Furthermore, since it was a decision that had substantial impact on an indigenous population, it should have involved prior consultation (consulta previa). The government approved this change by a modification to the EIA when what it should have done is to demand a new EIA, analyse the impacts with rigour, inform the local authorities and promote discussion with local people. It replaced the mineroducto (beltway) contemplated in the initially approved Environmental Impact Assessment (EIA) with a fleet of more than 150 trucks that pass to and from through Cotabambas, Chumbivilcas and Espinar provinces to the detriment of roads, homes, crops and livestock belonging to local people. Moreover, MMG bought Las Bambas and changed its design. Such was the logic of the Las Bambas Social Fund (US$60 million) and others launched by the Toledo administration, Alan García’s Programa Minero de Solidaridad con el Pueblo, and the current government’s communal canon programme.
DIARIO UNO LICENSE
But the message systematically relayed by the last few governments is that the social license for large mining projects is achieved through money. Officials, media analysts and business people respond indignantly that the only thing that those protesting want is money. The conflict surrounding Las Bambas is entirely the responsibility of the government and MMG. A Demand.This is a translation of an article by Carlos Monge in Diario Uno, published on 1 April. The Institute of Contemporary Art, Boston (October 2015)Ĭulturebot, “Jesse Zaritt on Faye Driscoll’s You’re Me” (January 2013)īOMB, “Faye Driscoll’s You’re Me: An Invitation. Noticias UNSAM, Buenos Aires (October 2015) Institute of Contemporary Art / Boston, “What We Build is a Kind of Canopy” (October 2015) Walker Arts Center, “Walker Stage: Faye Driscoll in Conversation with Philip Bither” (June 2016) The New York Times, “Faye Driscoll’s Tingling Force Field With the Dance Audience” (November 2016) Times Union, “‘Thank You for Coming: Attendance’ at Jacob’s Pillow” (June 2017) The New Yorker, An illustration of Faye Driscoll by Tatjana Prenzel (January 2020)īoston Globe, “The final work in Faye Driscoll’s dance trilogy contemplates life’s end” (November 2019)ĭance Magazine, “Choreography in Focus with Faye Driscoll” (January 2017) Movement Research Journal, “Cassie Peterson on Faye Driscoll's Thank You For Coming: Space” (February 2020) Walker Art | Fourth Wall, “The Stakes of Contact: Faye Driscoll’s Thank You For Coming: Space & Come On In” by Miriam Felton-Dansky "If you want to see a living work of art – and if you are interested in avant-garde, crazy ideas in the most positive sense or creativity from the artistic centers of the USA in 2022: Nothing like it!"ĭeutschlandfunk Kultur, “Unimaginable art: American choreographer Faye Driscoll in Bremen” (German radio review, CALVING 2022)īremen Zwei, “Choreographer Faye Driscoll on her work at Theater Bremen” (interview with Faye, Bremen, DE, 2022) A wild woman with a scrupulous sense of form that she tweaks into eye-opening weirdness. “Faye Driscoll is a postmillenium, postmodern wild woman. She beams a light on theatrical self-fashioning, and lets you feel the scraps of being fluttering in the dark.” “Driscoll understands that at the heart of live theater are emotional distances (perspective, we might call it if this were a painting). “… one of the most original talents on the contemporary dance scene.” Yes to intensity, yes to body heat, yes to wildness, freedom, and in-your-face defiance.” “No to prettiness, no to glamour, no to glistening muscular limbs. It doesn’t look like anything you’ve ever seen before, nor can you imagine thinking it up.” Driscoll is fascinating in that she makes such utterly original work.
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