contact www.alba-valb.com. And thank you. We’d appreciate any contribution you make.
AMY GOODMAN: Dot-org, is that?
MOE FISHMAN: Yes, dot-org.
AMY GOODMAN: Thank you so much, Moe Fishman, executive secretary of the Veterans of the Abraham Lincoln Brigades, and Julia Newman, who directed and produced Into the Fire: American Women in the Spanish Civil War. When we come back, Harry Belafonte, he honored the Veterans of the Abraham Lincoln Brigade here in New York yesterday.
De: democracynow.org
Fighting Fascism: The Americans–Women and Men–Who Fought In the Spanish Civil War
In July 1936, rightwing military officers led by fascist General Franco attempted to overthrow the newly elected democratic government of Spain. Hitler and Mussolini quickly joined in support of Franco. In response, nearly 3,000 Americans defied the US government to volunteer to fight in the Spanish Civil War, they called themselves Abraham Lincoln Brigade. We speak with two surviving veterans, Moe Fishman and Clarence Kailin. We also play excepts form the documentary “Into the Fire: American Women in the Spanish Civil War” and speak with filmmaker Julia Newman.
“No man ever entered the earth more honorably than those who died in Spain.” Those are the words of Ernest Hemingway. He was referring to the Americans who volunteered for the Spanish Civil War, the first major battle against fascism.
In July 1936, rightwing military officers led by General Franco attempted to overthrow the newly elected democratic government of Spain. Hitler and Mussolini quickly joined in support of Franco. The Spanish Civil War lasted until 1939. Half a million people are believed to have died on all sides.
Yesterday in New York, hundreds gathered to honor an exhibit at the museum of the City of New York called “Facing Fascism.” Among those there was Julia Newman who made the film, "Into the Fire: American Women in the Spanish Civil War. The film begins with Martha Gellhorn, a world-renowned war correspondent. She was the third wife of Ernest Hemingway.
* “Into the Fire: American Women in the Spanish Civil War”–excerpt of documentary. Courtesy, First Run Features.
Ruth Davidow–one of the nearly 80 American women who fought in the Spanish Civil War. They joined over 2,700 of their countrymen in defiance of their government to volunteer for what was known as the “Good Fight.” The Americans who fought fascism in Spain called themselves the Abraham Lincoln Brigade.
Today, an hour on the Spanish Civil War and the Americans–women and men–who fought in it.
* Julia Newman, producer and director of “Into the Fire: American Women in the Spanish Civil War”.
* Clarence Kailin, one of the surviving veterans of the Abraham Lincoln Brigade.
* Moe Fishman, one of the surviving veterans of the Abraham Lincoln Brigade. He is executive secretary of the * Veterans of the Abraham Lincoln Brigades*.
AMY GOODMAN: “No man ever entered the earth more honorably than those who died in Spain.” Those are the words of Ernest Hemingway. He was referring to the Americans who volunteered for the Spanish Civil War, the first major battle against fascism.
In July 1936, rightwing military officers led by General Franco attempted to overthrow the newly elected democratic government of Spain. Hitler and Mussolini quickly joined in support of Franco. The Spanish Civil War lasted until 1939. Half a million people are believed to have died on all sides.
Yesterday in New York, hundreds gathered to honor an exhibit at the museum of the City of New York called “Facing Fascism.” Among those there was Julia Newman, who made the film, Into the Fire: American Women in the Spanish Civil War. The film begins with Martha Gellhorn, a world-renowned war correspondent. She was the [third] wife of Ernest Hemingway.
MARTHA GELLHORN: I was in Germany in 1936 and could not avoid seeing these headlines about the “red swine dogs” in Spain. I had been in Spain, but I knew nothing about what had happened, that the king had gone, that there was a republic, but all I needed was to read in a German paper that it was the red swine dogs to know whose side I was on: theirs.
VIRGINIA COWLES: “In spite of numerous and conflicting political terms used to classify the Spanish conflict, the fundamental issue lies neither between republicanism and fascism nor between communism and monarchism. Mainly and simply it is a war between the proletariat and the upper classes.”
MARTHA GELLHORN: The Spanish called it “la Causa”—the cause—and it was the cause. It was the place where, of course, the Second World War could have been stopped, because it was a tryout for both Hitler and Mussolini.
RUTH DAVIDOW: By nonintervention, we were actually helping the fascists, because they were getting materials from everywhere. Everybody knew that. And to me, we didn’t really believe in our democracy. It really shattered me. So I made that decision almost overnight.
AMY GOODMAN: Ruth Davidow, one of the nearly eighty American women who fought in the Spanish Civil War. They joined over 2,700 of their countrymen here in the United States, in defiance of the US government, to volunteer for what was known as “the Good Fight.” The Americans who fought fascism in Spain called themselves the Abraham Lincoln Brigade. That clip was from an excerpt of Into the Fire, that began with the third wife of Ernest Hemingway, the premier war correspondent Martha Gellhorn.
Julia Newman is the producer and director of that film, joining us in the studio today. Explain the significance of these women joining US men in going to fight for Spain, why you did this documentary.
JULIA NEWMAN: They were extraordinary people, but they were ordinary people who had found their way to a cause that caught their heart. And this is part of my own background. My parents were supporters of the republican side in the Spanish Civil War, and they had friends who fought and died in Spain. And I realized that I knew nothing about the fact that there were eighty women who had gone to Spain as volunteers to serve, primarily as medicals, in support of the international brigades. And I wanted that history to be known.
AMY GOODMAN: Explain who Martha Gellhorn was.
JULIA NEWMAN: Martha Gellhorn was a writer and correspondent and a novelist who was quite well known in this country for a book she had written about the sufferings of the Americans under the Depression called The Trouble I’ve Seen. And Spain was her first foreign war, her first war of any kind, and she went there to see what was happening to the Spaniards in that war. She went there with Hemingway. Actually, she followed him there. They had agreed to go together. And she began reporting from the fronts. She had never been a war correspondent before and was very caught up in the cause.
AMY GOODMAN: I wanted to go now to another clip of the film. The most famous attack in the Spanish Civil War came in 1937, almost seventy years ago to the day in the town of Guernica. At 4:40 p.m. on the 26th of April, 1937, German and Italian war planes carpet-bombed the Basque town. Three-quarters of Guernica was destroyed, and as many as 1,600 civilians were killed. The attack was immortalized in Pablo Picasso’s “Guernica,” one of the most iconic paintings of the twentieth century. Franco claimed the attack on Guernica never took place and was, in fact, republican propaganda. This is how Virginia Cowles, a correspondent for the New York Times, described the incident. Her words are read by an actor.
VIRGINIA COWLES: "Dictators will keep agreements only as long as they are profitable. They will maintain order only as long as might forces them to. They will talk peace only until the day when they think they can make a war and win it.
"When I arrived, a press officer asked if I had been subjected to the Guernica propaganda, declaring that everyone knew that Guernica was not bombed by the whites, but burned by the reds.
“Guernica was a lonely chaos of timber and brick. One old man was inside an apartment house that had four sides to it, but an interior that was only a sea of bricks. I asked him if he had been in Guernica during the destruction. He nodded his head and declared that the sky had been black with planes. ’Aviones,” he said, ‘italianos y alemanes.’ The press officer turned pale. ‘Guernica was burned,’ he contradicted. The old man stuck to his point, insisting that after a four-hour bombardment, there was little left to burn. The press officer moved me away. ’He’s a red,’ he said.
“When later in the day we ran into two staff officers, he brought the subject up. ‘Guernica is full of reds,’ he said. ‘They all try to tell us it was bombed, not burned.’ ‘Of course, it was bombed,’ said one of the officers. ‘We bombed it and bombed it and bombed it. And bueno, why not?’ The press officer never mentioned Guernica again.”
AMY GOODMAN: Virginia Cowles, she was writing for the New York Times. This, from the film Into the Fire. Julia Newman, the significance of what was being said at the time?
JULIA NEWMAN: Well, Virginia Cowles got to Guernica right after the bombing and was shown around Guernica by a press agent, and Franco was putting out propaganda that said that anarchists had burned, had set fire to the city and that the Italians and the Germans had nothing to do with the destruction of the city. And Virginia Cowles got there and put the lie to that. She said what she saw, and what she saw was that the town had been just destroyed by German aircraft, primarily. And it was a revelation.
AMY GOODMAN: It’s interesting that recently in the New York Times, in reference to the exhibit, “Facing Fascism,” that they put the term “international fascism” in quotes, when you have here Virginia Cowles so powerful in describing fascism.
JULIA NEWMAN: It’s a bizarre thing to do all these years later, to say that international fascism is something that you would even begin to put in quotes. It was very real, and for a lot of people it continues to be that.
AMY GOODMAN: And, of course, the “Guernica,” the famous painting by Pablo Picasso, is also in reproduction in a tapestry at the United Nations. And listeners and viewers may remember right before the invasion of Iraq, when Colin Powell came to the United Nations to push for war, February 5, 2003, the tapestry of “Guernica” was shrouded so that that famous image of war, Picasso’s antiwar painting, would not be the backdrop of the news conferences of the US officials. When we come back, we’ll be joined by two survivors of the Abraham Lincoln Brigade.
[break]
AMY GOODMAN: Paul Robeson singing “Freedom,” the great singer Paul Robeson, a great supporter of the veterans of the Abraham Lincoln Brigade and those who went to fight in Spain, on this seventy-first anniversary of the beginning of that war, the seventieth anniversary of the bombing of Guernica. This is Democracy Now!, democracynow.org. I’m Amy Goodman.
I want to turn to the words of one of the surviving veterans of the Abraham Lincoln Brigade: Clarence Kailin. He’s ninety-two now. I interviewed Clarence a month ago at the Barrymore Theatre in Madison, Wisconsin.
AMY GOODMAN: Are you a pacifist?
CLARENCE KAILIN: Oh, yeah.
AMY GOODMAN: But you fought in the Spanish Civil War?
CLARENCE KAILIN: Yeah. Well, that takes a bit of an explanation, that we were fighting against fascism. And we were political enough to understand that, so it wasn’t for an adventure, and it wasn’t for money. It was fighting against Italy and Italian fascism and German Nazism, is what it was about. And we felt that if we lost the war, that World War II was pretty much inevitable, which is what happened. And it happened because Britain and France and the United States refused to give us any help at all. And so, we fought bare-handed at times.
AMY GOODMAN: Why didn’t the US intervene? And why did you go over as an American citizen without your government?
CLARENCE KAILIN: Well, yeah, our passports were stamped “not valid for travel in Spain,” so we had to go quietly, not tell people we were going. And we went because we understood what was happening over there, that Germany and Italy were both invading Spain and—two fascist countries—and so we went to stop fascism. This is what it was about.
AMY GOODMAN: Did you go with anyone you knew?
CLARENCE KAILIN: Yes, I did. I went with—there were six of us: two from Madison, two of us, and four from Milwaukee. And we went together.
AMY GOODMAN: Did you come back together?
CLARENCE KAILIN: No. I came back alone. It was sad, because I lost my best friend, who was a very famous scientist, even at a young age. And he was killed right at the end of the fighting. It was a very—it was a great shock to everybody.
AMY GOODMAN: You were injured also?
CLARENCE KAILIN: Yeah. I had a machine-gun bullet in my right elbow.
AMY GOODMAN: In the same fight where you lost your friend?
CLARENCE KAILIN: No. He died later on, yeah.
AMY GOODMAN: What was his name?
CLARENCE KAILIN: John Cookson. Yeah, well, I wrote a book about him. And, well, his story is in there.
AMY GOODMAN: What’s the book called?
CLARENCE KAILIN: It’s called “Remembering John Cookson,” yeah.
AMY GOODMAN: How old was he when he died?
CLARENCE KAILIN: Huh?
AMY GOODMAN: How old was he when he died?
CLARENCE KAILIN: Oh, about twenty-four. And the Spanish people felt that this book was so important that it was translated into Spanish, and they published it there, a Spanish edition. So I was happy with that.
AMY GOODMAN: When you came back to the United States, how were you received here?
CLARENCE KAILIN: Well, that depends. Coolly in many areas and, you know, our friends were very supportive. It was nice, but difficult.
AMY GOODMAN: Why coolly, and by who?
CLARENCE KAILIN: Well, you know, there was so much propaganda against us. And, well, that’s how public opinion was affected, you know? Although during the war, I think that about two-thirds of the public was supportive of what we were doing there. Yeah.
AMY GOODMAN: Why was it called the Abraham Lincoln Brigade?
CLARENCE KAILIN: Well, I guess they thought—the people who named it, I think they thought Lincoln was one of the great leaders, one of the best presidents we’ve had. And I agree with that.
AMY GOODMAN: Clarence Kailin, he’s ninety-two. He’s a survivor of the Spanish Civil War. I spoke to him in Madison, Wisconsin, though he was here in New York for the major event yesterday honoring those who fought in the Spanish Civil War. It happened at the City University of New York in the Museo del Barrio. And in a moment we’re going to be going to Harry Belafonte, who spoke there, but right now, one of those who attended is another Abraham Lincoln Brigade survivor: Moe Fishman, executive secretary of Veterans of the Abraham Lincoln Brigades, joining us in the firehouse studio. Welcome.
MOE FISHMAN: Thank you.
AMY GOODMAN: It’s good to have you with us, Moe. Talk about that time seventy-one years ago: the significance of the Spanish Civil War and how it relates to World War II. Do you think World War II would have happened if the outcome in the Spanish Civil War had been different?
MOE FISHMAN: I say no, and I’m reinforced by the fact that all of the Lincoln Brigade veterans felt the same way and all of the International Brigade felt the same way. The International Brigade, of which we were a part, consisted of about 40,000 to 45,000 volunteers from fifty-two countries who came to the aid of the Spanish Republic, and I want to emphasize “came to the aid of.” It was the Spanish Republic and their people who fought this war and deserved the major credit for the big fight that they put up, which gave the democracies a two-and-a-half-year window of opportunity to change from a policy of appeasing fascism, led by Chamberlain of Britain and subscribed to by Roosevelt, to one of actively fighting fascism. If they had actively fought fascism in 1936-1939, we would have stopped Hitler, and there would have been no World War II.
AMY GOODMAN: How would you have stopped Hitler? This was Spain. This was Franco. How would you have stopped Hitler?
MOE FISHMAN: Well, Hitler had been appeased by—they permitted him to rearm Germany, and it was done with the finances of both Britain and the United States, the financiers—financed it on credit—that permitted Hitler to march into Austria. And then Spain came along, and they were letting him do as he felt in Spain with this policy of appeasement. If they had turned to fighting fascism and opposing what he was doing, Hitler would not have attempted a two-front war, which he was trying like mad to avoid. He would not have been armed as much as he became armed, when he conquered one country after another and built a war machine that almost succeeded in conquering the world. And he would have been stopped if there had been a conflict, and there might have been. He might have been rash enough to start something there. He would have had a two-front war to confront, and it would have been a minor kind of war. It would not have been World War II, where fascism almost won, and 60 million dead and destruction beyond compare. And, no, there would have been no Holocaust, if Hitler had been stopped in Spain in 1936-39.
AMY GOODMAN: Moe Fishman, I want to turn to another excerpt of the film Into the Fire. This clip begins with a narrator reading the words of Eleanor Roosevelt and ends with the words of Ernest Hemingway.
ELEANOR ROOSEVELT: “Three very interesting people came to dine with us last night: Ms. Martha Gellhorn, Mr. Ernest Hemingway, both writers, and Mr. Joris Ivens, a [inaudible] maker of films. After dinner, the two men showed us a film which they made. The profits are going into the purchase of ambulances to help the sick and dying in a part of the world which is at present war-torn.”
ERNEST HEMINGWAY: The men, who never fought before, who were not trained in arms, who only wanted work and food, fight on.
AMY GOODMAN: That was the voice of Ernest Hemingway in this film called The Spanish Earth. But Roosevelt would not arm the Spanish government.
MOE FISHMAN: He joined in the Non-Intervention Committee. He didn’t join the committee, but he agreed with them, and he enforced an embargo in the United States which called for no arms being sold to the republic. Let me remind you, the republic didn’t want volunteers. The republic didn’t want anybody to join them. All they asked for is what was happening normally in the world at that time, where a democracy could just buy arms for money from another democracy. And this Non-Intervention Committee, formed by Chamberlain, agreed to by Roosevelt, so Roosevelt has an embargo and will not sell arms to Spain, will not sell them any trucks, and so on and so forth. And this—if they had simply sold the arms, the Spanish Republic would have beaten the fascists.
AMY GOODMAN: Julia Newman, Eleanor Roosevelt disagreed with her husband. Eleanor Roosevelt was a close friend of Martha Gellhorn, the war correspondent.
JULIA NEWMAN: Yes. She did everything she could to help convince FDR to go against the embargo. Ultimately, he was too politically frightened—I guess isn’t too strong a word. He was a consummate politician, and he did not want to alienate what he saw as a collection of powerful lobbies in this country who were primarily Catholic, but who were pro-Franco. There was a strong movement here that was pro-Franco, along with the fact that most Americans were not.
AMY GOODMAN: Led by a powerful radio talk show host.
JULIA NEWMAN: Named Father Coughlin, yes. Father Coughlin was the radio priest, and he was quite rabid in rallying his listenership to Franco, to the right.
AMY GOODMAN: Moe Fishman, you are ninety-one years old right now. You fought in the Spanish—
MOE FISHMAN: A young ninety-one.
AMY GOODMAN: Very young. You fought in the Spanish Civil War.
MOE FISHMAN: Yes.
AMY GOODMAN: When you came back, it was World War II, yet many of you were vilified. The FBI called you “premature anti-fascists”?
MOE FISHMAN: Yes.
AMY GOODMAN: What does that mean?
MOE FISHMAN: It means that you understood fascism before everybody else. They tried to make it a nasty word. For, unfortunately, most American historians, World War—fascism, the fight against fascism in the United States doesn’t begin—World War II doesn’t begin until Pearl Harbor. This way, they avoid dealing with the Spanish Civil War, dealing with the fact that Roosevelt, President of the United States, was wrong on this question, that World War II could have been prevented. He could have been one to do it. And secondly, we were dubbed “reds.” It’s not true that all who fought against fascism were reds then, were reds while the fight was going on in World War II, and are reds today.
AMY GOODMAN: Speaking of that, I want to turn to another clip of Into the Fire: the women who fought. Into the Fire includes the voices of many American women who volunteered for the Spanish Civil War. Decades later, they described why they joined.
EVELYN HUTCHINS: I couldn’t be a nurse. I wasn’t a nurse. I couldn’t be a doctor, because I wasn’t a doctor. And I wanted to go. And I was doing a lot of driving. I helped to collect clothes and to advertise what was happening in Spain. And that’s what gave me the idea in the first place. If I could do that here, I could do it in Spain just as well. And that would replace some man who would then be able to do what I really wanted to do, which is go up front.
HELEN FREEMAN: I met some friends and went to a meeting. And the meeting was called to aid Spanish democracy. All the different unions were supporting the group. They asked for nurses and doctors and volunteers to go to Spain. And so, I volunteered. They called us in and started organizing the trip. Meeting with the different people who were going, like Fredericka Martin, Lini DeVries, and my friend Anne Taft, who was graduated from the same school that I did. People had to resign from their jobs. Most of us were young nurses. And so, that’s why they had meetings to teach the young people what to expect when they get over there. How are you going to cope under these difficult situations? Can they do a good job while they leave responsibilities at home? Anyway, January 16, 1937, we left for Spain.
UNIDENTIFIED WOMAN: I think, basically, it was because I was a nurse that I was very upset about the kind of things that were happening, not only to Jews in Germany, people in Spain and people in Ethiopia. And, you know, for a while, I thought this had nothing to do with us, that these people had to fight their own battles. I was against another world war. I was sort of an isolationist without thinking about it. But as things got worse, and when they went into a country that just had democratically elected a new government, and our own government, which said they were democratic and believe in elections, put an embargo on them. I was terribly upset.
SALARIA KEA: I was not a political person, because you shifted too much.
See, I didn’t know about fascism. Here’s the thing that brought everything to me. It was the way Germany was treating the Jews. I never really thought that white people do against white people, because we don’t look at you as French or Italian. You’re white. I have met a lot of Jewish people who had left Germany, and they told us about what Hitler was doing to them. It was like the Ku Klux Klan. So now, we’re matching what is happening in Germany to the Jews to us here in the United States. So I went downtown to this meeting, and the meeting was all these people from foreign countries, and they said to me that they hoped to go to work with the republican side. So they said, “Would you like to go with us?” I said yes. The next thing I knew, I was accepted to go to Spain.
CELIA GREENSPAN: Personally, I went because my husband was there, and I got to Madrid early in October. And I felt I had a skill and I could work there, I could do or contribute to the fight against fascism that we knew was taking place.
ESTHER SILVERSTEIN: Oh, it was all around me, from the time the war started. By that time, I wasn’t exactly politicized, but I was certainly aware. And I was in the United States Public Health Service, the Marine hospital that took care of the various trade unions from the waterfront early in 1937. I volunteered to the Spanish War Relief Organization. I had to pass an examination. And they wanted to be sure that they weren’t sending out an adventurist. I was sort of overweight, and I wore glasses. I wore my hair in a bun. And it’s hardly likely I would look like an adventurist, but just the same. And they all passed me, and I went on to New York and joined up with a group of people from Chicago and here and there.
IRENE GOLDIN: Somebody mentioned that nurses were needed in Spain, and I decided I would apply. And I was accepted immediately, and I was to leave in one month. There was one question that asked, “Why do you want to go to Spain?” And I all I wrote was, “To fight against fascism.” And I was accepted.
AMY GOODMAN: The voices of women. Almost eighty fought or went to Spain to participate in the Spanish Civil War, 1936-1939. Moe Fishman, we heard an African American nurse describing her experience. What about the forces, the veterans being integrated, those who fought, the volunteers?
MOE FISHMAN: The Abraham Lincoln Brigade was the first American military unit that was completely integrated. We had officers, we had ordinary soldiers, sergeants, etc. It didn’t happen in World War II, where the black brothers from the United States fought so valiantly with white officers, and it didn’t happen until Truman in 1948 integrated the United States Army by an official decree. He didn’t dare go to Congress to do it.
I want to make one more point. Fascism, the word has been bandied about a lot, and I want people to remember that it is not just the racist aspect of fascism. If you want to understand fascism, it is the negation of everything that is democratic. It makes it impossible to have a trade union, a neighborhood organization, to fight for civil liberties. It is a system that is terrible.
And in conclusion, I would like to tell you that there is a monument that we’re very proud of that’s going up in the San Francisco on the Embarcadero, and if you would like to send some funds, get on your computer and contact www.alba-valb.com. And thank you. We’d appreciate any contribution you make.
AMY GOODMAN: Dot-org, is that?
MOE FISHMAN: Yes, dot-org.
AMY GOODMAN: Thank you so much, Moe Fishman, executive secretary of the Veterans of the Abraham Lincoln Brigades, and Julia Newman, who directed and produced Into the Fire: American Women in the Spanish Civil War. When we come back, Harry Belafonte, he honored the Veterans of the Abraham Lincoln Brigade here in New York yesterday.
domingo, 10 de enero de 2010
Conferencia de Helen Graham sobre las Brigadas Internacionales
Helen Graham, historiadora y profesora en Royal Holloway, University of London, ha dado una conferencia el 3 de diciembre de 2009 en Londres sobre las Brigadas Internacionales. Graham ha publicado diversos artículos y libros sobre la II República y la GCE. El título de la conferencia es Border Crossing: Thinking about the International Brigaders before and after Spain y es en inglés. La conferencia está disponible para escuchar y descargar en la web Backdoor Broadcasting, situada aquí. Dura aproximadamente una hora.martes, 22 de diciembre de 2009
"Mudanza," de Pere Portabella - una entrevista y una reseña
Hace unos días posteamos aquí una noticia sobre el nuevo corto de Pere Portabella, "Mudanza."
Aquí se puede encontrar una entrevista con el cineasta en RTVE que se puede descargar en formato mp3 o simplemente, escuchar. Por desgracia, no funciona el enlace para poner el audio en el blog directamente.
También, la revista de cine documental, Blogs & Docs, ha publicado una reseña de la película de Portabella, que reproduzco abajo:
Aquí se puede encontrar una entrevista con el cineasta en RTVE que se puede descargar en formato mp3 o simplemente, escuchar. Por desgracia, no funciona el enlace para poner el audio en el blog directamente.
También, la revista de cine documental, Blogs & Docs, ha publicado una reseña de la película de Portabella, que reproduzco abajo:
Mudanza
por Josep Torrell
El cineasta Pere Portabella considera que la duración de sus películas depende únicamente de la forma de hacerlas. Lo demás –por ejemplo, su sujeción a una duración establecida—, es tan sólo una mera exigencia de los distribuidores. Por ello, después de un largometraje como Die Stille vor Bach (2007) su siguiente película –que ahora se estrena— tiene sólo veinte minutos.
Por Josep Torrell
Cuando uno toma posesión de un espacio, lo primero que hace es vaciarlo. El espacio propio será un espacio desnudo, y a partir de su desnudez se puede trabajar y transformarlo. Esto es precisamente lo que hizo Pere Portabella con la Huerta de San Vicente (Granada), la Casa Museo de Federico García Lorca (lugar donde el poeta pasó los veraneos desde 1926 hasta su muerte). La vació, y la rodó. Luego, mostró, al mismo tiempo, la película y la casa vacía. La película cambia la casa; pero la casa cambia la percepción de la película.
Todo empezó cuando Portabella recibió el encargo de hacer algo con la Casa Museo de Federico García Lorca, en el marco del Everstill / Siempre todavía, que coordina Hans Ulrich Obrist. El proyecto de Portabella tenía dos partes. La primera, la filmación del vaciado de la casa. La segunda, la exhibición de la casa sin los muebles, los platos, el piano o los cuadros.
La primera parte tuvo como resultado Mudanza (2008). Su único argumento es rodar el vaciado y empaquetado del mobiliario de la casa. Lo que ocurre, no obstante, es que sus planos tienen ritmo propio. La cámara recorre la casa mediante travelín, aunque pocos reparan en la belleza del plano, porque por todas partes aparecen operarios. Pero estos obreros han sido puestos allí, y no por casualidad. Su presencia tiene que ver con eso que hemos denominado ritmo. Hay una coreografía milimétrica entre a quién vemos en el plano y el desplazamiento de la cámara.
De pronto, silencio. Cuando sacan el piano, el silencio se extiendo por la pantalla, y aguantara hasta el final. Cuando se ha hecho el vacío, llega el silencio. Las travelín se lentifican: la cámara se demora por la casa, casi hasta quedar fija. La cama de García Lorca es el último plano del principio, y volverá para servir de cierre (cuando los muebles están en una nave industrial).
Mudanza no supone una obra extraña dentro de la filmografía de Portabella. En realidad, prosigue una serie –bastante larga, por cierto— de películas cuyo rodaje era una acción o un acontecimiento. Sin ánimo de ser exhaustivos, cabría citar Miró l’altre (1969), Play back (1970), Poetes catalans (1970), Miro tapis (1973), Miro forja (1973), Advocats laboralistes (1974), El sopar (1974) o Plan hidrológico (2004). Esta larga fila de rodajes está caracterizada, además, por otra cosa: son las únicas películas cuyo guión asume él en soledad. Quizás porque el guión se condensa en una sola frase. Parece como si Portabella –en los años setenta, en la época del arte conceptual— hubiese vuelto la mirada hacía el principio del cine, hacia los Lumiére, a la Sortie des usines Lumiére, pero aprovechando todos los adelantes del cine. En Mudanza, desde el exacto movimiento de un travelín, hasta el silencio de la segunda parte, que da una gravedad a nuestra mirada.
La segunda parte del proyecto de Portabella, consistía en mostrar la película y la Huerta de San Vicente completamente vacía, en julio de 2008. Se montó un tinglado de madera antes de entrar en la casa, y allí se proyectaba su película antes de que los visitantes pasasen a la casa desposeída de sus muebles (desposeída de lo que confiere valor: valor de cambio). Estaba previsto devolver el dinero a quienes lo pidieron: sólo lo pidió una exigua minoría. Los demás quedaron encantados.
El arte conceptual exponía vacíos: huecos. Portabella –destacado miembro del equipo conceptual conocido como Grup de Treball—, era perfectamente consciente de ello, pero introdujo una variante: mezclar la exposición del espacio vacío con la proyección de Mudanza, sobre el proceso de vaciado. Entonces las sinergias explotaron como en una reacción en cadena. Al ver el espacio desnudo, se rememoraba algo, concreto y vago a la vez, que había sido visto una vez… mientras veían la película. La película pesaba mucho sobre todos los visitantes al efectuar su recorrido. Además, la casa museo de García Lorca, al estar desnuda, perdía su aura. Pero todo lo que le había sido quitada a la casa estaba, sin embargo, en la película: así adquiere sentido el plano final de la cama precintada, que deja fluir el sentido sin encorsetarlo.
Pere Portabella es un artista conceptual, por ideas y por compromiso, que teje sus obras a partir del concepto de lo mínimo (una acción), pero –y en esto estriba su radical diferencia—, pone en juego todos los procedimientos estéticos del cine, pero también su innegable maestría con ellos.
FICHA TÉCNICA
Dirección: Pere Portabella
Guión: Pere Portabella
Ayudante de dirección: Jordi Vidal Amorós
Director de fotografía: Elisabeth Prandi
Jefe Sonido: Albert Manera
Director de produccion: Pasqual Otal
Producido por: Films 59
País y año de producción: España, 2008.Desde el 4 de diciembre se puede ver “Mudanzas” de Pere Portabella en Barcelona en los Cines Alexandra, proyectada en sesión doble junto a Singularidades de uma Rapariga Loura de Manoel de Oliviera.
sábado, 12 de diciembre de 2009
Marcos Ana en "Olvida tu equipaje"
Marcos Ana, de joven
El blog y programa de radio "Olvida tu equipaje" ha emitido hoy una entrevista con el poeta y ex-preso político Marcos Ana (se puede escuchar directamente aquí). Acabo de escuchar el programa, que dura una hora, y tengo que decir que me ha parecido más como una conversación entre amigos, que una entrevista formal con un escritor famoso, algo que me ha gustado mucho. Marcos Ana lee el poema que da título a sus memorias Decidme como es un árbol, habla de la memoria histórica, y narra algunos de sus recuerdos, como un encuentro con el poeta chileno Pablo Neruda, y la esposa de éste, Matilde Urrutia (ya que yo he estado en Isla Negra ha sido especialmente emocionante escuchar esta parte de la conversación). En enero este poeta tendrá 90 años, y como han dicho los presentadores del programa, es increíble, porque Marcos Ana tiene un espíritu y una vitalidad que se esperarían de alguien mucho más joven.Una entrevista que vale la pena escuchar.
viernes, 4 de diciembre de 2009
Canción de Lucía Socam
Es gracias al blog de DIME que he podido escuchar y compartir esta canción emotiva de Lucía Socam. Sin comentarios, porque es mejor sólo oír lo que tiene que decir la cantante. Esta cita lo dice todo: "Tienen nombre y apellidos."
viernes, 27 de noviembre de 2009
Dos programas radiofónicos emitidos hoy
Hoy, viernes 27, se emiten dos programas radiofónicos de interés para los lectores de este blog. El primero es el que hemos mencionado aquí varias veces, programa "La Memoria," que a las 21,30 h nos ofrece un programa en RAI sobre los 300 niños andaluces que se alistaron en el ejército republicano y murieron en la Guerra Civil. De su web leemos:
El programa “La Memoria” de Radio Andalucía, dirigido y presentado por Rafael Guerrero, dedica su emisión del viernes, 27 de noviembre, al libro del historiador sevillano José María García Márquez, titulado “Andaluces muertos y desaparecidos en el Ejército Republicano (1036.1939)”, una investigación imprescindible de consulta para quienes no tengan claro qué fue de aquel familiar –padre, tío o abuelo- que un día se alistó en las milicias republicanas y cuyo rastro se perdió a lo largo de la Guerra Civil por los distintos frentes de la geografía española.El segundo programa es el otro enlazado en este blog, "Olvida tu equipaje," que a las 19 h tendrá una entrevista con Andoni Ruiz, presidente de la Asociación de Ex-Presos Sociales. Del blog leemos:
La Ley de Vagos y Maleantes, así como la de Peligrosidad Social supusieron en el franquismo y en la transición supusieron la represión más dura y vejatoria para miles de personas homosexuales y transexuales en España.Si no se puede escuchar en vivo los programas, los dos ofrecen podcasts, y los oyentes pueden descargar los archivos en mp3.
La Asociación de Ex-presos Sociales se opone frontalmente a dichas leyes y a las consecuencias derivadas: fichas policiales, condenas manifiestamente injustas, humillaciones y vejaciones en comisarías y cárceles, etcétera, etcétera.
jueves, 19 de noviembre de 2009
Mañana, en Programa la Memoria
Mañana, en "La Memoria, casi exactamente 72 años desde la fecha del siniestro de un tren de presos de Bilbao en Sevilla, se emite este programa:
El programa “La Memoria” de Radio Andalucía, dirigido y presentado por Rafael Guerrero, dedica su emisión del viernes, 20 de noviembre, al aniversario de un suceso que el franquismo ocultó y que sucedió hace justamente 72 años en el antiguo apeadero de la estación ferroviaria de Alanís, en la Sierra Norte de Sevilla. La noche del 19 de noviembre de 1937 un tren procedente de Bilbao cargado con presos vascos se empotró contra una locomotora aparcada en la antigua estación –hoy desaparecida- de Alanís. Fue un espectáculo dantesco, según relatos de algunos testigos, con una imagen de cuerpos mutilados y de hierros retorcidos de los vagones absolutamente destrozados. ¿Accidente o sabotaje? Probablemente nunca habrá respuesta a esta interrogante. Lo cierto es que el franquismo ocultó y minimizó los hechos y que el balance fue de más de 80 muertos y más de 150 heridos que fueron atendidos en el antiguo hospital sevillano de las Cinco Llagas, hoy sede del Parlamento andaluz.
viernes, 23 de octubre de 2009
Próximo programa de "La Memoria" - Sevillanos en el exilio
Del blog de Programa La Memoria:
El programa “La Memoria” de Radio Andalucía, dirigido y presentado por Rafael Guerrero, dedica su emisión del viernes, 23 de octubre, a los sevillanos que tuvieron que exiliarse en América para evitar la persecución y la represión del régimen franquista. Con motivo de la celebración este mes de un ciclo del Aula para la Recuperación de la Memoria Histórica del Ayuntamiento de Sevilla dedicado al exilio español en América, varios historiadores ponentes han sido invitados al programa ‘La Memoria’ para exponer sus investigaciones y debatir al respecto. Se trata de Juan Ortiz Villalba, Julio Manuel de la Rosa y Maribel Cintas Guillén, quienes expondrán las experiencias del desarraigo obligado del exilio que padecieron numerosos intelectuales y políticos sevillanos.Emisión.- Viernes, 23 de octubre, a las 21,30 horas en Radio Andalucía.
Descarga en internet.- A través de www.rtva.es por “bandeja de la radio” o el blog del programa “La Memoria”: http://blogs.canalsur.es/lamemoria/
Suscripción por internet.- Se aconseja la suscripción por el sistema podcasting, siguiendo las instrucciones en www.rtva.es a través de «bandeja de la radio».
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