“It should be noted that these 127 pieces, of ethnographic origin, express the self-awareness of our indigenous peoples by using feathers for ritual, ornamental and utilitarian purposes,” he said in an interview with Prensa Latina.
Oporto means that these practices, according to the current world development, are disappearing and practically no longer occur.
“This is why these 127 pieces acquire the character of a spiritual treasure, and here the Cultural Foundation of the Central Bank of Bolivia (FC-BCB) through the National Museum of Ethnology and Folklore, which receives them, assumes the primary function of ensuring its preservation,” said the headline of this news agency.
He explained that the mission of the FC-BCB is to teach society this high skill developed by indigenous peoples based on what is stipulated in the political constitution of the Plurinational State.
Porto highlighted that the donation came in the context of International Museum Day, which event made this year’s celebrations historic.
He explained that during these celebrations, many activities took place in all warehouses and cultural centers of the Foundation.
He noted that they all opened their doors this weekend to celebrate Bolivian Heritage Day, which was established by the Ministry of Culture, Decolonization and De-Sovereignty.
“On this occasion, the community appreciated, on the one hand, the spiritual wealth guarded by our institutions, such as the National Mint, in Potosi, the Casa de la Libertad, and the National Archives and Library in Sucre,” he said.
He also referred to the programming of the Center for Multinational Culture, in Santa Cruz, and in La Paz that of the National Museum of Art, the Museum of Ethnology and Folklore; and the Fernando Montes House Museum, headquarters of the Foundation.
“Visitors were able to appreciate our cultural richness while at the same time enjoying a wide and varied agenda that included music, performing arts, talks, exhibitions and book sales,” he stressed.
“In all of this is the basis of the identity of the Bolivian people,” Porto concluded.
For his part, Bravo told Prensa Latina that when he emigrated to Europe at the end of the seventies and studied art in Switzerland and then the German Democratic Republic, he discovered the importance of South America as a classic source of this plastic expression.
Referring to the donation, he stated that it consisted of objects belonging to the Moreh, Yaminhwa, Ayorea, and Chacopo cultures, among others.
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