Almost two-thirds of Bolivia’s economy is classified as ‘informal’, but as Kate MacLean, a senior lecturer in social geography at the University of London, points out, informal doesn’t necessarily mean illegal; the IMF report providing that statistic in 2018 didn’t include illegal, criminal and do-it-yourself activities in its calculations of the informal economy. Using the term ‘shadow economy’ to describe the informal sector, the IMF indicated that Bolivia has the second-largest shadow economy in the world.
What it means is that 62.3 percent of the Bolivian economy is not accounted for (officially); the money generated in this sector doesn’t go towards taxes and social security programmes, and it rarely ends up in a bank – but that doesn’t mean that it’s not contributing to the country’s GDP. Some minibus drivers and street vendors are amassing cash surpluses in their homes, which they then rapidly invest in land and new buildings.
This issue of Bolivian Express explores the meaning of ‘behind the scenes’, but doesn’t just focus on the money. First, we look into the making of movies, music and crafts by focusing on small, artisanal productions and the people behind them. Inevitably our search takes us to a different realm when we realise that the material and spiritual worlds are always inextricably intertwined here in Bolivia. For example, before attempting to climb the mountains he and his team wanted to film for a documentary, Juan Gabriel Estellano had to ask for permission from the Achachilas.
We also look at the ajayu – spiritual energy, what we sometimes call ‘soul’ – that drives us. Ultimately, according to local beliefs, life doesn’t end with death, so we went to La Paz’s General Cemetery to capture the place where our ajayu-less bodies rest. Cemeteries can be places associated with sadness and sorrow, but the city’s necropolis is full of activity and decorations, where instead of being mourned, the lives of loved ones are celebrated.
Bolivia is a place full of surprises, contrasts and paradoxes where appearances can be deceiving. Behind Bolivia’s shadow economy is an extremely lucrative marketplace for those who know how to benefit from it. It’s something that’s caused a profound and permanent change for Bolivia’s different socioeconomic classes, and it can be observed during prestes with opulent displays of jewelry, alcohol and wealth – but it might not be that evident the rest of the time.
Download
CASA MUSEO SOLÓN
Description: Walter Solón Romero (1923-1999) donated his house/workshop to the Solón Foundation in 1994. He is one of the most outstanding exponents of Bolivian plastic art of the 20th century. He was a muralist, weaver, engraver, carver and painter. This house-turned-museum is the depository of more than 2,000 works. Every year, a selection of between 50 to 90 of his pieces are exhibited in the museum.
Address: Avenue Ecuador #2517, Sopocachi, La Paz
Opening hours: 10:00-19:00
Photo: Casa Museo Solón
Web: https://fundacionsolon.org/about/casa-museo/
---
DESTINATION
VALLE DE LA LUNA
Description: The Valle de la Luna is one of the most popular tourist destinations in La Paz. It was named ‘Moon Valley’ when Neil Amstrong visited Bolivia in 1969 and the surreal landscape reminded him of the moon. Visitors can explore the area and discover a different view of the city.
How to get there: A taxi from the centre of La Paz would cost about 30-40 Bs but you can also take a minibus that goes to Mallasa for 3 Bs. Look for the signs ‘Mallasa’ or ‘Mallasilla’ on the front of the bus or minibus. The cost of entrance is 15 Bs for foreigners and 3 Bs for nationals.
Photo: Renata Lazcano
---
ECOLODGE
COLIBRI CAMPING
Description: Nestled on a beautiful mountainside high above the Valley of Flowers in Jupapina, just 30 minutes from the centre of La Paz, but a world away from the hustle and bustle of the city. It’s the perfect place to relax, enjoy and explore the beauty and warmth of the real Bolivia. Colibri Camping offers you nature, tranquility and community.
Website: www.colibricamping.com
Contact: +591 76295658
Photo: Colibrí Camping
---
RESTAURANTS
IMILLA ALZADA
Description: Located in the Cota-Cota neighbourhood in the south of La Paz, this new pizzeria has an outdoor space, craft beers and cider, and a selection of Bolivia’s best wines. Their mind blowing pizzas made with sourdough are so well balanced that you will enjoy every bite and count the days until you can come back.
Address: Alvarez Plata Street #50, Cota Cota, La Paz
Opening hours: 17:00-22:00 from Wednesday to Friday, 12:00-22:00 on Saturday and Sunday
Photo: Imilla Alzada
---
COFFEE SHOPS
TYPICA
Description: A place with a vintage and relaxed atmosphere, cool music and great staff. They are present in four cities – La Paz, Oruro, Cochabamba and Santa Cruz – offering high-quality Bolivian coffee with different distillation methods, and a variety of Bolivian inspired food, pastries and bakery. A new location just opened in La Paz near the Central Station.
Locations in La Paz: Av. 6 de Agosto #2584 (Sopocachi), Calle Enrique Peñaranda L-35 (San Miguel), Av. Peru, Central Station (Centre)
Opening hours: 7:30-22:00
Photo: Typica
---
SHOPPING
FOLK (DE LOS PUEBLOS)
Description: Folk is a Bolivian independent design brand born in 2010 with the aim of transmitting contemporary design with Bolivian identity. Folk designs and produces handbags, clothing and accessories that fusions Bolivian roots, traditions, celebrating modernity and its people.
Website: www.folkdelospueblos.com
Contact: +591 70670656
Photo: Folk (de los pueblos)
Photos: Courtesy of Prana Reggae
Prana Reggae returns to Bolivia’s music scene with an experimental new album
If Bolivia isn’t a country that comes to mind when you think of reggae, you’d be excused for that. But you’d also be wrong. Latin America has been home to a burgeoning reggae scene for decades and Bolivia has been no exception. Veteran names like Atajo and Lapsus have been around since the 1990s, following a wave of ‘Reggae Fever’ across the continent. In recent years, there has been a new generation of musical projects sparking a resurgence of the genre on this part of the map. From Matamba, who has achieved international success with his solo act, to Illapa’s authentic chilled-out rhythms, to the fusion group Suyana, reggae takes many forms in Bolivia’s vibrant alternative music scene.
With that in mind we introduce Bolivia’s own Prana Reggae, made up of Kevin Quezada (voice), Mauricio Prado (guitar), Karim Salome (guitar and backing vocals), Franco Rodriguez (bass), Gary Guardia (drums), Juan Pablo Aranva (keyboard), Luis Yujra (trumpet), Yeccid Yujra (trombone) and Henry Yujra (saxophone). Yoga goers or those familiar with Sanskrit might recognise the word Prana, meaning ‘breath’, and considered in Hindu philosophy to be a life giving force. The band chose the name because that is exactly the vital energy that they wish to manifest through music. This free flowing spirit is reflected in their style which, despite the name, is not limited to strictly reggae, but dabbles in a medley of genres.
Prana Reggae began its journey seven years ago with a group of friends in school just messing around out of class. All they wanted was to be a band and they didn't care much for labels. They started out with punk (transport yourself back to the early 2010s) and even thrash metal. They hopped around styles of music before settling on the more laid back frequencies of reggae. But more than sticking within the boundaries of the genre, they use it as a tethering point from which to explore many sounds. This musical ethic is fostered by the varying tastes of the members of the band – funk, rock, Latin rhythms – such that when they meet to rehearse each member adds a distinct nuance to the songs. As they put it: ‘It’s less of a one style kind of thing. Each songwriting process takes us in a different direction.’
As far as songwriting goes, the band maintains an authenticity that can be hard to come by nowadays. They write all their songs collaboratively, bouncing off of each other's ideas. Often one member will come prepared with a concept and they will work from there. They also produce all their own music. As far as distribution, their online streaming platform is managed by Sony’s distribution company The Orchard, but they haven’t signed contracts with any label so far. That is definitely a hope for the near future, but until then they are still motivated to make music.
The band recently released its second album, Desde la Música Trascender, which they consider very different from their first record in 2015. After the release of Mandofu un Toporri, they took a year to make new music and create, becoming comfortable fusing styles and genres. The result is a medley of uptempo symphonies from slower, sadder ballads to experimental offbeat tracks that have a truly distinct style. It seems that on this record, Prana Reggae has been able to find a genuinely unique identity.
Though the lyrics and guitar (or ukelele) form the heartbeat of the discography, it wouldn’t be reggae without the variety of brass instruments that ‘give the feel’ of their music. On many tracks one can find an assortment of unexpected sounds, from a didgeridoo to Tibetan meditation bowls. It’s safe to say that the band is not afraid to experiment, and as its new album reveals, they know how to do it well.
As far as goals for 2019, Prana Reggae wants to pierce the international market, or at least know that people listen to their music abroad. And why shouldn’t they? In its very essence, Bolivian reggae exists thanks to globalisation. Just as reggae has made its journey through different cultures and nations, Prana Reggae wants its music to be enjoyed by people from all over the world.
Images: Courtesy of Tania Fabiani
Einn brings the tangible back to our lives
When was the last time that you wrote a letter by hand? Or wrote a note to a friend? In today’s digitised age, where we mostly write with our thumbs on our computers and cell phones, Einn Textiles and Crafts is reviving this almost-forgotten art by bringing back old-fashioned diaries. Made from old photographs, lace, ornaments and even dried leaves, Einn’s handmade diaries have a uniquely vintage look.
Tania Fabiani opened Einn in May 2017. After studying in England and graduating from La Paz’s Catholic University with a degree in graphic design, she had a realisation. ‘The design market is saturated, and since my years in university, I realised that digital design was not my thing,’ she says. As a child, she liked to collect papers of all kinds, gathering them from family and friends. So she combined her two passions, and that’s how Einn – which means ‘unique’ in Icelandic – was born.
The textures, colours and details that Fabiani uses when making her diaries are harmoniously irregular, with different types of fabrics and aged paper that makes each journal different from the other. These unique combinations give personality to each piece. ‘I can say that I am self-taught, my way is trial and error,’ Fabiani says. ‘I make dyes with plants, flowers and vegetables. Some go well, others do not and end up discarded.’ Through her artisanal work, Fabiani promotes the idea of forgetting for a moment about smartphones, computers and other electronic devices, and instead slowing down and writing in a diary, or sending a handwritten note.
Fabiani focuses on upcycling materials of different types with her creations, everything from fabrics and papers to repurposed accessories that add a vintage touch. Each object tells a story and follows a harmonic line depending on the season or the motif. ‘Each [seasonal] collection has its own style – I try to choose a trend for that collection and give it specific details,’ she says. ‘I like the idea that it is not perfect but harmonic. I play a lot with the texture of different materials, colours and accessories.’
Fabiani personally makes each diary by hand at her workshop in Cochabamba, a process that can take up to three days depending on the complexity of the project, and each is unique and one-of-a-kind – just like her business, which is slowly picking up steam. ‘This is an unpredictable rhythm, sometimes I sell one [diary], sometimes six or sometimes nothing,’ she says. ‘It’s a bit unpredictable until the brand is really known.’
Einn is still a small enterprise with a long way to go, but the Fabiani’s project reminds us that writing a note or a letter by hand to a friend is a personal way to connect, allowing us to unplug for a moment from the digital age and bringing us back to the basics.
Look for Einn Textiles and Crafts on Facebook, Pinterest and Instagram
