miércoles, 26 de mayo de 2021

OF THE NOVEL’S LIFE OF JOVITA´S LIFE. By Javier Tafur González. Traductora Diana Herrera Bernal.

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Gracias al aporte y autorización del

Poeta Javier Tafur González

y de la traductora 

publica y difunde: NTC …Nos Topamos Con … 
http://ntcblog.blogspot.com * ntcgra@gmail.com . Cali, Colombia

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OF THE NOVEL’S LIFE OF JOVITA´S LIFE

By Javier Tafur González

Traductora Diana Herrera Bernal

 

To Gabriel Ruiz and María Isabel Casas, who suggested making this recount of the biographies of Jovita 

and other motivations related to her reign and her world of realities and fantasies

 

As I have said many times, when I was studying ethnology at Paris, at Sorbonne University, when in December of 1970, Frisco Gonzalez Reyes, my classmate at Law School at Universidad Santiago de Cali, who was studying History at Leipzig University, visited me. As usual, we spoke about our days in Europe and discussed the last events of our country among all of them; the most important was how impacting meant for him to be the witness of Jovita´s Feijóo funeral. He narrated in such a vivid way, that I still remember his gesture of surprise, which revealed the impression of what an incredible experience.

For others, it could have passed as the story of a daily chronicle, belonging of a typical character, but it was not so the double perspective of our studies: we take up what happened as a sociological fact of unequaled transcendence. Sometimes Jovita was thought like crazy; then it was possible a question, ¿what kind of madness are we talking about? From her´s or the city? That was a strange and disturbing question, which is why we decided to delve into the elements that surrounded such a significant unprecedented demonstration, then, without after fifty years, a collective expression of such magnitude has occurred, despite the importance and value of many of our deceased fellow citizens.

 

The fingerprint of this conversation and its impression remained on me from that moment, and applying research techniques typical of ethnology and social anthropology, when I returned to Cali I decided to rebuild the exciting and mysterious life of Jovita.

 

I began by reaching her maternal family and, through this, her friends, her acquaintances, and relatives, gathering a relevant corpus: handwriting letters in which she uses a language from the Spanish Golden Age, calling Marco Tulio Villalobos and other friends, her "shields"; pictures as a child and teenager, and of special moments of her daily life with famous people, as well as with her neighborhood, newspaper archives that recorded relevant participation of her in the social events, most of them narrated picaresquely, as they frequently ask questions in this regard, which I included in the prologue of the first edition of 1976 and I considered it appropriate to return to the 2019 edition, to answer these concerns.

Before the book's version, I had other options in mind, but when I realized that the research made was a "Jovita's Soulgraphy", then I understood her, I comprehend her and I got involved with her dreams and regrets, with her illusions and sorrows, with her strength and loneliness, and I felt those prevailing values ​​that she had, and that I  could try to resume in authenticity, autonomy and a willingness to drive the world her way.

 

Thus I described her to Épocas Magazine (Edition No. 201, July 2020), paying Her Majesty an admired tribute by the importance and appreciation she faced, on the occasion of the 50th anniversary of her death and 110th of her birth:

 

Jovita walked the blocks of Cali like the queen on the city's chessboard; she was not going like the pawn, step by step; nor like the tired king, slow, slow; she was faster than the horse jumps, the bishop diagonal, or the mighty rook. Jovita with her queenly demeanor and her dresses, gloves, bracelets, and necklaces, with her tropical hats, walked the streets and avenues, under the pergolas that border the tutelary river, carried and brought by her dreams and chimeras.

Jovita is one of the most beloved characters in Cali and Palmira's history, (she was born in Bolo Alizal on June 6, 1910), and she was always recognized for the courage and audacity to be herself since authenticity was her hallmark. During his sixty (60) years (she died in Cali on July 15, 1970), she characterized by his real and carefree, quixotic ways, participating in every tournament, fair, or pageant. She was the sovereign of a thousand crowns, and there will be none that looks as many as her lofty temples shone. When she died, on the eve of the Panamerican Games, his journey completed the Cali Viejo cycle, which began in 1910 with the creation of the Department of Valle del Cauca and ended with the beginnings of the Cali's modernization, with the construction of public and private projects, assuming the challenges of their growing needs and future projection.

 

No other local character, natural or adopted, had received a bigger show of affection than the people of Cali gave to Jovita on the occasion of her departure when they took to the streets to accompany her remains to the Central Cemetery, as was recorded by the radio and local and national newspapers. Already the new generations, when they ask for her, the only woman in the regional statuary, know that an answer full of magic and colorful awaits them that tells of a city and identifies an era, incarnated in a simple woman that reached without a doubt, her fantasy kingdom.

 

For the first edition I had the collaboration of both the Occidente newspaper and the Beneficencia del Valle, as their managers, Dr. Germán Villegas Villegas and Dr. Pablo Rubén Vernaza, respectively, showed interest in the publication as well as the solidarity of Arcesio Villa, Hernán Nicholls, Javier Villa, Fernell Franco, Frisco González, Aníbal Arias, Phanor Terán, Hernando Tejada and the kindness and advice of the doctor, musician and writer Alberto Dow, and of Soledad Mangada Esteban.

In the first edition release, the Liberia Nacional certified that it was the best-selling book of that year. It was the demonstration of the affection that the people of Cali and the Valle del Cauca had for Jovita, and that by the effusion of the chroniclers, columnists, writers, historians, and people in general, who were giving their opinion about the opportunity of her biography, her image was revived as a second wave of affection, added to the curiosity to know unpublished, dear, funny and picturesque details, with her achievements and her singularities, and that local color that she always had since her first youthful crown, in the stage of Radio Higueronia.

On the occasion of the first edition and seduced by the adventures of the queen, Rodolfo Salcedo Borrero, director of Cali Capers, made a first version for theater following the plot of the novel. Later, other playwrights would come to take care of it, privileging different passages to stage her life, beautifully recreated in the popular imagination, as we will see later, in the course of time and her vivid memory.

For the commemoration of the 450 years of the founding of Santiago de Cali, Mayor Julio Riascos Álvarez decided to give the gift of three thousand copies in the neighborhoods of the city, especially in those near downtown, where most of her admirers were, as the burgomaster considered:  "the exemplar allows a valid approximation to a period of our social life, as in his time were El Alférez Real and other literary works." Therefore, was born the second edition printed by Editorial XYZ, in 1984, with the collaboration and support of León Octavio Osorno "Balita", who except for the introduction, which was dispensed with for this edition, the book remained the same.

The third edition was made at Arte Color Impresores, with beautiful gouache by the artist Antonio Patiño Santa, who, to get closer and discover the character, walked the city accompanied by a professional photographer walking the streets and places where the life of our beloved walker passed, to soak up her typical environment. The rigorous fieldwork carried out by the artist Patiño Santa allowed him, in addition, to identify her preferences, customs, and hobbies, counting on very particular support, that of the secretary of the poet León de Greiff, Gilma Camacho, who as an actress played Jovita and depending on the locations, she wore the queen's wardrobe. A whole libretto of social anthropology and sociology to capture her powerful personality in her environment. A valuable anecdote in the endearing chain of surprises that the impressive survival of his spirit offers us. This edition, which had a circulation of a thousand copies, was printed at Arte Color Impresores, whose owner, Francisco Vernaza intervened meticulously since he was a Jovita's neighbor in the traditional neighborhood of San Nicolás, near to El Hoyo.

 

The fourth edition, published in 2005 to celebrate 50 years of Coéxito, by Don Ernesto Mejía Amaya, became the canonical narration of the Biography of Illusions, with this beautiful note from its sponsor on the back cover: "This costumbrist novel about our unparalleled Jovita Feijóo, and in which the city is narrated, the Cali before the Pan American Games, was written years ago; now it is taken up by the author as a painter takes up an old sketch from his artist's notebook, to illuminate it with details that make it more beautiful and colorful. In this version, the author reminds us once again the delightful feats of the eternal queen of Cali's people with a refined, colloquial, clear language, full of suggestions and beautiful poetry".

 

This hard-cover edition, with a print run of 3000 copies, exhibited on the cover a beautiful painting of the queen wearing a large crown, made by the artist Diego Pombo, and on the back cover, three little portraits of Jovita crowned, made by this same artist, the transcribed text and the logo of the company in solidarity with the publication. It was printed by Imágenes Gráficas S.A., thanks to the valuable support of Carlos Juri.

In November of that same year, a stunning portrait of Jovita, in acrylic on canvas, made by the artist María Esperanza Londoño Jaramillo, illustrated the cover of the fifth edition published by the Cali Chamber of Commerce with a print run similar to the previous one, the which continued with the classic photography of Fernell and the Chinese ink pens of the artist Hernando Tejada, as well as with the paintings of the artist Diego Pombo and the manuscript of the queen, addressed to Marco Tulio Villalobos.

Julián Domínguez Rivera, manager of Cali's Chamber of Commerce, invited us to read the novel to follow her adventures and misadventures, learn about her nobility and helplessness and thrill us "by reading the soul of this exceptional woman".  When Mr. Dominguez presented Jovita's biography to the members of the Cali's Chamber of Commerce, he wondered: ¿What did this beloved character have to endure through generations and be a spiritual reference in the region? And the answer was made with this beautiful statement, which was printed on the back cover: "Undoubtedly her charisma and the consistent defense of her ideals of authenticity and freedom. Jovita did not give explanations but to herself, consistent with her way of being and the goodness of her inevitable daily projects".

At that time, the sixth edition of Jovita was already circulating on digital avenues, and numerous photographs showed her tours of the different places where her urban, dreamy, flourishing nomadism took her.

 

It is pertinent to mention in this chronology related to Jovita, that the Fifth Cali Theater Festival was publicized and promoted with a poster of Jovita crowned, made from a painting by Diego Pombo. As well in those days, the writer Fernando Vidal wrote his play "Jovita in front of the broken mirror" and chose Gloria González as the main character, which was presented at the Teatro La Concha. The artistic design for the play was elaborated by the artist Carlos Alberto Zuluaga, as dreamy as his model and who bluntly mentioned that he was "touched" by her halo; because of her influence, he became an artist and found his destiny.  And so evident is this, that his own house turned it into the Jovita's museum where you can see and admire clothes, objects, letters, paintings, collages, caricatures, sculptures, newspapers, magazines, clippings, postcards, poems, booklets, skirts, blouses, scarves, shawls, an assortment of shoes, ornaments, necklaces from the time, which Carlos Alberto himself had already exhibited in an exhibition at the La Merced Church Museum.

 

Is to be seen in Gloria's performance in the role of Jovita, with the stage direction of Fernando Vidal, the understanding with her dreams and fears, with her gait and dresses,  because it embodies her in such a way that the new generations can identify her in the skin of the actress.

In 2006, in the workshops of Impresora Feriva, the book "In Praise of Insanity, The Queen in Check" was published by Ivan Barlahan Montoya, winner of the National Playwriting Award at the Cali Theater Festival. The back cover carries the following note from the jury: "The author reveals historical knowledge of the city of Cali and the characters recalled, which are contextualized with success and creativity. Jovita Feijóo is recognizable, her interventions in the work embody the symbolic values she represented. The fable creates interesting and amusing situations, while at the same time it is socially critical. A remarkable transformation takes place: that historical and helpless being, who was a typical caricatured character, now deceased, does not succumb, and by transcending her existence in art, she fulfills a sublimated role; a certain triumph of madness over the labeling and stigmatization of the dominant values" (Jurors Germán Espinosa, Manuel José Sierra, and Javier Tafur).

 

In the case of Ivan Montoya, it is essential to mention his devotion to Jovita, and who after the death of the queen (if she ever died) always represented her in the parades of Cali Viejo, wearing her crown and scepter, her notorious royalty and genuine courtly greetings, with her face painted with overflowing joy to see her subjects applauding her and throwing confetti and colored streamers that gave a warm festive tone to the passage of the typical float.

 

Ivan told me when he was very young and arrived to Cali, he joined the TEC and that he served as props for the first play in which he was involved, which was none other than the Madwoman of Chaillot, the beautiful work of Jean Giraudoux, who, like our dear Jovita, was carried away by her fantasies. In such a way that his disposition to interpret it had this precedent of the master Enrique Buenaventura.

 

For 2008 for the seventh edition, the famous and iconic Fernell's photo, and Hernando Tejada's pencil illustrated the cover. El Bando Creativo was in charge of the edition, from the publicist and printer Roberto Caro, who together with the artist Carlos Alberto Zuluaga, had won the contest for the poster of the Cali's Fair, being Jovita the motif, which appears on the back cover, strikingly prominent, along with another of his motifs in which it appears crowned, by the artist Diego Pombo.

 

In 2010 the eighth edition was published, a special commemorative edition of the 100th anniversary of the birth of the singer from Higueronia, printed by Bando Creativo, which followed the format of the fifth edition, with a new and colorful cover, designed by this publishing house; the ninth edition reproduces the canonical version that was published by Coéxito but it is digital and can be consulted on the web page www.tafurgonzalezasociados.org

The tenth was published by Artecolor Impresores S.A.S. although it was written in 2008 and corresponds to the conversion of each chapter of the novel into a sonnet ending with a Ballad of Love for the Queen. The shirt pocket format was used; on the cover was printed a photograph taken by William Arias from Infocus, of a sculpture of Jovita made by the artist Oscar Estaban Martínez, in which the queen has the victorious pose of La Libertad by Eugene Delacroix.  This edition was published on the occasion of the uprising of the statue of Her Majesty made by Diego Pombo, in El Parque de Los Estudiantes, next to Santa Librada.

 

The eleventh version follows this version, with the same content, but with a different format, printed by Artecolor Impresores SAS, in a medium-sized folding sheet, with the same cover, but framed with borders made with numerous illustrations related to Jovita made by different artists.

Around this same period, I wrote a version for the theater (twelfth) entitled: "Breaking of residence" which is still unpublished, where I describe a scene from the 1976 version, in which the girls of the Manrique family, at the Belalcázar neighborhood, taking advantage of the fact that Jovita had gone out to do her inevitable "twists and turns" they enter her room to look around: they see their packages of newspapers, open and scatter them, take out their things, put on their dresses, kettles, hats, gloves, and necklaces, her shoes, have fun imitating her glamorous ways, making fun of her, but they are finely surprised to see her arrive unexpectedly.

 

In 2016, the Biography of Illusions (thirteenth, fourteenth, and fifteenth) was offered to the public with three beautiful covers: on the cover, the sculpture of Oscar Esteban Martínez in the Infocus photograph by William Arias; in the interior ink illustrations by master Hernando Tejada; paintings by the masters Diego Pombo and Carlos Alberto Zuluaga, and the authentic manuscript, loaned by the primitivist painter and goalkeeper of América de Cali, Marco Tulio Villalobos.

 

By the invitation of Nicolás Ramos Gómez, President of the Society of Public Improvements of Cali, on August 5, 2017, I presented the Minimal Biography of the Queen, a genre desired by other types of readers and that facilitates the story of her life. This text, sixteenth, appears published in small format, with the sonnets and the ballad. The cover presents a Jovita with an umbrella, remembering the Freedom of Eugene Delacroix, a sculpture made by the master Oscar Esteban Martínez; the photograph is from Infocus, taken by William Arias; Darlyn Vanessa Medina Valencia, layout artist, did the interior composition. This edition brings the inevitable photo of Fernell, the ink illustrations of the master Hernando Tejada, paintings of the master Diego Pombo, gouache of the master Antonio Patiño and a photograph of the author together with another sculpture of the master Oscar Esteban Martínez, taken by the master Andrés Giovanny Rozo Samera.

 

In July of 2019, the seventeenth edition was published in Litocolor Impresores S.A.S., directed by Francisco Vernaza. One of the most beautiful paintings by the master Diego Pombo illustrates the cover of this book: the stunning and mythical ascent of Jovita to the heavens of collective memory to the surprise of the people of Cali, floating on a cloud, covered with stars, with a diadem and a flower on the right side of her hair, well made up and her gaze flirtatious, wearing on the lap of her imperial yellow dress a set of colourful chontaduros, in the background the tropical palm trees, San Antonio and the rolling hills, the Farallones mountains, and that tone blue sky, while below, a staircase, figures from history, carnival and entertainment; the bizarre people meeting with the religious, civil and military authorities; the people of the different levels, professions, jobs and conditions, scrambled, contemplating in amazement the event, which our inspired artist beautifully paints. The back cover is a mosaic made with some of the covers from previous editions.

This latest edition closes a cycle of fifty years and starts a new journey for the diffusion of Jovita's extraordinary life: the audiobook, the table book, the comic, the children's book, the documentary, the short film, and the film. Indeed, a pleasant recording of the minimal biography is already circulating, in the Cali's accent of Paola Caro (2020), which can be listened at

https://www.facebook.com/JovitaFeijoo.Monarca/videos/743903409684313

and at https://youtu.be/oRVTvyi62RE

 

Jovita for children will be directed by Sacha Tafur Mangada and Irene Tafur Mangada. And the Jovita’s coffee table book, under the direction of Raúl Fernández de Soto, with the layout and illuminations of Luis Meza, in which, while reading his quixotic adventures and misadventures, you can see the streets of Cali Viejo that Jovita was walking through, for which the city itself narrates its history, making this book in a family album of the town.

Throughout these years this unique Jovita stopped being a typical character, a source of laughter and outrage on some occasions, to fill a favorite place in the feelings of Cali’s people. The new generations understand her actions and highlight her authenticity and courage to pursue her illusions, just as she defended her independent, kind, vain, and beautiful way of living.

This retelling of the history of Jovita makes it possible to record the irresistible attraction that it has had on artists, painters, composers, sculptors, storytellers, playwrights, actors, journalists, designers, printers, historians, psychologists, sociologists, and hundreds of people from different occupations and professions because, in one way or another they have expressed interest in knowing everything related to this character, among which, to name a few, we can mention: José Pardo Llada,  Álvaro Bejarano Moncayo, Raúl Silva Holguín, Helena Benítez de Zapata, Félix Orejuela Rivera, Andrés Caicedo Estella, Frisco González (father and son), Álvaro Calero, Jorge Caro Copete, Héctor León Mina, Ana Milena Masso, Gustavo Álvarez Gardeazábal, Umberto Valverde, presbyter Alfonso Hurtado Galvis, etc.

Mrs. Amparo Sinisterra de Carvajal said of her: "Her existence was undoubtedly a beautiful lesson of life and wisdom"; and José Edier Gómez noted that the young, jovial Jovita eternally returns, with her kind soul and her penetrating gaze, for the evocation we make of her, "who touched the hand of the powerful in the same way she embraced their paper flowers."

Jovita is unforgettable. Her life always wants to be known and the interest in her grows every day, occupying governmental, cultural, academic, and journalistic spaces, as well as advertising and show business and in the university community. That is why the television had been interested in her, in the 110 years of its birth and 50 years of its transcendence and especially on the occasion of the celebration of the 484 years of the founding of Cali. Likewise, the Secretaries of Culture of Cali and Palmira arranged panel discussions . The Universidad Libre, Seccional Cali, scheduled conferences. The city's newspapers published her photographs and recorded her achievements, including the chronicles of Santiago Cruz for El País (http://santiagocruzhoyos.blogspot.com/2010/07/jovita-cuarenta-anos-tanmuerta) and Manuel Vicente Guevara for El Espectador. She has also been the subject of several degree thesis.

Here I must mention Épocas Magazine, of Raúl Fernández de Soto, continuer of a family saga that started Occidental Magazine, founded by his uncle Jaime Fernández de Soto Sanclemente, whose pages have recorded the being, happening and events of the city and the protagonists of its history. This brief chronicle allows an overall view and shows the transcendence of Jovita's life, her endearing validity in the heart of the people of Valle del Cauca, the validity of her values of authenticity, independence, and freedom, which she represents and survives in the imaginary, which is collected by the youth and described by the master Pombo, in the painting of the queen ascending to the skies of the collective memory.

In the digital avenues, we find on the Internet a presentation of the characters of Cali Viejo, where Jovita keeps a notable place (2011); a biography: "Infinity Queen - The story of Jovita Feijóo" by María José Gómez (2013); "Jovita, eternal Queen" (2014); "Jovita, Master of life" a program directed by Adalgiza Charria, which takes a close look at her value among minority groups, her efforts to make their rights visible, followed by a beautiful poem by Adalgiza dedicated to the queen (2014).

 

Continuing through the streets, avenues, and twists and turns that the memory of Jovita's life has traveled, we must mention the thesis of Laura Ramirez Leon, to opt the title of Social Communicator and journalist, which made it of "The socio-cultural construction on the character of Jovita Feijóo from stories of Cali artists in the context of the cultural memory of the city" in 2014.

In his methodical and well-founded thesis, with a pertinent theoretical framework and a corpus of work made up of interviews with Maestro Diego Pombo, the actor and playwright Iván Barlahan Montoya and myself, complemented with research in journalistic, photographic, and library archives and other auxiliary means, it shows the factors that influenced the maintenance and continuity of the sociocultural construction of such a beloved character.

 

Unquestionably, the sculpture of Master Diego Pombo, as a daily reference, has contributed to her popularity, without forgetting that it was this same popularity that motivated the elaboration of the statue, which was erected on December 31, 2007.  The sculpture has a height of 4.10 meters and is built in polyester resin and fiberglass. This milestone in the history of female statuary in our region, which raises the illusions of this simple and beloved woman to a symbolic value, interprets the idiosyncrasy of the people of Valle del Cauca, open, receptive, informal, and participatory, was achieved thanks to the Secretary of Culture and Tourism Municipal of Cali, the Chamber of Commerce of Cali and, decisively, the support of Mariana Garcés Córdoba, when she was Minister of Culture, who enthusiastically promoted this significant identity project of Cali.

 

Master Diego Pombo, explained to the journalists about his sculpture, that first, he molded the head in clay, then he made a plaster mold; that when the three large bodies of the sculpture were already built, he installed them in the front garden of his house, in San Fernando, and took on the final task of painting and decorating Jovita. The sculptor indicated that he accentuated certain personal features for the characterization of the queen (her big nose, her intense gaze), at the same time that he highlighted in her the body of the woman from Cali. (These data can be consulted www.elpais.com.co/ Thursday, January 3, 2008).

The interest of the university community about Jovita has been permanent throughout these fifty years; if in life she called the attention of journalists and attracted chroniclers, after her passing she has been the subject not only of artists, but also of students of sociology, psychology, communication (see Laura Ramirez), literature and arts, and that is how we find another approach in "Jovita is Cali, 3 looks about Jovita Feijóo", audiovisual of 7:03 minutes, made by Daniela Rabaza, Fabio Lopera, Paola Caro (who made the audiobook of the Minimal Biography of Jovita, written by me for the Sociedad de Mejoras Públicas from Cali, as previously mentioned). In this video, made on March 15, 2013, Professor Pablo Van Wong also participated and can be accessed on the Internet, through the following link: https://vimeo.com/63186094. The new-look in this approach is that of Carlos Alberto Zuluaga, now deceased, but who fortunately had the opportunity to account for the power of Jovita's influence, which determined his life project, a subject subjugated by her irresistible vital force, as we have already mentioned.

The scope of this seduction and yoke of Carlos Alberto for Jovita is increased and appreciated on all its importance, in the interview in "Master of Life" (Jovita Feijóo, Youtube, January 3, 2014), a television program directed by the writer Adalgiza Charria, in which he confesses his spell, and makes one of the most beautiful reflections on the eternal queen: he describes her ageless, highlights her self-love, self-acceptance and the particular beauty of her being, and he philosophically interprets her world view, respectfully observing how each one has difficulty in defining existence:  " Nor even ourselves do not know what reality we are in". Carlos Alberto claims her legendary efforts as a spokesperson for the dispossessed of the neighborhoods of Cali, against the administrators of bureaucratic, political, and administrative power, such as giants or mills, insensitive and indolent to their needs, and the struggle she gave to solve her deficiencies, but, to conclude, that she always came out strengthened and optimistic about all her causes, thanking her Shields. On her side, Adalgiza writes the poem "Jovita in flames", a beautiful composition that exalts the meaning that the queen gave to her exemplary journey. The curatorship of the Jovita Museum continues under the affectionate responsibility and care of Jorge Zabaraín, at the headquarters of the La Concha Theater, in Carrera 4 No. 10-48, in the San Antonio neighborhood.

There is an English version, by Elke Alegría H: " A Brief story of Jovita Feijóo", in the Magazine Mi Gente (2016); and another, made by Jairo Moldón Rossi, "Jovita, eternal queen" (2017). Cali yesterday and today, constantly adds new photos (www.facebook.com), and the enumeration continues: in Biography Cali TV, another biography of the infinite queen is presented in January, as if in the solar calendar, year after year our beloved character should be enthroned in the hearts of the people, in an endless greeting of love, recognition, and admiration. Jovita is unquestionably the symbol of the city, and in Cali she meets again and expresses her sympathy for its quixotic, colorful adventures and misadventures, recalling its sorrows and glories, and that voice that José Edier Gómez reminds us: "Hey, my son, excuse me, see" ...

 

And the "spell" reached to "Delirio." This group of salsa, circus, and orchestra from Cali, dedicated several presentations to the queen, interpreted by the artist Brando Pérez (www.facebook.com), giving the work a national diffusion and inviting the author of his biography to his representation, with a kind gesture of appreciation for the work done for the durability of the incomparable Jovita.

 

Last but not least, I would like to thank María Isabel Casas and Gabriel Ruiz for their suggestions and motivation to write this retell; Roberto Caro and Francisco Vernaza for welcoming Jovita in their publishing houses; Darlin Vanessa Medina Valencia for her beautiful compositions; Luis Meza for the drawings, lighting and layout of Jovita's book, in large format; Clara Luz Roldán, Governor of the Department of Valle; María Leonor Cabal, Secretary of Economic Development and Competitiveness of the departmental government; to Jorge Iván Ospina, Mayor of Cali; to José Darwin Lenis Mejía, Secretary of Culture of the Municipality; to Leonardo Medina Patiño, Subsecretary of Heritage, Libraries and Cultural Infrastructure; to Juan Pablo Molina Echeverri, President of Propal; to Raúl Fernández de Soto, for his jovitesc enthusiasm as the new shield of the Queen's causes; to my children Sacha and Irene Tafur Mangada; and to Norma Myriam Bejarano Guzmán, for her accompaniment in this new stage of life and the revision of the novel of Jovita's life, and to each and every one of those who have contributed to the monumental construction of her memory and the rescue of her illusions.

It is pertinent to reiterate that the meticulous investigation of Jovita's life allowed us to know in detail aspects of her existence during her journey through this valley, and that, although the novel is based on the documents, testimonies and data collected, The Biogrpahy of the Illusions corresponds to a literary work, consequently there are narrative licenses, descriptions, vicissitudes, and circumstances, typical of this type of creations, with which the author considered pertinent to set the suggestive flow of her daily life.

This account, including the digressions, proves the extraordinary attraction that she awakened, her magic and, in my particular case, the impact that Frisco's story of her burial had, which awakened in me the obsessive desire to reconstruct her life and divulge it so that the adventures and adversities Jovitescas would remain in people's hearts.

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 Cali, Valle, Colombia. Mayo 15, 2021

* Documento fuente,  en español

* NTC … 19 de agosto de 2020

DE LA VIDA DE LA NOVELA DE LA VIDA DE JOVITA. 1970 – 2020 / 1910 – 1970 - 2020. Por Javier Tafur González. A Noviembre 8 de 2020

http://ntc-narrativa.blogspot.com/2020_08_19_archive.html

Gracias al aporte y autorización del

Poeta Javier Tafur González

y de la traductora 

publica y difunde: NTC …Nos Topamos Con … 
http://ntcblog.blogspot.com * ntcgra@gmail.com . Cali, Colombia

.



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