BOLIVIA: Pacholo y su marida (2010)

Reir Antes Que Esclavos Vivir

by Andrea Rivera

Please read curatorial statement before watching video. Thank you.

When examining Bolivian cinema, it is most important to look at the root of what dictates Bolivian lives. When you look at shared Bolivian ideals and morals, you begin to see that the country’s cinema radiates the identity of what it means to be Bolivian.

The last decade in Bolivia has been nothing short of destructive. Bolivia has had its long history of corrupt leadership, civil unrest, and ethnic division brought to the forefront with the election of Evo Morales, the country’s first indigenous president. Along with his problematic power over Bolivians came increasing tensions within the country’s people, all divided between who they support and why they do so. Evo Morales’ political party, “el MAS” (signifying the “Movement for Socialism”), and its opposition created a huge hole in the country’s unity, where tensions are high and violence between different groups are now extremely prevalent. The clash of different classes and ethnicities in Bolivia ignited a world where political and civil turmoil has recently been at an all-time high, and the country’s cinema and popular culture is reflecting this. However, the way in which this is being done may seem a little peculiar.

In order to understand why it may come off as strange, it is important to first examine Bolivia’s national anthem. Like in most countries of the world, before soccer games, concerts, and government proceedings, the national anthem is played; this anthem is used as a means of unifying the country under one common identity: being Bolivian. Not uncommon in Latin America, Bolivians are often described as having very extreme nationalistic values. This idea of nationalism can be seen when looking at the way in which Bolivians chant out their anthem with pride, emphasizing the final line of the piece: “Morir antes que esclavos vivir” (translated to die before living as slaves). In the spirit of the final line of the anthem, comedy through cinema and stand-up is the way that Bolivia has begun coping with their unresolved issues.

Comedy as a whole is engrained in Bolivian culture. When performing the traditional folk dance la cueca, emcees will often interrupt dancers in order to perform an aro, after which the dancers must take a shot of chicha, a Bolivian alcoholic beverage. Aros are common amongst all of Latin America: they are small tidbits, in Bolivia’s case small puns, that are told to amuse the crowd. This quick, traditional interruption has set a precedent for decades: before anything gets serious, it is important for Bolivians to take a quick laugh. Traditionally, this use of comedy as a way of alleviating stressful and tense situations is deeply held in Bolivian beliefs.

Throughout this video-essay, the importance of comedy in all of its forms is highlighted to show its prevalence in Bolivian culture. The anthem becomes interrupted with an “aro,” as part of Bolivian tradition, and then the video-essay continues on after the brief halt. As the video progresses, there is emphasis on well-known Bolivian Stand-up sketches which mimic the idea of comedy as a tool of relief. Stand-up is also widely popularized in Bolivian pop culture, where performers are often mimicking famous problematic celebrities or politicians in order to criticize the work, or lack thereof, that they have done. This idea is very prevalent within the video essay as well as the 2010 film Pocholo y su Marida: amor a lo gorrión, which started off as a Bolivian stand-up sketch that criticized the abusive relationship between a wife and her submissive husband. This relationship’s imbalance of power relies heavily on the husband’s lower class and education level, which reveal him as a “lesser” spouse than the other. The film, as well as the stand-up sketches displayed within the video-essay, display common Bolivian issues of colorism, corruption, governmental neglect, mistreatment of indigenous groups, and geographical tension (North). Nonetheless, humor is used as a method of escapism in Bolivia, done so to alleviate tensions between groups and create a sense of unity while speaking of their troubles. The last thing a Bolivian wants is to live as an “esclavo”, where they are tied up to the harsh conditions of the country, and would rather laugh it all off. This all being said, in the style of Bolivians after anything serious is discussed and needs to be laughed off, yaaaaa.

Bibliography

One Reply to “BOLIVIA: Pacholo y su marida (2010)”

  1. Pocholo Martirio tiene una vida organizada, es un amo de casa ejemplar, tiene a “su marida” Patibula muy bien atendida, y su hogar en orden, además el dirige un centro de terapia masculina para amos de casa llamado “Gorrioncillo Pecho Amarillo”. En el centro educativo tiene a sus miembros como sus mejores aliados, gente como el que sobrelleva la vida dura de ser sumiso ante su pareja y además cumplir con labores domesticas, área en la que reciben especial capacitación. Sus mejores representantes son Inocencio, Emilio y Robiño (Alumnos), Prof Hematoma, Iván el terrible,(Docentes).
    La vida de Pocholo y su marida pasa de manera rutinaria hasta que Patibula se cruza de manera casual en el camino de Memo y Papilo, dos delincuentes de bajo perfil con mas fracasos que éxitos que trabajan para un Mafioso conocido llamado “El Topo”. Patibula sin pensarlo acaba secuestrada por esta banda de criminales que tienen planes macabros para ella que acaba de enterarse que va a ser mamá justo momento antes del secuestro.
    Pocholo al verse sin “Marida”, emprende su búsqueda acompañado de sus “Gorrioncillos”, al ver que la Policía no lo colabora. Memo Y Papilo, captores de Patibula no le temen a nada, salvo a Matilde, la esposa de Memo que como buena marida pone orden en la vida delincuencial de su marido haciendo temblar inclusive al jefe mafioso “El Topo”.
    Las vidas de estos personajes se cruzan en una ciudad donde hay Gorrioncillos por todo lado, son aliados que poco a poco llevarán a Pocholo hasta el paradero de su marida. Pocholo además de sus “gorrioncillos”, cuenta con artefactos tecnológico creados para los “Gorrioncillos” que le serán a pocholo muy útiles para emprender esta cruzada, para rescatar a su marida, quien como el dice le da sentido a su mandil. Estos artefactos creados por su científico Gorrión el Profesor Hematoma, son “El Huevofono” o “Huevular”, teléfono celular especial para gorrioncillos; ”El detector de marida”, pequeño sombrero con un dispositivo que alerta a los gorriones de la aproximación de la marida usado para fines de esparcimiento masculino; el wincha plumero, plumero convencional de limpieza que al dividirlo por la mitad se transforma en Winchaco de artes marciales usado para defensa personal de los viernes de “soltera”.
    El Pocholo tendrá la ventaja de sus “Artefactos Amarillos”, además de sus valerosos gorrioncillos, que entienden lo delicado de la situación pues sin Marida no hay Pocholo y sin este, peligra la permanencia del “Centro De Amos De Casa Gorrioncillo Pecho Amarillo”.

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