Los Papelípolas or The Papelipolas was a group of artists from Huila Department, in the Republic of Colombia arising in the year 1958. Their productions in the fields of theater, the narrative, the drawing, the cinema, the television and especially in the poetry, have been widely recognized and disseminated, even several decades after its dissolution. It was disbanded in the mid-1960s, and the components continued writing independently. The group's name is papel (paper in Spanish) and pola (cerveza or beer).
The components
The group's regular payroll poetic Los Papelípolas is limited to six authors: Gustavo Andrade (highlighted in the fields of drama prize, winner in France, Spain, Costa Rica, among others, in film as screenwriter of the film The River of the Tombs; librettist of radio, television and short film director and producer of La Cantina de José Dolores). The others were apathetic to the events and to the movies, but with valuable works: Angel Sierra Basto (pseudonym of Victor Manuel Cortes Vargas, poet, education engine in the Huila, and politician, author of Dimensions, 1963 and Xenias & Apophoretas of Menein Laos, 1994), Dario Silva Silva (poet and current archbishop of House on the Rock, one of the forty most influential men of Colombia according to Semana magazine); Ruben Morales Buendía (erotic poet and one of the first cartoonists Huila), Julian Polanía Perez (poet and politician, author of The concept of Grief, 1958, and Narration of the Living Faces, 1963) and Luis Ernesto Luna (poet, bureaucrat, dedicated to political propaganda, author of Memory of Silence, 1988). Delimiro Moreno in his work The Papelípolas, Poetic Essay on a Generation (1995) added to Armando Ceron Castillo (author of Beyond Words, 2010 ) and then talked about Camilo Lara Cuenca as an appendix of them, with a recently published poetic production (Así Canta mi Lira, 2005), almost posthumously. The themes and style of these poets were always very heterogeneous group, as their spiritual and political ideology.
Two of them, especially with shared affinities with the Beat Generation: Angel Sierra Basto and Luis Ernesto Luna.
The attribution of movement
The label of "movement", may be inaccurate. The ideals and artistic group shares similarities with the Beat Generation and The Hungry Generation. The papelípolas Angel Sierra Basto and Luis Ernesto Suárez alluded to Nirvana, the Upanishads, Buddhism, to free sexuality, alcohol and drugs as leaks. Other reasons given for giving the label of movement (as Colombian Beat generation, which it shares with the nothingness Antioquia), was that none of its members turned professional as a response to the educational model of unbridled capitalism. For some, a result of their political ideology, for others, economic limitations, but it is common. All this feeds the decadence French Huysmans (as evident in the prologue of dimensions of Angel Sierra Basto by Luis Ernesto Suárez and the Thebaid of Ananké), French writers Charles Baudelaire (Les Fleurs du mal), Gérard de Nerval, Arthur Rimbaud and Parnasianism of Paul Verlaine, also at Nicaraguan literary modernism Rubén Darío. Sierra Basto, the more Beat of all, tried to deconstruct the language with their Rhymes Rune, and other poems full of neologisms. Meanwhile, the founder of The Papelípolas, Gustavo Andrade was counter to provincial level, with his first Manifesto Papelípolas, letter to Ramiro Bahamón by the poet Silvia Lorenzo to national poets gathered in Medellín in 1958, and published this year in the first of three Notebooks Huila group: Concept of Grief with poems Julián Pérez Polanía, also with his essay Neiva needs a mayor who wants to Neiva and enjoying universal recognition plays like cutting.
The artistic value of the Papelípolas, was the subject of several pages of authors like David Rivera Moya, Roger Echavarría, Oliver Lis, Delimiro Moreno, Félix Ramiro Losada and Jorge Guebely. However, the label "movement" has been accepted by custom, though its definition has been as diverse and controversial.
The Manifesto of The Papelipolas
The First Manifesto of Papelípolas was a letter from Gustavo Andrade to Ramiro Bahamón, which was filed with the acquiescence of the group by the poet Silvia Lorenzo before nadaístas poets among others in Medellín in 1958. This manifesto was published in the first of three books published huilenses that (his first broadcast medium), edited by Gustavo Andrade, Concept of Grief of Julian Perez Polanía.