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UBICUOS MALDITOS-Círculo literario

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UBICUOS MALDITOS
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MANIFIESTO LITERARIO Nº 05
Una mirada inquisitiva a la manera de hacer y promover literatura en el Norte del Perú

Uno de los grandes lamentos, temores y afanes en la educación peruana, es la promoción de la lectura como actitud motivadora y como hábito permanente en la vida de los seres humanos. Se manejan dos grandes ejes temáticos: la comprensión y producción de textos, como competencias y capacidades de urgente necesidad ante la deflagración e insensible pérdida de lectores que con suma facilidad pasan a entretenimientos menos intelectuales como el Internet, los juegos de computadora y la televisión misma. Sin embargo, mucho crédito se le da a los estados de emergencia y a la promoción de lectura por decreto y directivas burocráticas, sin previamente replantear las estrategias del incentivo a la lectura desde casa, desde niños, potenciales lectores o potenciales analfabetos funcionales que sabiendo leer no leen, que leyendo grafemas no comprenden, que comprendiendo no analizan ni interpretan ni menos crean por iniciativa propia. Consideramos que este fenómeno no es nuevo y, tal ha sido el resultado de todo un proceso sistemático de pensar que se aprende o motiva a leer exigiendo, condicionando, obligando o coaccionado por una nota, sin embargo todos del alguna manera tenemos directa o indirectamente culpa de ello, como creadores, docentes, padres de familia, por lo cual sostenemos que:

1. Las universidades y los Institutos Pedagógicos no cuentan con programas ni estrategias de promoción de la lectura ni incentivan la creación literaria o interpretativa entre sus alumnos, a lo mucho sus cursos abarcan la historia literaria tipo formación escolar sustentados en los cursos de formación especializada “Literatura Peruana”, “Literatura Española”, “Literatura Hispanoamericana”, “Literatura Universal” y excepcionalmente en algunos centros superior de estudios, tangencialmente se toca “Literatura Regional”, sumándose los cursos emergentes de “Semiótica del texto”, “Interpretación de textos”, “Semántica del texto”, “Fonética y Fonología”, todos ellos, contenidos nuevos pero tratados con una metodología tradicional: información libresca bio-bibliográfica, con ejemplificación de análisis literarios trillados de cliché, abordados en obsoletas clases magistrales tipo conferencia, pero escasos de aplicación, de taller o análisis interpretativo y creativo en nuevos textos y con nuevos abordajes. Ni qué hablar de aquellos alumnos que no son de especialidad, sólo llevan cursos elementales como Lengua Castellana I y II o Comunicación, donde se vuelve a repetir lo mismo que aprendieron en secundaria: Oraciones, categorías gramaticales, sujeto, multilinguismo y otros contenidos gramaticaloides.

2. Ninguna institución de estudios superiores de la región Lambayeque, tanto públicas como privadas (UNPRG, UDCH, USS, UCV, ISP”SCJ”, ISP”MGB”, ISP”IGV”, ISP”RP”, ISP”ASR”, ISP”P”, etc.) tienen instituido curricularmente un Taller de Creatividad e Interpretación Lingüística y Literaria, dirigido por docentes con un perfil doble: creadores reconocidos y pedagogos talleristas competentes, que incentiven y cultiven valores literarios como parte de la apuesta del Estado por generar una educación creativa, capaz de pasar del simple memorismo a la cúspide de la pirámide: la creación, como aspiración suprema, de un eje que articule todas las asignaturas, áreas o disciplinas formativas.

3. No existen vasos comunicantes, políticas culturales ni nexos sistémicos entre las instituciones educativas formales y los diferentes grupos, círculos y promotores de cultura externos que incentiven la creación, valoración y difusión de la literatura en particular. Se produce, se comenta y se promueve más literatura al margen oficial no institucional que en las propias organizaciones formativas y educativas, creadas para tal fin. El rol de las instituciones educativas superiores se ha reducido a la promoción de cursos, diplomados, coloquios, encuentros, seminarios, panel forum, con fines eminentemente mercantiles y de certificación y no necesariamente de capacitación, tan es así que hay docentes que ostentan un legajo completo de certificados sobre “Creatividad e interpretación literaria”, que no se traduce en su trabajo pedagógico, sólo buscaron la certificación para poder ostentar una plaza o mantenerse en ella, justificando “su capacitación actualizada”. La labor del docente de Lengua y Literatura se ha reducido a cumplir con su carga curricular, reproducir conocimientos, tomar apuntes de sus libros vetustos, memorizarlos y repetirlos irreflexivamente sin saber si sus resultados han generado alumnos críticos, creadores o simplemente futuros aborrecientes de la gramática y de la literatura.

4. Los Círculos de Estudios Literarios y Lingüísticos, existentes en algunas instituciones, sólo están de nombre, pues su accionar se reduce a promover cursos de capacitación pagados –como un negocio más- para agenciarse de recursos con fines promocionales o en todo caso como parte de un prerrequisito de algún curso de especialidad. Como segundo rol, tienden a reactivarse cada vez que hay algún congreso en alguna parte del país, allí cobran vida. Ni promueven los estudios literarios y lingüísticos –se sobreentiende que deben ser estudios focalizados, innovadores y rescatando lo local- ni menos han logrado construir un espacio dialógico para generar nuevos creadores, críticos o metodólogos de la enseñanza de la Lengua y Literatura.

5. En las instituciones educativas no existe un clima ni ambiente propicio para la articulación educación con la cultura, entendidos como elementos indisolubles. Con gran pena y preocupación se aprecia la constatación de los famosos periódicos murales, no sólo vacíos, sino lo poco que existe en algunas vitrinas institucionales, son refritos de recortes periodísticos, humor o poemas de autores muy conocidos y a veces sólo están llenos de afiches con eventos ya pasados, con gran anuencia y despreocupación de directivos, docentes y alumnos, aun de la propia especialidad.

6. Existen, en los predios no institucionales o no formales, tres maneras de fomentar literatura: la de autocomplacencia, tribal y sectaria; la segunda, de cofradía amical, de círculo cerrado de personas de la tercera edad que escriben sin publicar, por pura vanidad o autocatarsis; y tercera, la libérrima, con un orden sistémico, organizado, responsable y académico. Los primeros creen que hacer y difundir literatura debe ser un show o espectáculo circense donde las estrellas pintarrajeadas deben ser ellos y los espectadores –amigos, vecinos, familiares, ellos mismos- deben soportar sus manías y extravagancias, sus escupitajos y sus enyoncadas; los segundos representan una agrupación cerrada casi promocional-familiar-amical donde nadie entra ni sale, que busca ser un espacio de autocomplacencia, sin que exista preocupación porque su literatura tenga lectores, les basta y sobra que se escuchen catárquicamente entre ellos; los últimos, apuestan por un respeto al quehacer mismo del creador y creen que la literatura no sólo es una apuesta, sino un reto permanente por mejorar la calidad literaria a través del estudio serio y riguroso de la crítica, como elemento de complementariedad.

7. Los medios de comunicación, -como principales voceros de promoción de la literatura-, no sólo se han quedado cortos en la noticia, sino que ignoran que exista literatura y creadores en Lambayeque. Sus páginas suplementísticas están llenas con artículos farandulescos y coloridamente interesa más la sangre o el boato de un baby shower o un quinceañero, mientras que han reducido a una mínima expresión microscópica las notas periodísticas. Los medios no buscan la noticia cultural, porque para ellos eso no vende. Es casi una queja generalizada que todo evento literario no tiene ninguna cobertura y no aparece ni por casualidad un periodista que haga eco de ello.

8. No existe en el medio regional una editorial, institución o mecenas que quiera acoger el proyecto de una publicación literaria. Si existen publicaciones, son aquellas con el propio peculio del osado aventurero creador, que ya sabe que no recuperará su capital, pues será sólo una inversión marketera de su imagen y no un buen negocio crematísticamente. No es rentable vender libros ni nadie las comprará en una I.E. sino tiene la recomendación del profesor de aula. En las instituciones educativas sólo leen lo que el currículo o el plan de estudio manda, el resto ni es obligación ni es recomendación. A lo mucho compran -por pena o porque les gustó el poema introductorio del vendedor- folletos de 0.20 a 0.50 como máximo, nadie sabe su paradero de estos trabajos al cabo de una semana.

9. Hay tres tipos de creadores de literatura: los que se contentan con producir, presentar y regalar su obra en algún auditorio con la benevolente amistad de compromiso franelero del prologuista y con la concurrencia masiva de toda su parentela; otro tipo son los que despiertan de su hibernación, preparan su obra justo para algún evento literario masivo cercano (Encuentro, Congreso, Coloquio); y los terceros son aquellos que hacen vida literaria, preparan, presentan y difunden su obra por I.E., y buscan de manera pertinaz mantenerse escribiendo, renovando y mejorando la calidad de su texto, manteniendo un contacto estrecho son sus lectores. No existe creador que tenga fans o que los lectores estén haciendo cola para comprar sus libros; no existe creador que viva, por estos, lares, muelle y cómodamente exclusivamente de la literatura. La literatura por aquí, es una apuesta suicida, fundamentalmente pasional por el escribir y por promover cultura por amor al arte, aún cuando tengamos que languidecer o morir en nuestra propia locura y utopía de no abandonar a la literatura y ella sea testigo de vernos morir -de todo-, menos de serle infiel a las letras y no claudicar jamás en el intento subversivo de hacer de las palabras una gran trinchera cultural de decir lo que a otros los hacen callar.


“La misión del profesor de Lengua y Literatura no es formar a sus alumnos para ser poetas o narradores; pero si le cabe la responsabilidad de capacitarlos competitivamente autónomos y aptos para la creación, comprensión y valoración de textos literarios o no literarios”.

Nicolás Hidrogo Navarro

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