{"id":1597,"date":"2024-03-11T21:01:46","date_gmt":"2024-03-11T20:01:46","guid":{"rendered":"https:\/\/www.archivoreversible.com\/?page_id=1597"},"modified":"2024-06-27T12:12:50","modified_gmt":"2024-06-27T10:12:50","slug":"paloma-valdeavellano","status":"publish","type":"page","link":"https:\/\/www.archivoreversible.com\/en\/paloma-valdeavellano\/","title":{"rendered":"Paloma Valdeavellano"},"content":{"rendered":"
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Video has emerged strongly in Latin America. Its vigorous momentum, while having much to do with the impact of the technological revolution, is not, however, a product of it. It is rather a response to the need of our people to express themselves, to understand themselves, to carve out their own image, to discover and strengthen their identity.\u201d\n<\/span><\/h6>\n<\/blockquote>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Extract from \u2018Am\u00e9rica Latina est\u00e1 construyendo su propia imagen\u2019(Latin America is building its own image) written by Paloma Valdeavellano and published in El video en la <\/i>educaci\u00f3n popular <\/em>(IPAL, 1989).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Paloma Valdeavellano<\/b> is a popular educator, human rights activist and an important videomaker active during the 1980s and 1990s. Moreover, she also collaborated in projects by other filmmakers, such as the feature film Antuca<\/em> (1992) by Mar\u00eda Barea. At the start of the 1970s, Valdeavellano worked in the Ministry of Education in the implementation of progressive non-formal education programs for young people. As a result of this work, she became involved in the Communication Popular Center (Centro de Comunicaci\u00f3n Popular) of the emerging working-class neighbourhood Villa El Salvador, in Lima. In the 1980s, she began using video as an educational tool in the Centro de Informaci\u00f3n y Desarrollo Internacional de Autogesti\u00f3n (CIDIAG) (International Self-Management Information and Development Center) and became involved in the Peruvian video movement by participating in the IPAL (Instituto para Am\u00e9rica Latina). Towards the end of the 1980s, Valdeavellano organised and participated in international meetings of videomakers (Argentina, Uruguay, Chile, Costa Rica, Cuba), which were fundamental for the consolidation of video as an educational and popular communication tool in Latin America. In 1989, she compiled the book El video en la educaci\u00f3n popular<\/em>, which includes her essay \u2018Latin America is building its own image\u2019, a key synthesis of the movement.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u00bfY nosotros, qu\u00e9?<\/em> (video para CEDEP, 1991)<\/span><\/a><\/p>

Videazimut (El audiovisual para el desarrollo y la democracia<\/em><\/span><\/a>, 1992)<\/p>

Seguir aprendiendo, pues (video para EBA-DINEBA)<\/span><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\tVilma Roja in the video \u2018Seguir aprendiedo, pues\u2019 \n<\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Registros videogr\u00e1ficos sin editar<\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Valdeavellano\u2019s raw video recordings show us fresh and intimate images of great value, as they allow us to get closer to the forms of organisation and struggle of the domestic workers of IPROFOTH, the Glass of Milk Commitee \u2018Consuelo Garc\u00eda Santa Cruz\u2019 of the Comas neighbourhood, or to events such as the distribution of land in phase three of Villa El Salvador, among other places and events. These records, aligned with the principles of popular organisations and education, are fundamental as research sources for disciplines such as history, sociology and anthropology (Segu\u00ed, 2024), and thanks to the digitisation carried out by Lorena Best they are available in the Reversible Archive for use and dissemination.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Registros Comit\u00e9 del Vaso de Leche \u201cConsuelo Garc\u00eda Santa Cruz\u201d<\/span><\/a><\/p>

Registros Villa El Salvador (1989) 1<\/span><\/a><\/p>

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Registros Villa El Salvador (1989) 3<\/span><\/a><\/p>

Registros IPROFOTH 1<\/span><\/a><\/p>

Registros IPROFOTH 2<\/span><\/a><\/p>

Registros Movimiento Feminista Flora Trist\u00e1n<\/span><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\tMar\u00eda Elena Moyano during recording of FEPOMUDES-VES (1989)\n<\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t Recording of the organised domestic workers of the IPROFOTH.\n<\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u00a0<\/p>

\u00a0<\/p>

Encuentro de video popular y alternativo<\/span><\/a><\/p>

Am\u00e9rica Latina est\u00e1 construyendo su propia imagen<\/span><\/a><\/p>

Fotograf\u00edas Familiares<\/span><\/a><\/p>

Fotograf\u00edas profesionales<\/span><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\tPaloma Valdeavellano (furthest left) and Marianne Eyde (furthest right) during a family outing.\n<\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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