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We are Latin America and the Caribbean. The various manifestations of our people arise from a single root, a single stream of blood, which flows into the countries but within geographical limits within a common denominator: the Latin American and Caribbean woman and man.

This expression throbs in each of our cultural distinctives, because even though diverse and distinct, they all converge in the identity with our land, our region.

The marimba and other instruments that have traditionally accompanied the birth of our music and the coupling of the rhythms, we make our own; testimony embodied in the word, sublimated in poetry; the innate presence of the visual arts that make life rise again from the ground; image and photography

that portray our unique and varied features and shades ... identities, history ... colors, flavors, landscapes and languages ... a complex river flowing through us from Cape Horn to the Rio Grande, flowing through the Caribbean, and bringing with it the sound and visual stream that become multiplied in the territories through which it flows. A journey through these waters is the goal of the Ministry of Culture and Youth of Costa Rica to make us sailors of this vast and diverse region; we are part not only of its roots, but also of their indissoluble extensions.

CULTURAL DIVERSITY IN CELAC 2015

Rafael Ottón Solís Quirós | Nosotros los hombres | Instalación | 1998 | 4-5 mt. diám. aprox.

n the work of Rafael Ottón Solís Quiros (1946), historical context, social and political concerns are integrated with liturgy and ritual. Allusions to armed conflicts, the Central American socio-political situation and panic are woven together into solidarity of spirit.

The installation resorts to the use of simple, and construction materials, lifted to an austere palette. Use and re-use of these resources make them be pregnant with meaning and memory.

The artist presents a vision integrating religiosity and faith. The legacy of the Christian, the heritage from the pre-Columbian, and diverse Oriental conceptions mix to

give way to a linking of the sacred. This broad conception of the sacred encourages reflection through the symbols, of the use of space as a ceremonial locus. The spaces built by Solis seek immensity, the indisputable and eternal.

This work, “We men”, alludes to the text by the Costa Rican poet Jorge Debravo: “Let us make a Eucharistic wafer out of corn, flour and hope”, and is linked with tradition of stone walkways and round mounds in archeological sites.

María José ChavarríaCurator MADC

We MenArt Installation by artist Rafael Ottón Solís Quirós

The Constitution of Costa Rica states that among the cultural purposes of the Republic, the museum is to “preserve and develop the historical and artistic assets of the Nation.” From this arise the questions: What for? What function does a museum or a collection have in a country´s life? What did the founding fathers foresee when assigning such a wide range of art conservation?

If a people is the sum of its inhabitants, its artistic legacy is its mirror. We go to a museum to confront ourselves, to know our people, to focus on a little detail and then to widen our vision and see a multiplicity of identities.

The Costa Rican Museum of Art collection is a mutable exhibit organized like a library. No official history is found here, but rather, many narratives. Every piece of sculpture, painting, video, recording or printed item preserved here is a tribute to Costa Ricans as a people: who we were, who we are, and who we will become…

Alma Fernández TerceroDirector

Museum of Costa Rican Art

Sample of the Museum of Costa Rican Art

Francisco Amighetti Ruiz | La tortugaCromoxilografía P/A | 1968 | 63 x 41.5 cm

Francisco Amighetti Ruiz | El niño y la nubeCromoxilografía P/A | 1969 | 52 x 30 cm

Francisco Amighetti RuizIsabelCromoxilografía P/A1987133.5 x 30.5 cm

Francisco Amighetti Ruiz | Conflicto entre gato y niñoCromoxilografía P/A IV- X | 1969 | 36 x 56.5 cm

Francisco Amighetti Ruiz | La niña y el vientoCromoxilografía P/A | 1969 | 38 x 52.5 cm

Rafael Fernández Piedra (cc. Rafa) | Algo por acontecerÓleo sobre mazonite | 1972 | 200 x 275 cm

César Valverde Vega | Origen Óleo sobre madera | 1973 | 211 x 281.5 cm

Fabio Herrera Martínez | Sin repello Acrílico y polvo de mármol | 1993 | 126 x 201 cm

Fabio Herrera Martínez MujerSerigrafía 18/46 Sin fecha | 70 x 50 cm

Fabio Herrera Martínez El sol en las manosSerigrafía 15/341991 | 50.2 x 39.7 cm

Fabio Herrera Martínez AbrilSerigrafía 14/321991 | 65.3 x 50 cm

Fabio Herrera Martínez La gataSerigrafía P/A1991 | 55 x 50 cm

Gerardo González Ramírez | MetamorfosisÓleo sobre tela | 1982 | 260 x 100 cm

Leonel GonzálezDuniaSerigrafía 6/50 1996 | 56 x 76 cm

Roberto Lizano Duarte MuchachoSerigrafía 6/50 1996 | 56 x 76 cm

José Miguel Rojas GonzálezAmatorioSerigrafía 6/50 1996 | 56 x 76 cm

Florencia UrbinaCulebra con patasaSerigrafía 6/50 1996 | 56 x 76 cm

Luis Chacón GonzálezColeópteroSerigrafía 6/50 1996 | 56 x 76 cm

Mario Maffioli Reyes TáctilSerigrafía 6/50 1996 | 56 x 76 cm

Rafael Ottón SolísEl castillo inferiorSerigrafía 6/50 1996 | 56 x 76 cm

Ana Isabel MarténMujer, sol y pecesSerigrafía 6/50 1996 | 56 x 76 cm

Pedro Arrieta Salazar | Código de PasiónSerigrafía 6/50 | 1996 | 56 x 76 cm

Fabio Herrera Martínez VenusSerigrafía 6/501996 | 56 x 76 cm

Miguel Hernández Bastos | El campo inexploradoAcrílico y carboncillo sobre tela | 2008 | 150 x 181 cm

Fabio Herrera Martínez NosotrosSerigrafía 33/50 1993 | 50.5 x 75 cm

Lola Fernández Caballero | Arquetipo (Segunda etapa- cuarta escalera)Óleo sobre tela | 1976 | 129 x 97 cm

Manuel de la Cruz González Luján | AbstracciónÓleo sobre tela | 1965 | 137 x 96 cm

Rafael Angel García Picado (cc. Felo) | Vuelo 1004Óleo sobre tela | 1966 | 136 x 97.5 cm

Jorge Gallardo Gámez | La niña rubia y la muchacha negraÓleo sobre tela | 1968 | 146.7 x 86 cm

Francisco Zúñiga Chavarría | Dos indígenas otomies sentadasFotolitografía | 1974 | 45.5 x 62.5 cm

Francisco Zúñiga Chavarría | Mujeres caminandoLitografía a color. PA VIII / XV | 1982 | 86 x 63 cm

Francisco Zúñiga Chavarría | Soledad acostadaLitografía P/A 4/20 | 1974 | 54 x 73 cm

Francisco Zúñiga Chavarría | MeditaciónTinta y lápiz sobre papel | 1963 | 48 x 63 cm

Pedro Arrieta SalazarEn el comienzo, el origenSerigrafía 6/121993 | 68.5 x 84 cm

Pedro Arrieta SalazarPaisaje, flecha rojaSerigrafía 9/91993 | 68.5 x 99 cm

Pedro Arrieta SalazarTerritorio tomadoSerigrafía 9/111993 | 68.5 x 99 cm

Pedro Arrieta SalazarTelúrico enérgicoSerigrafía 7/81993 | 68.3 x 100 cm

Pedro Arrieta Salazar | Altar primario IISerigrafía 7/8 | 1993 | 100.4 x 69 cm

The Islita Museum was born with the conviction that art is central to community development. Located in a village in Nandayure, Guanacaste, this project began with an encounter of artists, invited by the Hotel Punta Islita, to occupy public areas with contemporary art together with the community.

With the goal of improving the quality of life of its inhabitants, of creating a cultural destination for tourism in harmony with nature and raising artistic awareness, the Islita Museum laid the foundation for several groups of local artists, in a continuing encounter with outside artists to unitedly create art expression of local identity.

Since 2003, this process has been central in the Hotel Punta Islita´s and the Villafranca-Zürcher Foundation´s concept of sustainability. Women and young people have gained selfesteem, work in community and an income. In this sample, the Islita Museum exhibits the work of the following groups: BosqueMar (collages with driftwood), Matrices (woodcuts), Papaturras (art sown on cloth) and PintArte (painting on engraved wood).

Lauran BonillaDirector

Museo Islita

Islita Art

Marta Figueroa, Luis Vásquez y Odili Vásquez Sin títuloCollage con madera encontrada en la playa201425 x 35 cm y 35 x 25 cmGrupo Bosquemar

Gena Sánchez | Cindy SánchezColibrí | Flor BlancaMadera comprimida,esgrafiada y pintada 201435 x 35 cmGrupo PintArte

Salvadora CruzAmigos para siempreXilografía sobre tela201432 x 32 cmGrupo Matrices

Sonia QuirósTrazosEnsamble de material naturalcosido sobre tela2014 | 35 x 35 cmGrupo Papaturras

We are all different, and in that diversity lies our wealth; both our biodiversity as well as that of our people. In this country of indigenous peoples, of Spanish and African descendants, of Asians and Europeans, of North Americans and Latin Americans, among others, these cultures fuse with a distinctive and unique seal.

We are all Costa Rica is a photographic creation that promotes this cultural diversity, peaceful coexistence and respect. Seeing this vision of tolerance and inclusion, human rights are strengthened and discrimination is rejected.

Created in 2010 by Lucas Iturriza, this documental, a production both academic and educational, uses the image for reflection, empowerment and awareness of public opinion regarding respect one for another, regardless of their race, origin, belief, social class, disability or appearance.

QR Code to web STCR

We are all Costa RicaPhotographs by Lucas Iturriza

Iván, Liberia, Guanacaste | 2012

Karla Solano, Barrio Cuba, San José | 2011

Angela, Pueblo Originario Cabecar | 2012 Geiner Golfín, Jefe de guardaparques Isla del Coco | 2012

The Monsignor Luis Leipold Marimba School originated in 2010 to participate in the Student Arts Festival promoted by the Ministry of Education. The group, representing the canton of Cañas, Guanacaste, won first prize four consecutive years in the finals of the festival.

The young marimbistas, six boys and a girl, are currently enrolled as fifth and sixth grade students. Nelson Briceño, their musical director, is a retired teacher who has dedicated much of his life to promoting Guanacaste folklore. According to him, the group exists to preserve the region´s folklore by encouraging children to participate in performing it.

The repertoire they play with two marimbas is Guanacaste folk music, mainly displaying the joyful “parrandera”. They also play other musical themes in rhythms such as “jotas” and “pasillos”, where we can find well-known songs like “El Torito” and the “Punto Guanacasteco”, that will be played during the CELAC.

The Monsignor Luis Leipold Marimba School

Since 1996, the Flute Choir is one of the National Chamber Music Institute (INM) groups. It employs the full range of the instrument, from piccolo to bass flute. Why is it a“choir”?; because the voices of all the world flutes are included. Depending on their musical level, young people also participate in the National Youth Orchestra Youth or the Junior INM.

The Choir is made up of 12 advanced students, between ages 16 and 22, from the flute department, who studied flute since they were children. Within the group two Guatemalan and Venezuelan musicians are involved; of the nine Costa Ricans, three are from the

Metropolitan Area and the remaining from peripheral areas who moved to San José to study the instrument.

The National Institute of Music is a center with a higher education degree involving 14 years of study.

In 2013 the choir was invited to participate in the Flute Orchestra of the Americas in New Orleans, USA, that involved the participation of more than a hundred performers from Brazil, Ecuador, Argentina and Costa Rica, for the World Flute Concert.

Flute Choir of the National Institute of Music

Syntagma Musicum is a Costa Rican group that has a long career playing a colonial European and Latin American repertoire of the seventeenth and eighteenth centuries. Nine professional musicians of the Costa Rican National Symphony Orchestra and other professors of the University of Costa Rica’s Music School integrate the group.

The group has been active since 1982 but it was in 1994 when they named themselves Syntagma Musicum. It was the that the they adopted instruments that are reproductions of eighteenth century models, in a search for an original and attractive sound that could allow listeners to travel in time. Even though the original music sheets don’t

include percussion, they use these instruments to perform rhythms of traditional Latin American music. For this reason they include a small Guatemalan marimba, the “bombo legüero”, and other South American instruments.

Syntagma Musicum was awarded with the 2013 National Music Award as Best Chamber Ensemble, granted by the Ministry of Culture and Youth of Costa Rica.

Syntagma Musicum

Since its foundation in 1990, the Miravalles Quintet has done research, collection and interpretation of Costa Rican and Latin American music, as well as a repertoire of Carribean, European, United States and other latitude music. The group members are: flute and piccolo player, Carlos Umaña; oboe and English horn player, José Manuel Rojas; clarinet player, Ronny Mora; French horn player, Manuel Mora, and Carlos Ocampo who plays the bassoon.

The Miravalles Quintet’s versatility has allowed the group to merge with other musical groups of different genres such as rock and salsa. Similarly, from its beginnings, the group has worked in the production

of artistic interdisciplinary performances together with dancers, choreographers, painters, graphic artists, photographers, opera singers and other artists. In addition to the group’s numerous appearances on national soil, the quintet has taken its music to stages in Italy, Mexico, Spain, Panama, Colombia and Argentina.

The Miravalles Quintet has premiered about 50 pieces of Costa Rican composers, among them “Son de Toros” by Fidel Gamboa, a piece inspired in the folklore of the region of Guanacaste. They will play this piece as part of the activities of the III Costa Rican CELAC Summit 2015.

Miravalles Wind Quintet

The word “multiple” regarding Latin America and the Caribbean, speaks of the wealth and diversity of its lands. From the majestic highlands to the colorful Caribbean, displaying emotional attachments, roads and scenes; describing the physical and mental geography, who sings, speaks, writes and is proud of its nature, both multicultural and multi-ethnic.

Under the varied colors of the region’s heavens, full of rain that keeps its fields green or invaded by the sun that nourishes its arid regions; the voice of those born in this vast geography display lines of their anatomy and their values, their dreams of solidarity and victory over poverty, on a musical score of belong and of roots extending to the ground where they live, build and maintain their identities day after day.

Ch´aska Eugenia Anka Ninawaman, ECUADOR; Edgar Céspedes, COSTA RICA; Rubén Darío, NICARAGUA; Juana de Ibarbourou, URUGUAY; Víctor Jara, CHILE; Saint John Kaus, HAITI; Dulce Ma. Loynaz, CUBA; Bob Marley, JAMAICA; Milton Nascimento, BRAZIL; Popol Vuh, GUATEMALA; Olga Orozco, ARGENTINA; Blanca Varela, PERU.

My song is a chain, without no beginning and no endAnd in each link there’s the song of each one of us. Víctor Jara, CHILE

Put your ear to the ground, which insists on rising and breathing. Blanca Varela, PERU

I’ll go like the lark, singing along the riverand I’ll bring to your boat my wild perfumeand I’ll shine on the shadows of the dark streamas a blue lamp lighting the way. Juana de Ibarbourou, URUGUAY

If you love me, love me whole,not those areas of light and shadowif you love me, love me black, and white. And gray and green and blondand dark. Dulce Ma. Loynaz, CUBA

Ashkhamantaka Qaqatapas rumitapas Tangallasunmi,Rumipas gagapas puririllanqan Sumak kawsaywanka… Ch´aska Eugenia Anka Ninawaman, ECUADOR

Translation:Thousands and thousands of us,hills and ravineswe will all pushhills and ravines will move againour time will come.

Behind us emerged this landTo enroll in fire each step of fateTo wrap in thirsty grassThe fall and reverse of each birth.Olga Orozco, ARGENTINA

Time has come, it’s breaking dawnIt’s time to complete the workLet´s have appear the ones that will feed and nourish usThe enlightened ones. Popol Vuh ,Third Section, chapter 1, GUATEMALA

J’aime cette terre pour son nom inscrit sur le pierre balafrée des libertés,J’ aime cette terre por l’odeur du petit-mil de le moisson espérée,J’ aime cette terre pour les plague le sable l’eau des aimes en solstice de nos entreintes…J’ aime cette terre pour les fleuves les sources les montagnes attentives a nos amours… Saint John Kaus, HAITI

Translation:I love this land for its name, written on the cracked stone of freedomI love this land for the millet fragrance of harvest I love this land for the beaches, sand, and water of the belovedthe solstice of our embracing…I love this land for its river and mountain springs the listening mountains attentive to our love

Decepar a canaRecolher a garapa da canaRoubar da cana a doçura do melSe lambuzar de melAfagar a terraConhecer os desejos da terraCio da terra propícia estaçãoE fecundar o chão.Milton Nascimento, BRASIL

Translation:Cut the caneSqueeze its juiceSteal the sweetness of its honeyGet filled with its honeyHug the groundLearn the longings of the landAnd make the ground fertile.

One love! One heart! Let´s get together and feel all right.Bob Marley, JAMAICA

Let’s all go to the firetoday’s the dayto knead new clayso that while we waitin the rhythm of the wind,we do a new song,a new danceand a new story.Edgar Céspedes, COSTA RICA

The people have faith!who wouldn’t wish for the Union of all these nations? a project to elevate and deify them?Done with the hatreds and ambitions!for above all is the great dream.Rubén Darío, NICARAGUA