They Present A Film About The Life, Death and Desecration of Four Lonkos from La Pampa

They Present A Film About The Life, Death and Desecration of Four Lonkos from La Pampa

They Present A Film About The Life, Death and Desecration of Four Lonkos from La Pampa

They present a film about the life, death and desecration of four lonkos from La Pampa

In the Auditorium of the Centro Cultural Medasur de Santa Rosa, the award-winning feature film “4 Lonkos” will be premiered this Thursday 21st at 5:00 p.m., as part of the complementary activities of the “Nature and Culture” exhibition, organized by the Ministry of Culture through the Provincial Museum of Natural History (MPHN). The activity will be attended by the director Sebastián Díaz and officials from the provincial portfolio. It will be with free admission.

“4 Lonkos” is a documentary directed by Sebastián Díaz that narrates the life, death and desecration of four caciques from La Pampa and Patagonia, whose mortal remains were desecrated and exhibited in the main museums of Argentina.

It has the participation of Osvaldo Bayer, Marcelo Valko, Carlos Martínez Sarasola, Luis Eduardo Pincén, Lorenzo Cejas Pincén, Claudia Salomón Tarquini, Fernando Pepe and descendants of the original communities.

After the screening, a space for dialogue and debate will be opened on the role of museums in relation to human remains.

THE LIFE OF FOUR LONKOS

The director of the MPHN, Daniel Pincén, commented that “the film itself becomes a trigger because it narrates the life, death and desecration of the mortal remains of the great Pampas indigenous leaders who were exhibited for a long time in one of the museums most important in Argentina.

“This production details the way in which the mortal remains of Juan Kalfucura, Panguitruz Gner (Mariano Rosas) and Cipriano Katriel ended up in the hands of ‘illustrious collectors’ and exhibited in the showcases of the Museo de La Plata. It also delves into the life of the irreducible Vicente Pincén, who once arrested by Colonel Villegas could be ‘captured’ on four famous photographic plates”, he narrated.

In this way, the film questions the tools and methodologies of science (profanation to form collections, photographs), as well as the treatment and determination of museological policies in relation to the human remains housed in its buildings.

The historical moment -when all this happens- is the consecration of the military campaigns against the indigenous world, the consolidation of the national State and an agro-export economic model that established an elite in political and economic power at the end of the 19th century.

Then he also talks about the power relations between winners and losers and the bet on a state narrative that placed the indigenous people as part of the past and, consequently, susceptible to being exhibited in the temples of science and modernity. However, he also speaks of the present, narrating the processes of restitution of those remains to the current indigenous communities that have claimed for years for the release of the remains of their ancestors.

Finally, it brings to the public arena perhaps one of its least perceived aspects, the true identity of these indigenous leaders.

All of them were narrated by historiography with the names given by their opponents: Juan Kalfucurá, Mariano Rosas, Cipriano Katriel and Vicente Pincén.

In the presentation of each of them, their true names are mentioned linked to their natural totems, thus recovering a central element in indigenous identity: the indivisible spiritual union between people and the natural world.

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