Tag: Cholita

Life Happens in La Paz

La Paz, Bolivia – June 1, 2019

Life happens all around us. La Paz, Bolivia is no different in that respect.

After my recent visit to Tiwanaku (see Ancient Peoples or Aliens?), I watched the Ancient Aliens episode about Puma Punku. That episode features a unique bowl found at Tiwanaku. The bowl is located at the Museo de Metales Preciosos (The Precious Metals Museum) on Calle Jaen. Hearing the name of the museum while watching the episode, I recalled being on Calle Jaen with Leslie (see Mamani Mamani). The bowl is unique because of what appears to be Samarian cuneiform writing. I decided I had to personally see this bowl.

Saturday morning at about 09:00 I left my house for the green line of the Teleférico. I was the only rider in my gondola for the entire length of the green line. The same happened on the celeste line, the white line, and the orange line. From the orange line I saw a red building that may be a cholet. I also saw the “illegal” cemetery again.

A red building beside the orange Teleférico.

I got off the orange line at the Armentia station and walked southeast on Avenida Armentia toward Calle Jaen. I stopped along the way to take photographs of some of the shops. Just as I made it to Calle Jaen, I heard some loud motorcycles. At first, I thought they were on the main road behind me. Suddenly, much to my surprise, I noticed two motorcycles on Calle Jaen coming quickly uphill toward me. The motorcycles were from the Bolivian police. A dog barked and chased the second motorcycle. Life happens in La Paz.

The Armentia station on the orange line.

A small hardware store on Avenida Armentia.

A police officer on a motorcycle being chased by a dog on Callen Jaen.

After the motorcycles passed, it was just a few more steps to the entry to the Museo de Metales Preciosos. I did not have to pay. I retained my ticket from our visit to the other museums this past February. The guard simple tore off the stub for the museum. That left one museum entry, Casa de Murillo. More on that soon.

At the first exhibit in the Museo de Metales Preciosos (no photographs allowed!) I noticed an abundance of artifacts from Tiwanaku. This theme repeated itself throughout the museum. The artifacts included arrowheads and ceramics.

After looking through the first couple of rooms, one exits into the central courtyard of the museum. Crossing the courtyard, I entered the Gold Room. The first thing I saw was the unique bowl which prompted my journey. Fuente Magna is the name given to the bowl. The museum does not allow photographs; however, one can see and read about the bowl at Ancient Pages. I am glad I got to see the bowl. It was fascinating. Just what was a bowl with Samarian cuneiform writing doing in Tiwanaku? How did it get there? Was there some sort of extra-terrestrial travel involved in millennia past? Life happens in La Paz, but who knows what may have happened at Tiwanaku?

I found two other fascinating things in the museum, mummies and skulls. One of the upper rooms of the museum has three mummies on display. Two of the mummies appear just as the one at Tiwanaku did. The mummies are only about half-height, wrapped with what seems to be a hemp rope. The only thing exposed is the face of the mummies. The third mummy on display is without wrappings. Upon closer inspection, one realizes why the mummies are only about half-height; they are folded. Instead of the arms crossing on the chest, they lay straight up toward the head, one on either side of the neck. Folding the legs at the hips and the knees allow the legs to lay inside the chest cavity. Yes, the knees are in the chest! No wonder they appear half-height!

A nearby room displays five of the distended skulls I saw at the museum at Tiwanaku. These were easier to see. I studied them closely. I could not decipher how the skulls were distended during the life of the individual. Other than the odd shape of the skull, the face and teeth appeared normal.

There is some ancient gold on display in the Gold Room. But my attention went to the items I described above.

Essentially across Calle Jaen from the Museo de Metales Preciosos is Museo Casa de Pedro D. Murillo. Pedro Domingo Murillo is a revered patriot, freedom fighter, and martyr. In return for plotting and fighting for Bolivia’s independence from Spain, the Spanish executed Murillo in 1810 in the plaza that today bears his name. The museum is in the home once occupied by Murillo. Unlike the other museum, I was able to take a couple of photographs.

A bust of Pedro Domingo Murillo at the Museo de Casa de Murillo.

A painting at Casa de Murillo as seen from the courtyard.

The Templo de la Compañía de Jesús (Temple of the Society of Jesus) as seen from Casa de Murillo.

After the second museum, I decided I should have a coffee. Music drew me into the Hanaq Pacha Restaurant. Like so many of the old structures on Calle Jaen, there is a central courtyard. That is the seating area for the restaurant. While drinking my coffee I noticed the upper floor had a lot of art for sale. Finished with my coffee, I went upstairs to explore. In addition to the art, some of my favorites appear below, I found a unique view of Calle Jaen. Life happens in La Paz.

A timeout for coffee at the Hanaq Pacha Restaurant.

Paintings at the Hanaq Pacha Restaurant.

Casa de Murillo as seen from the terrace at the Hanaq Pacha Restaurant.

Calle Jaen as seen from the terrace at the Hanaq Pacha Restaurant.

A painting at the Hanaq Pacha Restaurant.

The courtyard of the Hanaq Pacha Restaurant.

I departed the restaurant and almost immediately walked into the Kullama Gallery. During our February visit, Leslie and I bought some gifts and a magnet in the gallery. One of the items was a llama leather coin purse. The coin purse has a painted accent. Today, I met the accent painter, Inti! He proudly proclaimed his name is Aymaran. I bought a couple more gifts, took his photograph, and departed. Life happens in La Paz.

As soon as I stepped back onto Calle Jaen, I noticed a director and photographer working with a model. I remember seeing something similar on my last visit. I took a few of my own photographs and continued toward the Mamani Mamani Gallery. I was happy that the sky was so blue today. I ended up with a much better photograph of the gallery building.

Turning the corner, I saw more models and more photography in full swing. I immediately sat on a nearby bench to watch all the activity. Not only did I see what was happening with the models, I also watched all the people walking past. Some of the pedestrians included one of my favorite subjects, cholitas. Life happens in La Paz, so I just watched life unfold for a while.

The woman in the green jacket directing a model on Calle Jaen.

The building housing the Mamani Mamani Gallery.

One model standing at the door while another five are preparing for their shot.

Some cholitas walk past a man sitting on a bench.

The modeling troupe took over the benches on Calle Indaburo.

The models waiting for their shot while the old men wait for their lunch.

From my previous visit, I thought I remembered seeing a large church a block or two away. I left the company of models to search for the church. While I walked, I took photographs of the neighborhood and the people I saw. I did not locate the church. Instead, I headed back to the photoshoot. Life happens in La Paz.

People at the corner of Calle Indaburo and Calle Pichincha.

A young girl walks by Cesy Hairstyles on Calle Indaburo.

As I neared the area, I recalled the photoshoot troupe often walked farther west on Calle Indaburo. I decided to go that way to see what was there. There is essentially a set of stairs down to the next street. The walls did have a lot of color and graffiti, so I understood why the photographer chose to shoot in that area. I saw a uniquely painted metal door. I am not sure if it led to a shop or a home. I opted to not find out, just to enjoy the art. Across from the door is a sign for what I assume is a nightclub, Bocaisapo (mouth and toad). Near the door advertised; coca, art, and culture. Life happens in La Paz; however, I do not think I will return to experience the club.

The stairs from Calle Jaen down to Alto de la Alianza.

A painted metal door at 705C Calle Indaburo.

Walking back, I found a small café with a couple of outdoor tables. The café is in the Mamani Mamani Gallery building. I went inside and inquired if they had beer. With an affirmative answer, I went back outside, a smile on my face, and sat at one of the two tables. Soon the server brought my beer and a small bowl of peanuts. The beer was very good. It is an artisan brew I have not seen before, Cobriza.

The table was almost directly across from a door the photographer used as a backdrop for several shots. I took advantage of the location and took a few shots myself. Additionally, the models walked back and forth from their staging area to the various locations on Calle Jaen and Calle Intaburo. I am not sure how they were able to walk in those “ankle-buster” shoes. It appeared to me to be a challenge to walk in the shoes in the best most level and even sidewalk imaginable. Add some cobblestones to the mix and it seems nigh impossible to walk. In fact, they often escorted each other; one in “ankle-busters” and the other steadying model in flat shoues. Regardless, because of my location, the models walked by frequently.

Soon I saw a familiar man approach the models’ staging area. I realized it was the artist, Mamani Mamani. He greeted the troupe. He ultimately ended up in front of his gallery, posing for photographs with the models. Afterall, he is a very famous artist in Bolivia. I was happy to just be sitting there and watching life unfold. Life happens in La Paz.

One of the models at Calle Jaen and Calle Indaburo.

The pause that refreshes. My table and beer on Calle Idaburo.

Two models walking back to the home base benches.

A model in “ankle-busters” taking photographs of other models posing with the artist Mamani Mamani.

Another model taking photographs of models with the artist Mamani Mamani.

The daughter of one of the models striking a pose on a lamppost.

Finished with my beer, I decided I would start my journey back home. Instead of retracing my steps to the orange line, I decided I would walk to the celeste line. Luckily that direction is all downhill.

The building at Plaza Wenceslao Monrroy.

A view downhill on Calle Genaro Sanjines.

Along my route, I kept seeing a political sign. I finally stopped to take a photograph. The slogan in Spanish reads, “Insurrection Brigade. Elections and the referendum are a submission to the corrupt bourgeois dictatorship and selling the homeland.” People in Bolivia are definitely able to express their views.

A little farther along I came to a yellow building. It is striking, not just because of the color, but because of the architectural style and details. I am not sure what the building is, but it is eye catching.

Posters on a building on Calle Genaro Sanjines.

Posters at the corner of Calle Genaro Sanjines and Calle Ingavi.

Approaching a colorful building on Calle Genaro Sanjines.

I made it to Calle Comercio, a street familiar to me from previous treks through the city. The bustling street meant it was Saturday. The Mega Burguer sign touts, “nobody does it like us.” In front of the fast food restaurant is one of many vendor stands. One can see many cardboard boxes under and near the stand. One of the aspects of life in Bolivia is that many of the vendors set up and tear down their stands each and every day. I am sure that is because they do not have the funding to have a brick and mortar store. I continued southeast on Calle Comercio toward Plaza Murillo. As I may have noted, life happens in La Paz.

I made it to Plaza Murillo with my newfound knowledge of the history of the plaza. It struck me that there were a lot of people around the plaza. At first, I thought that was because it was Saturday. As I walked a bit farther, I noticed two reasons for the throng of people. At the steps of the Cathedral Basilica of Our Lady of Peace I saw a wedding couple posing for photographs. In addition to the wedding guests, several people were boarding a bus. I am not sure if that was part of the wedding or something separate. It is very obvious that life happens in La Paz.

Next to the basilica is the Presidential Palace. On this visit I got a much better photograph of the guards wearing period uniforms. The platforms on which they stand bear the inscription, “Presidential Escort.”

A lot of people in front of the Cathedral Basilica of Our Lady of Peace at Plaza Murillo.

A newlywed couple on the steps of the basilica.

The guards at the Presidential residence in period costume.

Wedding guests in front of the basilica.

Two police officers walking up Calle Socabaya.

After watching life happening in La Paz, I continued my walk to the Teleférico. Along my path, I saw some new sights. First was a building with the sign, “Vice President of the State.” I assume that building houses the offices of the Vice President of Bolivia, Álvaro Marcelo García Linera. Near that building is the 1668 Saint Agustin Shrine. Beside that is the La Paz city hall.

The building with the dome has a sign stating, “Vice President of the State.”

A woman boarding a bus at the corner of Calle Mercado and Calle Ayacucho.

El Sagrario San Agustin (The Saint Agustin Shrine) dates from 1668.

The La Paz city hall is beside the The San Agustin Shrine.

Across from city hall were several protest banners and a lone woman selling items, presumably to raise money for the cause. One of the banners read, “Mayor enforce the constitutional decision to LPL.” Another reads, “Revilla, order your company LPL to comply with the constitutional ruling of reincorporation.” The third sign reads, “Revilla is a liar does not comply with the justice of our reincorporation justice is fulfilled do not negotiate.” The mayor of La Paz is Luis “Lucho” Revilla. Life happens in La Paz.

A few minutes later, I made it to the celeste line. A fitting end to my trek that day was the beautiful mountain, Illimani.

I enjoyed walking around La Paz today and watching life happen.

People queuing for public transportation near city hall.

A woman selling all sorts of items at a stand on Calle Colon.

The bus stop near the celeste line of the Teleférico.

Illimani is visible in the distance across from the Prado stop of the celeste line.

Museo Nacional de Arte

La Paz, Bolivia – April 27, 2019

I wanted to see the Museo Nacional de Arte since I arrived in La Paz some eight months ago. Today is that day. Little did I know on this day I would encounter a backward clock, beautiful 17^th Century art, and a crucified, blue Jesus.

On this beautiful, mostly sunny day, I left home shortly after 09:00. I hailed a taxi to take me to the Irpavi station for the green line of the Teleférico. I rode the green line to the end. There I switched to the Linea Celeste (light blue) line and rode it to the end, near Plaza Camacho. I thought about taking a taxi to Plaza Murillo, my final destination. Instead, I opted to walk roughly 835 meters (just over one-half mile).

The façade of a government building on Avenida Camacho.

The walk was easy until I turned right to go up Calle Socabaya. The steep street required a couple of rest stops along the way. Regardless, I finally made it to Plaza Murillo.

At the southwest corner of Calle Socabaya and Called Comercio sits the building housing the National Art Museum. Across the street, on the southeast corner, is the Metropolitan Cathedral of Our Lady of La Paz. That was my first stop.

Like many cathedrals, it is a large, imposing, stone structure, started in 1835. The inauguration of the cathedral did not happen until 1925. Inside, it is impressive, but not overstated. Photography inside is strictly forbidden. Unknowingly, I entered during mass. Because of that, I did not explore much of the cathedral. The most interesting fact I discovered is that the main entrance is 12 meters (39 feet) higher than the base of the cathedral at the rear on Calle Potosí. That provides some idea of the steepness of Calle Socabaya.

The Museo Nacional de Arte is in a building dating from 1775, at the corner of Socabaya and Calle Comercio.

The Cathedral Basilica of Our Lady of Peace on the south side of Plaza Murillo.

The bas relief above the main entrance to the basilica.

Exiting the cathedral, I crossed the street to Plaza Murillo. As I strode up the stairs to the main level of the plaza, I caught my first glimpse of the dozens and dozens of pigeons. Feeding the pigeons was a woman surrounded by the birds. At the time, I did not realize the prevalence of this activity. It reminded me of Leslie, Hillary, and Tyler feeding the pigeons when we toured Old San Juan, Puerto Rico.

A woman feeding the pigeons at Plaza Murillo.

The towering statue in the center of Plaza Murillo.

Continuing through the plaza, one cannot miss the large clock above the entrance to the National Congress of Bolivia. What immediately captures the imagination is that the clock is backward! The numbers from 1 – 12 appear just the opposite of other clocks. The hands of the clock turn to the left, not clockwise. I did not have enough brainpower to be able to read the time. I did not seem to correspond in any way to my watch.

According to a story by the BBC, the Bolivian Foreign Minister said, “…the change had been made to get Bolivians to treasure their heritage and show them that they could question established norms and think creatively.” As noted above, I must have left my creative gene at home…

The building housing the National Congress of Bolivia (note the backward clock).

Detail of the flags and clock at the National Congress of Bolivia.

The National Congress building is on the east side of the plaza. From my vantage point, I looked back to the south. I could see the towering government building, Casa Grande del Pueblo. Immediately in front of the tower is the Palacio de Gobierno. I understand that is one of the homes of the Bolivian President, Juan Evo Morales Ayma. The guards at the palace are hard to miss since they are in uniforms reminiscent of the 19^th century.

The building in the foreground is the Palacio de Gobierno. One can barely see the red uniformed guards at the front. The tall building in the background is a government building known as Casa Grande del Pueblo.

The red uniformed guards in front of the Palacio de Gobierno.

Continuing through the plaza, I found pigeons everywhere. Near the central statue, a woman sat on a bench feeding the birds while her companion captured the moment on his cellphone. She ended up with pigeons on her head and neck. I spotted a seat in the shade and sat down. From that vantage point, I watched the world go by while taking photographs periodically.

Several street vendors had small stalls throughout the plaza, selling ice cream, cups of jello, snacks, drinks, and, oh yes, bird feed. At one of the bird feed stations, I saw a sign asking people to please place the small plastic bags in the trash after they finished feeding the birds.

In the center, above the word “gloria,” is the towering statue in the center of the Plaza Murillo.

A woman posing for her companion while she feeds the pigeons in Plaza Murillo.

View across the plaza toward the basilica.

The woman ended up with a pigeon on her head and one on her neck.

Detail of an emblem on the Casa Grande del Pueblo.

A couple of men on a bench talking in the plaza.

One of the vendors at the plaza. She sold a cup with what seemed to be jello and whipped cream.

Another woman falls victim to a pigeon on the head.

An ice cream vendor wheels his cart by a couple feeding pigeons.

The woman below the sculpture was one of several people selling bird feed.

The flags and coat of arms at the Palacio de Gobierno.

A woman at the plaza selling drinks and snacks.

The stands from which the jello concoctions emanate.

A partial view of the Bolivian flag on the left. On the right is a variant flag of Bolivia, known as the Whipala.

When I got up from my bench, I walked across the street to the art museum. Created in 1960, the museum opened to the public in 1961. Don Francisco Tadeo Diaz de Medina y Vidangos commissioned the large house, completed in 1775. Bolivia declared the house a national monument in 1930.

Entering the museum cost me Bs5 (US$0.72). I expected to see a sign indicating no photography in the museum. I was right, but disappointed. Outside the museum, in the courtyard, I did capture a couple of images. Regardless, the museum was worth every penny of the entry fee. Some of my favorite paintings follow.

Asiel Timor Dei circa 17th century. This image is from Khan Academy.

The Coronation of the Virgin by Gaspar Miguel de Berrío circa 18th century. This image is from Wikipedia.

The Virgin of the Hill, artist unknown, 1720. This image is from Wikipedia.

I like the painting of St. John the Evangelist by Melchor Pérez de Holguín. I could not find an image of the painting to share; however, I discovered Holguín’s portrait is on the Bs50 note!

This image is from The Banknote Museum.

The Triumph of Nature (1928), by Cecilio Guzmán de Rojas. This image is from Biografías y Vidas.

The courtyard of the art museum, complete with small rock sculptures.

The water fountain in the courtyard of the art museum.

When I left the art museum, since I was so close, I decided to go to the museum at the San Francisco Basilica. To begin that journey, I walked along Calle Comercio. That is a pedestrian thoroughfare. The center is full of vendors selling just about everything one can imagine. I did not stop to buy anything. However, I did see a crew installing a pole and working on the dozens of overhead cables. I have no clue how they know which is which. I guess that is why they have not asked me to work with them.

To get to the San Francisco Plaza required a walk down Calle Genaro Sanjinés. It was definitely “down!” Just another of the many steep streets in La Paz. A block or so down the road I glimpsed an inner courtyard through a door, the Restaurante Pruebame. I stopped in for a cup of coffee and some French fries. I think that is a new diet fad…

A man selling books on Calle Comercio. The entry to the art museum is behind him.

On Calle Comercio looking toward the basilica and Plaza Murillo.

Workers on Calle Comercio preparing to set a pole.

Another worker seemingly trapped in a web of cables.

A man walking past the entrance to the restaurant. Yes, many streets in La Paz are quite steep!

Leaving the restaurant, I continued down. As I was walking, I remembered the plaza is on a major six-lane road. I imagined a difficult crossing. Then I remembered seeing a pedestrian bridge a little to the north. I veered onto Calle Potosí toward Avenida Mariscal Santa Cruz. Walking beside that busy avenue, I happened to look to my right. I saw a metallic sculpture of a bull. I entered the virtually deserted plaza and found several sculptures. There was no one around, nor were there any signs to indicate who made the sculptures. Some of them were amazing.

A beautiful building on Avenida Mariscal Santa Cruz. I ended my tour on top of that building, enjoying a beer.

Numerous wooden sculptures in the plaza.

There were many typical sights of La Paz as I walked toward and onto the pedestrian bridge. The views included vendor booths for DVDs and news/magazines, signs celebrating La Paz, and food booths. At the end of the bridge is an entry to Mercado Lanza. I entered, heading toward the San Francisco Plaza side. The market is a collection of small vendor stands under an enormous roof.

The other side of the market is above Calle Figueroa. That street had more vendor stands. Some vendors staked out a spot on the sidewalk; such as the figurine vendor, and the women selling juice and fruit. From the top of the stairs, I could see a group of people crowded around one man. Obviously a salesman, he demonstrated a product for drinking. Exactly what the product was, I am not sure.

A news and magazine stand near the E. Valle Pedestrian Bridge.

The beginning incline of the pedestrian bridge.

The marvelous La Paz sign on Avenida Pérez Velasco. The pedestrian bridge spans the avenue.

The view from the bridge toward the San Francisco Basilica.

A children’s merry-go-round at the base of the bridge.

Some highly decorated buildings at the base of the bridge.

Looking back toward the other side of the bridge, one sees a likeness of the mountain peak Illimani.

A man selling dolls and other trinkets on Calle Figueroa.

A group of people watching a demonstration of a product.

A woman selling juice on Calle Figueroa.

The man wearing the DC ball cap wowed the crowd with his product.

Now at San Francisco Plaza, I entered the museum, paid my Bs10 (US$1.45) entry fee, and walked up a flight of stairs to begin the tour. At the top of the stairs is a covered walkway leading to what used to be the monastery. A museum guide approached me as I stood reading signs about the church and monastery. He struck up a conversation, in English, and began guiding me through the site.

I learned the basilica began construction in 1548. Oddly enough, the structure collapsed in 1610 due to heavy snowfall. The rebuilt structure opened in 1772. At many locations along our route, the guide advised me not to take photographs. That admonition applied to a salon area complete with 16th-century frescos on the wall; the winery, and a hall containing ten or twelve paintings from the 16^th and 17^th centuries. The photo ban did not apply to the room housing the crucified, blue Jesus. According to the guide, the oddly colored Jesus has something to do with a Franciscan belief; although, I did not precisely understand what he said. Adjacent to that room were numerous stone relics from the collapsed structure.

The courtyard of the monastery has a wishing fountain, a stone cross, and numerous plants. Many of the plants have medicinal qualities. One tree, in particular, caught my interest, the queñua. The bark of the tree is paper-thin and peels away easily. Near the tree, I saw a very furry black cat. Disinterested in my presence, the cat did not attempt to interact with either of us.

The water fountain in the courtyard of San Francisco.

One of the rooms housed old columns and carved stones from the complex.

The guide walked me back toward the entry stairs and allowed photographs of another courtyard. Then the guide opened an old wooden door at the top of the stairs that led into an upper level of the basilica. From this level, the lower level of the basilica unfolded below. Since there was no mass, I asked about taking photographs. “Absolutely not,” was the answer. Talking with the guide is when I learned photos are forbidden. That puts a different light on my previous visit to the basilica when a Bolivian National Police officer got mad at me (A Great Day for the Dead).

Another courtyard in the basilica grounds.

The first space had on display old dalmatics, chalices, patens, and a massive and ornate monstrance. The next stop was the choir, with two levels of carved wood seats surrounding a central music stand. On the music stand was an enormous original music book. The books are large to allow the choir to see the music from any of the seats.

Before entering the basilica, the guide mentioned that every stone bears the mark of the mason that originally quarried the rock. After I heard that, I saw the initials in nearly every stone at which I looked. At the other side of the choir, he led me to the base of some narrow steps made of stone. These rose up to the roof of the basilica. The unevenness of the treads and risers made the climb a little tricky. The struggle was not only real; but, well worth the effort. Our vantage point allowed a view of the roof and bell tower that not everyone gets to enjoy. While on the roof, I found a significant bit of information…the building across the way had a rooftop seating area. More about that shortly.

The bell tower of San Francisco as seen from the roof of the basilica.

Looking down on Plaza San Francisco and the traffic on Avenida Mariscal Santa Cruz.

From the roof of the basilica, I spotted the rooftop seating of Ichuri. It must have been a sign from above.

Looking along the spine of the basilica roof. The dome is the cupola above the altar.

There are seven of these structures on the roof. Each allows a little light inside the basilica during the day.

Everything that goes up must come down. That seemed to apply to us as well. The guide led me to another set of stairs to get us down from the roof. Just before our descent, I gave him a Bs10 tip. He appreciated the tip. Maybe I should have waited until our safe passage.

The stairs were just as uneven and steep as the first set. A handrail would have been a wonderful luxury; but alas, that was not to be. The narrow passage meant each of my shoulders touched the wall all the way down. That helped my balance. At the base of the stairs, I stopped to look back to the sky. One of the steps clearly showed the mark of the maker. Back on the solid level of the basilica I made the sign of the cross in thanks…not actually, but I probably should have.

The guide showed me that the windows on either side of the choir are not glass, but agate. Several bullet holes in the agate remind visitors of the civil war.

I stopped to look back to the roof after coming down these ancient stairs. Note the “X” carved in the lower step. A sign of the maker.

In the courtyard looking toward the bell tower.

The covered walkway to the side of the courtyard.

Departing the museum, I entered one of the tourist shops. Masks to hang on the wall are a big thing in Bolivia. I am not sure why, but I “needed” one. I settled on a small bird mask.

The painted wood pájaro (bird) head I bought near the basilica.

When I left the shop, I stopped to look at the carving on the façade of the basilica. One of the images I spotted was that of the Pachamama (Mother Earth) that demonstrates the influence of the indigenous peoples on the construction of the basilica.

The figure of Pachamama on the façade of the basilica.

With the mask in tow, I made my way to the building on which I saw the rooftop seating area. I entered the building and saw a set of stairs. Winding my way to the top, it surprised me to not see a door for the restaurant. Each level of this building had a short hallway with offices/shops on either side, the same as the upper floor. Walking to the other end of the hall, I found an elevator to take one to the final level. I opted instead to use the stairs that wrapped around the elevator shaft. Sure enough, the door to the restaurant, Ichuri, was at the top of the stairs.

In the plaza, my sights firmly fixed on the rooftop restaurant…

The view to the southwest along Calle Sagarnaga beside the basilica.

The staircase to reach the Ichuri Restaurant.

I found a table under a sunshade on the basilica side of the rooftop. I sat down to wait for my Paceña beer. I noticed some male models, a photographer’s assistant, and a photographer taking photographs on the roof. With the number of clothing changes, I assume the shoot was for a fashion magazine or advertisement. The relaxing, outdoor environment; the beer; and the sights added to my enjoyment of the moment.

After my leisurely beer, I walked back to the Teleférico for my ride home.

View to the north from Ichuri Restaurant. The Samsung sign reads, “See the bigger picture.”

Models and photographers on the roof of the basilica.

The crest above the basilica’s main entry.

View to the north along Avenida Mariscal Santa Cruz.

Public transportation queued up on Avenida Mariscal Santa Cruz.

Pedestrians walking along Avenida Mariscal Santa Cruz.

Some of the numerous vendor stalls along nearly any busy road.

Some dogs converging in front of the post office.

Traffic by the median of Avenida 16 de Julio.

A cholita walking along Avenida 16 de Julio.

A woman walking along the street with several flower arrangements.

The water fountain in front of the Brosso Restaurant.

Detail of the water fountain in front of the Brosso Restaurant.

MAMAN!MAMANi

La Paz, Bolivia – February 16, 2019

At first glance, the title of this blog post may seem a little odd. It is a rendition of how the artist signs his works, MAMAN!MAMANi. The first letter, “i” is rendered upside down.

When we left our house at 09:00, it was a cool 54 degrees (12 degrees Celsius). It was not foggy, but the clouds were quite low. A bit of a breeze and a bit of drizzle made the morning all the cooler.

Our destination this beautiful morning was the Mamani Mamani Art Gallery. I learned of the gallery the day before Valentine’s Day from our good friend Tia. She and some of her friends had recently visited the gallery and met with the artist, Roberto Mamani Mamani. I was intrigued by Tia’s description of both the work of Mamani Mamani and the historic area in which the gallery is located. I suggested to Leslie that we should visit the gallery. If we found anything we liked, we could buy it as our Valentine’s Day gift to each other. She agreed, so we were set to visit.

Tia agreed to go to the gallery with us. We met Tia on the street about a block from our house. Just as we met her, a taxi passed. Tia flagged down the cab for us, and we began our ride to the Teleférico Verde. Our eight-minute trip to the Teleférico Verde Irpavi station cost us $15 Bolivianos (US$2.18). That amount included a tip of $3 Bolivianos.
On the upper level of the Teleférico station, we boarded one of the gondolas and began our steep ascent up and over the San Alberto area of La Paz. The San Alberto area has dozens of multi-million-dollar homes. No doubt the owners directly under the Teleférico remain very unhappy that the public transportation always flies overhead.

As the Teleférico Verde crests San Alberto and begins to drop into the Obrajes area, the gondolas are at the highest point above ground. My guess of the height is about 400 to 500 feet (122 to 152 meters). Leslie detests this part of the trip. She was also cold. I assured her she would warm up when we began walking.

We rode the Teleférico Verde to the final station at Del Libertador. At that station, one can switch to the Amarillo line or take a short walk over to the Celeste line. Our destination required us to walk the short distance to the Celeste. Once on the Celeste line, we continued to the final station, Prado. As an aside, the cost to build both the Verde line and the Celeste line was US$88,000,000 each!

Emerging from the Prado station, we walked a short distance uphill to Avenida 16 de Julio to hail a taxi. After a minute or two waiting, a taxi stopped for us. The driver was a lovely man. I told him we wanted to go to the Mamani Mamani Art Gallery. At first, he did not know the location. I showed him the address of Indaburo #710 esquina (corner) Jaén, and he immediately began driving. Traffic was a little heavier in this section of La Paz than it had been near our home. The driver quoted a rate of $15 Bolivianos to get us to our destination. When we arrived, Tia paid the driver $20 Bolivianos (US$2.90).

Immediately upon getting out of the taxi, we saw the art gallery. One cannot miss the building. There are large murals painted on the building; undoubtedly done by Mamani Mamani. The building sits at the southern end of Calle Jaén, where it makes a 90-degree turn to the east. We walked into the gallery at about 10:00.

A man walks past the Mamani Mamani Art Gallery on Calle Jaén.

The north face of the Mamani Mamani Art Gallery building.

One is immediately struck by the very colorful artworks when walking into the gallery. Everything in the gallery seems to pop out at the viewer. As we walked through the gallery, one of the employees accompanied us and quoted prices of the various works about which we inquired. He spoke excellent English. That made our communication easy.

I asked about one enormous work that caught my eye. He said it was 5,000.00, I thought that might be in Bolivianos; but then he finished his sentence with the phrase, U.S. dollars. I quipped that was way out of our neighborhood! We settled on a much smaller painting and a painted stone frog. We asked the employee if the artist was at the gallery. He said no, but he thought he would arrive in about an hour. We really wanted to meet the artist. We paid for our items and said we would return in about an hour. With that, at about 10:30, we began our stroll north on Calle Jaén.

View from the Hostal Ananay entrance back to the gallery.

Calle Jaén is a cobblestone pedestrian street. There are no vehicles allowed on the intricately paved road. It is intricate because of the size of the stones used and the alternating patterns interspersed along the street. The largest cobblestones can be no more than four inches. It must have taken a very long time to pave that street!

Not too far from the art gallery, we spotted the Hostal Ananay. We decided that would be the perfect place to stop for a coffee. Walking through the door from the street, one is in a small hallway about 10 or 12 feet (3 to 3.6 meters) long. At the end of the hall, one is surprised by a cozy courtyard. Across the courtyard from the hallway was a door to the café. We walked in, sat down, and ordered our drinks.

The café was surprisingly large. There were multiple tables scattered about, a stage set up for musicians, and various works of art. Two art pieces caught my eye. First was a very odd painting of Jesus Christ depicting Him with three faces. We learned later the painting is titled, The Trinity. I guess that makes sense, but it was still nothing I would want to own. I could not read the name of the artist. The other piece I noticed I could see hanging in my house. It was a wood carving of an indigenous Andean man playing a Bolivian pan flute.

A portion of the courtyard at Hostal Ananay. The chain to the blue barrel is a method of directing rainwater.

The Trinity, a painting in the Hostal Ananay.

A wood carving in the Hostal Ananay. It shows an indigenous man from the Andes playing a pan flute.

After our break, we continued our walk north. We soon spotted a small art gallery. We climbed the treacherous, no-handle-available stairs to enter. Once inside, a nice young woman greeted us and asked if we spoke Spanish. We answered, “a little.” We asked if she spoke English, and she responded similarly. She began telling us, in Spanish, about the various items in the gallery. One of the things that she made were sculptures of cholitas that are about one-inch tall. We had to get one. She also pointed out some refrigerator magnets. Each magnet was a bottle cap with a scene painted inside that her sister made. We bought a magnet with a cholita painted inside. I was remiss; I should have asked her if I could have taken a photograph of her. Oh well.

Leaving the gallery, I saw a sign on the wall noting that the Club Atletico Jaén, a football (soccer) team, was founded here in 2005.

Farther up the hill on Calle Jaén, looking south. A group of Asian tourists stopped to take photographs of the wooden terrace on the building.

Along Calle Jaén are multiple small museums. We stopped in one. The attendant said we needed a ticket to enter. He said those tickets were available in the first museum at the end of the street. Sure enough, at the T-intersection of Calle Jaén and Sucre is the Museo Costumbrista (Museum of Customs), where they did sell tickets for the museums. Residents of Bolivia can enter the museums for $8 Bolivianos (US$1.16) while foreigners pay $20 (US$2.90). Tia and I were considered Bolivian nationals because we had our residency cards. Leslie was considered a foreigner since she did not have her card. The fee allows one access to four museums on Calle Jaén:

Museo Costumbrista Juan de Vargas
Museo Litoral Boliviano
Museo Metales Preciosos
Museo Casa de Pedro D. Murillo

I was disappointed with the Museo Costumbrista and the Museo Litoral Boliviano (I cannot translate this, but it seems to relate to the early history of La Paz). Neither museum allowed photography. There were some interesting and unique items in each museum I wanted to capture. I did find a YouTube video for the Museo Costumbrista. The 00:01:46 video shows some of the masks and costumes are worn for the carnival celebration from the early 20th Century. One may click here to view the video, Museo Costumbrista.

The Museo Litoral Boliviano had several dioramas depicting episodes in La Paz history. Some of them were rather gruesome. I have included some photos I found on the internet.

The above photo dramatizes the quartering of the Indian leader, Tupac Katari, some 237 years ago (credit the Bolivian Ministry of Culture and Tourism).

The photo above is a diorama of the death of Pedro Domingo Murillo. His house is on Calle Jaén. It is now one of the museums (credit the newspaper La Region).

We opted to skip the final two museums because we were anxious to meet Mamani Mamani. That ended up being a lapse in judgment. The good news is our entry ticket is valid until August 22, 2019.

As we left the museum and began our walk down Calle Jaén, named after Don Apolinar Jaén, I saw a tile sign that provided the history behind this beautiful street. He was born in Oruro, Bolivia in 1776 and later executed on May 29, 1810, because he was involved in the revolution for independence. He and others in his group are referred to as the Protomártires de la Independencia (martyrs of the independence).

I call skipping the other two museums a lapse in judgment because when we returned to the art gallery, we found out the artist was still not there. The employees assured us he would be there soon. We could have easily toured the other two museums. Instead, we walked outside and sat on some benches to await his arrival. Leslie and Tia opted for the sunny side of the street. I was happy to stay in the shade.

My bench faced a building on which was the name, Residencia del Adulto Mayor “Maria Esther Quevedo.” It translates to a retirement home or old folks’ home. As we sat there, more and more older adults came to take their place on a bench. Some of the people we saw were disabled. At least two walked with visually impaired canes. Some of the elderly sat near us on the seats (Leslie and Tia finally moved to the shade). The Bolivians are so polite; as each one sat near us, they greeted us with, “buenas tardes (good afternoon).” We all responded in kind. I busied myself with more photography…imagine that!

One of the doors on the Mamani Mamani Art Gallery.

Detail of one of the doors on the Mamani Mamani Art Gallery.

The Mamani Mamani Art Gallery has an odd-shaped brick structure on the roof.

In the photograph above, one can see a cross on the side of the nearby building. It is La Cruz Verde, the green cross. A plaque below the cross provides the following story, my best translation from Spanish.

The tradition is that in colonial times the alley – Calle Jaén today, was a dark place with constant appearances of supernatural beings and phenomena (ghosts, goblins, souls in pain, infernal noises of horse-drawn carriages and chains dragging on the ground). But, above all, there was the presence of a condemned widow who seduced all the men who gathered drunk in the wee hours of the night to take them on a mysterious adventure. Then, the neighbors of this street, heirs of a deeply rooted Catholic faith, decided to place the green cross to scare away all the evil creatures that frightened them.

I thought it was an interesting story.

The Green Cross (la Cruz Verde) and the plaque with the story of the cross.

A cholita reading the sign in front of the art gallery.

It soon became evident that the people were waiting for lunch at the home. The door to the home was closed and locked. A couple of men, over time, rang the bell and tried to gain entry. One of the men did enter after a lot of talking and continuing to step into the building. At about 12:20, a woman from the facility opened the door and announced it would be ten minutes until the doors opened. She opened the door again at 12:30 and said, “pase (come in).” Interestingly, not one person seemed to rush to the door or even get up off the bench. Finally, one by one, people made their way into the building. As each one departed, they said, “buenas tardes” to us again.

As the drama played out in front of the home, Leslie walked back to the gallery to ask about the artist’s arrival. This time the employees told her he was by San Francisco Church and that he would arrive momentarily. Leslie came back to the bench to report and sit down. As soon as she gave the report, a taxi arrived, and Roberto Mamani Mamani emerged! He greeted us all and walked with us to his gallery.

Roberto Mamani Mamani is from Cochabamba, Bolivia, born December 6, 1962. He is Aymara, one of the indigenous peoples of Bolivia. He is world-famous, having enjoyed exhibitions of his work in more than 50 locations, including Washington, D.C., Tokyo, Munich, and London. As of 2017, he had made more than 3,000 paintings and nearly 70 series. He is also well known for painting large murals on buildings.

Inside the gallery, he immediately turned over our painting and began writing and drawing on the reverse. He wrote in Spanish, for Terry and Leslie, all the energy from the Andes, happy Valentine’s Day. Below that he drew a rough sketch of the sun and moon. He said I was the sun, and Leslie was the moon. Mamani Mamani is a lovely and genuine person. It seemed he could not do enough for us to demonstrate his gratitude. He gave us a small book documenting several of his works. He also gave Leslie a ring that has one of his works under a bubble of resin.

Roberto Mamani Mamani signing one of his works of art.

Leslie and I with Roberto Mamani Mamani.

Leslie and I with Roberto Mamani Mamani, showing the reverse of the work of art.

Leslie and Roberto Mamani Mamani. He is holding a painted frog (sapo).

For anyone planning to visit La Paz, it is worth the time and effort to visit this quaint corner of town.

Our final view of Calle Jaén for the day.

We departed the gallery with all of our purchases in tow. We hunted in vain for a taxi. Everyone that passed already had passengers. We walked about six blocks before Tia was able to hail a cab. It was just in time. Just as we got into the taxi, it began to rain.

The traffic was absolutely nuts! The traffic was barely moving. To travel about eight blocks, it took nearly 20-minutes! At one point, our driver set the emergency brake and turned off the taxi while we sat in traffic. It is at times like that I am glad the taxis in La Paz do not rely on meters. If we had been in New York City, I would probably have needed a line of credit to pay for the taxi ride.

Our driver let us out of the taxi about a block from the Celeste line. We walked quickly in the rain to the station. Then it was merely a repeat of our morning journey, just in reverse. We were back home by about 15:00.

Alasitas

La Paz, Bolivia – January 24, 2019

On Thursday, Leslie joined me at the office. The occasion? Alasitas!!

Our Community Liaison Officer (CLO) coordinated a trip to the opening day of Alasitas. Alasitas begins on January 24 every year. As stated on the LAPAZLIFE site,

“Taking place just before Carnaval, Alasitas Fair, or Feria de las Alasitas in Spanish, is a month-long festival, where locals purchase miniature items to give to Ekeko, the Aymara god of abundance, in the hope he will bring fortunate [sic] and happiness to their lives.”

One can read more at LAPAZLIFE by clicking on this Alasitas link.

Before we left my office, Leslie and I huddled to agree on a strategy for our shopping. We agreed we might buy one or two items and then just look. After departing the market, we could decide if we wanted anything else. If so, we could return on another day. That strategy held solid…until we arrived at the market!

At about 11:00, we made the short walk to the Saint George station of the Celeste Line of the Teleférico. The Teleférico was very crowded. No doubt we were not the only ones bound for Alasitas. We waited for several gondolas before one had enough room for us to board. Once onboard, we sat back and relaxed for the ride to the Prado station, the end of the line.

Between the Open-Air Theater station and the Prado station, we “flew” over the Alasitas venue. It did not take a rocket surgeon to see there were hundreds and hundreds of people in attendance. Our path took us directly over the main entrance to the venue. We saw the official Alasitas opening ceremony was in full swing.

“Flying” in the Teleferico Linea Celeste, approaching the site of the Alasitas.

Our view of the venue as we “flew” on to the final station on the Celeste Line.

Arriving at Prado station, we disembarked and waited for the rest of our group. When we were all accounted for, we began our walk. CLO strategically selected the Prado station as our starting point because everything from there is downhill. That is a huge benefit in this city of monstrous hills.

As soon as we walked under Calle Bueno, we saw the beginnings of the vendor stalls at the Campo Ferial Bicentennial, the venue for Alasitas. At this far end of the site, only a few of the vendors were open. There were, however, many foosball tables and pool tables. They were all undercover. Many of the tables were in use. I assume one must pay a fee to be able to use one of the tables.

Looking down the valley toward the southeast. Many of the vendor stalls on this end of the Campo Ferial Bicentennial were not open.

There were dozens of foosball tables along our route.

There were also several pool tables along the way.

Some of my colleagues at work had told me that there are usually miniature Teleférico gondolas for sale. I knew I had to get one each of the green and blue gondolas. I saw some hanging at one of the first booths at which we stopped. There was a wonderful woman there. She sold us the two gondolas. As part of the sale, she provided miniature certificates for each one. They are copies of documents for each of the actual gondolas on the operating Teleférico. She said she is an artist. She made several of the items in the booth, including a green bus. As we departed, she gave us a blessing in the Aymara language. That is the language of one of the indigenous peoples of Bolivia.

This wonderful woman sold us the two miniature Teleferico gondolas, one green and one blue.

Our next stop was a booth with dozens of Ekekos of varying sizes. Ekeko is the Aymara god of abundance. He is the one the believers think will grant what is desired in their lives. The miniatures found at Alasitas represent those desires. We opted for one that is about six inches tall. He will reside in our kitchen. The young who sold the Ekeko also provided us with a cigarette. Those are typically lit and placed in the mouth of Ekeko. We decided it will just be by his ear.

We purchased our Ekeko from this young man.

By this time, nearly noon, the central aisle was more and more crowded with people. That is because many believe that they need to purchase their miniatures and have them blessed on the first day of Alasitas, literally at high noon. For a blessing, one can go to a Catholic priest or an Aymara shaman. It is customary to pay for this service. The payment is probably around $5 Bolivianos (US$0.75).

The closer we got to the center of the feria, the more crowded things became.

A priest blessing some of the items purchased by a woman.

We veered off onto one of the side aisles. The aisle was virtually empty of shoppers. About halfway down the aisle was a vendor stall that had llama miniatures. That particular stall also had a little girl that was beside herself, wanting ice cream. As soon as her mother gave her one, she was very content. The little girl’s mother was very kind to help us find just the right llama.

While the main walkway was very crowded with people, the side areas were relatively open.

A very happy little girl, once she received her ice cream.

The little girl’s mother sold us a miniature llama.

I seem to be a sucker for color, as evidenced when we walked by a stall that had several Bolivian branded items. In particular, some shot glasses with colorful leather holders caught my eye. The young woman that helped me a lot of fun and very lively.

From this vivacious young woman, we purchased a set of Bolivian shot glasses.

At the end of the side aisle, I saw some beautiful chess sets. I am not the best chess player in the world, nor do I have a collection of chess sets. That changed today, the collection part when I bought a chess set pitting the Spaniards against the Aztecs. I probably got the European discount, which means I probably overpaid. Regardless, I thought $250 Bolivianos (US$36) was very reasonable for the set. My “collection” now includes that chess set and an agate set I bought when we lived in Islamabad.

The very kind purveyor of chess sets, among other things.

There was a booth that sold nothing but miniature food items that were refrigerator magnets. We had to have some of those, including my favorite, a salteña.

Our next stop was a father and son booth that specialized in small grocery items. In this case, small truly means small. There were boxes of food that could not have been more than one-half inch tall. I have no idea what we will do with them. I guess we will just have them and love them.

This both, manned by a father and son, is where we found our miniature food packages.

Just down the way was a stall with all sorts of miniature construction items and tools. Some of the devices were about three inches long. However, I opted for the wooden toolbox. This tiny toolbox held eight small tools, each about one-half inch long. The pliers work! A miniature blue hardhat topped off my purchase. The vendor tried to sell us miniature Academy Awards statues, Golden Globe statues, and a personal computer. We thanked her but decided we had enough already.

This vendor concentrated mostly on miniature construction items.

One couple was selling miniature currency from around the world. We knew these would be for sale. A colleague from the office gave Leslie and me some tiny money. She said people frequently hand these out to strangers. We had to buy a golden US$100 bill.

Money vendors. We bought a golden US$100 note.

After the currency purchase, I vowed not to buy anything else. I finally remembered the well-intentioned strategy Leslie and I agreed upon; albeit late!

Since we were finished flinging money around as though we had it, we decided to walk to the Teleférico and head back to the office. As we walked through the crowd, heading downhill, we passed several Aymara shamen who were blessing items people purchased. Part of the blessing entails smoke. The smoke comes from wood, sugar, and something else. We both thought the odor was quite pungent. We did not stop for any blessings, opting instead for fresh air.

People at a table with a shaman to bless their purchases.

Another shaman waiting for items to bless.

When we walked through the main entrance, on our way out, the crowd seemed to multiply. Above the main entrance is a very large Ekeko. The sea of people seemed to go on forever. We happened to be walking behind a group from the Ministry of Culture and Tourism. Many of them were carrying colorful god’s eyes. As we walked along behind them, we took the opportunity to hand out some of the miniature currency my colleague had given us. The recipients indeed seemed to enjoy receiving them.

Moving closer to the main entry, the crowds and the smoke increased.

A vendor specializing in Barbie clothes.

A woman selling miniature diplomas and certificates in an interview with local media.

Looking back toward the Ekeko at the main entry.

Beginning our walk back to the Teleferico station, the crowd was still enormous.

The group carrying the god’s-eyes are part of the Ministry of Culture and Tourism.

Hundreds of people walking toward the main feria grounds.

We finally got to a side road that led to the Teleférico, thankfully not crowded with people. However, there were several dozen Bolivian police standing in formation. I am not quite sure why they were standing there. Leslie and I took advantage of the opportunity and handed out the rest of our miniature currency. Like the other recipients, they were happy to receive the notes.

A gathering of two or three dozen Bolivian police.

At the Open-Air Theater station, I stopped to take a photograph of the side of the station. Since it is on the Celeste Line, the panels are various shades of blue. I knew I needed such a shot for an upcoming photographers’ group competition. I am not sure what the other photographers will think of the photo, but it is by far one of my favorites.

The side of the building at the Open Air Theater Station of the Celeste Line of the Teleferico.

We boarded and rode back to the Saint George station. At the station is a beautiful mural. The mural is only about two or three months old. I have always meant to stop and take a photo. Today, I stopped and took a photograph.

The mural at the Saint George Station of the Celeste Line. It celebrates 40 years of scholarships between Bolivia and Japan.

From there, we walked back to the office and had lunch.

When we got home that evening, we unwrapped all of our loot. We are happy with it; although, we are not sure what we will do with some of the items!

We thoroughly enjoyed our first visit to Alasitas. For anyone traveling to Bolivia at this time of year, Alasitas is a must-see!