Esta historia es el producto de un proyecto social y colectivo que comenzamos a desarrollar un tiempo atrás.
Comenzó hace un par de años a raíz de una idea que rondaba nuestra propia práctica; producto del trabajo de investigación que venimos realizando sobre la historia de juegos y juguetes argentinos. A partir de nuestro propio trabajo comenzamos a descubrir una amplia gama de improntas culturales y sociales en la producción de juguetes y juegos. Pronto nos dimos cuenta que se trataba de representaciones culturales de gran importancia, mucho más de lo que hubiéramos podido imaginar. En tanto se trata de reflejos objetivados de nuestro presente, pasado… objetos ideologizados de gran valor semiótico y semántico. Asi, frente a tamaño descubrimiento, se nos ocurrió crear un juguete-juego-conceptual de características multimediales, que de alguna manera pudiera reflejar nuestro tiempo, nuestras ideas, nuestros sueños y esperanzas. La historia narra de manera ficcionalizada una de nuestras posibles visiones del mundo. Contempla de manera profunda nuestros pensamientos e ideas del mundo, y busca por medio de la palabra, el arte y la expresión cultural amplia dar cuenta de este presente. Los Onas de la Patagonia Argentina, de la región ligada a Tierra del Fuego siempre han tenido un atractivo particular en mi propia historia –Argentina y personal- y como tal, se fue gestando como interlocutor imaginario de una historia a narrar. Ellos mismos, como referentes reales de un mundo complejo, cambiante y que se niega a cumplir designios absurdos de modernidad infundada han sido gestores de su propia historia. Por su valentía y coraje, aparecen ante mi mirada como exponentes claros de una cultura rica y profunda. La historia es narrada con auxilio de todo tipo de expresiones culturales y artísticas que pueden aportar a gestar un cuadro complejo, rico en sensaciones, personajes y escenarios. La historia comienza en Buenos Aires, con un hombre común escribiendo una historia… tal como estoy haciendo en este momento, cuando en un brevisimo instante su realidad muta, es como si se abriera un mundo espacio-temporal alternativo---- Aparece de repente en tierras lejanas, y allí comenzara a transitar un camino de aventuras y experiencias vitales realmente significativas. Espero disfruten estas, las primeras de muchas entregas en las que iremos narrando, esta, nuestra historia. Bob Frassinetti & The Buenos Aires Toy Team.
Fantastico Cuento de las Ona Leyendas, Historieta hecho en la Argentina. Las Leyendas Ona, el Fin del Mundo. La Tierra del Fuego,..... The Buenos Aires Toy Museum. Comic by Toy Museum Team. Topic: Toy Museum, Comic Story The Buenos Aires Toy Museum. The End of the World. The Land of Fire Our creative team at The Buenos Aires Toy Musuem is currently developing the museum’s very own comic strip story. Featuring a unique story line of marvel, emotion, adventure and great challenges, our very own comic is being customize designed for us by a team of artists, painters and literature experts… The concept and interest in developing this project began as a general and vague idea a couple of years ago. We had been working a while in research projects related to the history of toys and games in Argentina, when we discovered a very interesting and appealing facet of games in general. We realized that these games and toys were representations of a determined state of culture, history and personal beliefs that thru means of objects, writings and popular beliefs, became real and lasting, having –those of quality and whit- a strong impact on society and culture. We then came up with the idea of creating a multimedia game-toy-concept that would become a trademark of ourselves, our time, our ideas, as well as our hopes and dreams. The idea of creating a story, narrating a fictionalized version of our thoughts, wishes and dreams was tied from the very beginning to our history as individuals as well as a nation. The idea was also routed on a small tribe known as “Ona Indians” an ethnic group from Tierra del Fuego, South America, the Land of Fire in the Argentine Patagonia, a strong and amazing culture that eventually was purposely vanished and up rooted from our history by the Spaniards and the early local half breeds of the local government… This ethnic group, their believes and knowledge, will be playing an important role with the main character coming from their folk history into our story, bringing then the intention of reflecting us in our complexity, our syncretism culture. Together with the strips -the narration- we’ve created miniature sculptures of the characters, artwork of the scenery and concept, and an incipient game concept of adventure narration… The story begins in Buenos Aires, with a man writing a story, the way we do right now. A momentary lapse of reason will take him to a faraway fiction like - though very real- land of adventures and life experiences… Our comic is undergoing a rich and interesting production process, where creative and ingenious individuals taking part in this project are all chipping in with their ideas, passion and craftsmanship to create an outstanding final product. Our playful artistic creation will then have a triple meaning from the start, it’s going to be a story, a work of art and a game, all at the same time. You, our very important front row readers will have the best possible access to our comic and art. We’ll be posting on our website permanent entrees of advances on the story, the art and the game development. Bob Frassinetti: For more information: Email: Bob Frassinetti. Press here to go back to web blog:Daily Updates on Art, Antiques, Collectibles as well as travel information for Buenos Aires, Argentina. Phone me thru Skype, ID: Bob Frassinetti or you can also chat with me thru Yahoo, press here: Yahoo Contact Find me on MySpace. Updated 2009 Copyright Bob Frassinetti, travelling for arts and antiques in the south of South America,.......
The Big Island of Chiloe, Chile, and the Museum of Modern Art, more information, ...... The outstanding Chiloe culture and its tied bond with woods. The original peoples of the Great Island used to say that each wood has its own "temper", it was clear, and still is, and that their unique bond with nature provided them with a special approach to their natural environment and the ways they connected with it. Building in wood has been at the base of the island's culture way before the Spaniards arrived, and it continued after creating a unique island style and form of work of the noble material. Being a Carpenter is in the nature of being a Chilota. Working with local tree-woods such as the cypress and the mañio, which has no translation but its botanical name is Podocarpus saligna D. Don. Having developed a unique wisdom in the treatment of wood, the multiple uses of local trees has left a legacy for Humanity that we've began to appreciate in all its forms only, .....
The Story begins;The Strange man: He was sent by one of the Onas divinities to help the lost group find the necessary elements in order to be able to open the TimesÂ’ Door. However heÂ’s human, and features limited powers. His large cane is his main and most powerful weapon shooting rays and lightings. In major confrontations with the enemies heÂ’s the key factor in culminate moments. HeÂ’s the wisest of all 6 characters; even more, heÂ’s the one who explains Lucio, the narrator, the because of each situation they go through. This mysterious and enlightened character has another ability which is Â–at precise and determined moments- to abstract himself and the whole group as observers of parallel realities that have past or are to occur; though this can be done for short periods of time for it withdraws too much of his lively energy. If you are interested in this story please contact me;Email: The Buenos Aires Toy Museum,Bob Frassinetti.The Buenos Aires Toy Museum,Argentina. Bob Frassinetti. Copyright 2005. Roberto Dario Frassinetti.
UTTERMOST PART OF THE EARTH Topic: Toy Museum, Comic Story
"When I was very young," writes Author Bridges, "stories of little boys being adopted by wolves fascinated me . . . I yearned to live in the woods, far from whatever civilization existed in Ushuaia."
The "civilization" that young Lucas Bridges resented was a tiny scattering of houses and shanties at the tip of South America, in desolate Tierra del Fuego. Ushuaia's closest contact with the outside world lay 400 miles away in the Falkland Islands, where Author Bridges' father had begun his career as an English missionary. The senior Bridges had sailed westward with his bride, and in 1871 arrived at his mission at Ushuaia harbor, in Beagle Channel. There he set about the business of building a few houses, civilizing the Indians (whom Naturalist Charles Darwin called, says Bridges, "if not the missing link, then the next thing to it") and raising a family. Lucas was his second son.
Guanaco Country. Like his father, young Bridges was determined to learn the" Indians' language, which was "infinitely richer and more expressive than English or Spanish." By the time his father had resigned the missionary post and moved his family about 40 miles down the channel to Harberton, where he started a sheep and cattle ranch, young Bridges was able to make out most of what the Yahgan Indians were talking about. But an even bigger challenge confronted him. In rugged, unexplored northeastern Tierra del Fuego lived the fierce Ona tribe. Naked under their calf-length, guanaco-skin capes, the nomadic Ona stood as high as six feet in their fur moccasins, hunted their game (mostly guanaco) with bow & arrow, and spoke a language that sounded like "a man clearing his throat."
Young Bridges learned a little about the Ona from the few tribesmen who came to the ranch for handouts, but he wasn't satisfied. In his 20s, hardened by years of outdoor life, he determined to cross the mountain range into Ona-land. With the help of his brothers and a couple of Indians, he succeeded on his third attempt. After that, with gifts and with demonstrations of his own prowess, he won the suspicious Ona's admiration.
Down with Tyranny. One of the Ona sports was killing off members of strange tribes, but now & then they settled for huge intra-tribal wrestling matches. When Author Bridges heard that an Ona was going to challenge him, he trained for weeks, then bested his opponent when the match came off. But his most important asset was courage in the face of Ona threats. He once flabbergasted some savages, who had bought rifles for the purpose of killing him, by walking into their camp and reproaching them for their unfriendly attitude. Bridges frankly adds: "I have never felt more frightened in my life."
With Ona help, he laid a trail across Fuego's biggest island and established a large sheep ranch in the heart of Ona territory. In his years of camping out with the Indians, he learned more about them than any other white man. The Ona way of life, says Bridges, was "communistic"; there were no chiefs. A man owned his wives (usually two, one much older than himself and one much younger), his weapons and his clothing; he spent his time hunting or feuding with other tribes while his women fished, cooked, reared the children. The Ona believed in neither gods nor devils, but were sure that birds could talk and that some mountains had once been human beings.
For a long while Author Bridges thought his savage friends believed in the spirits they imitated in their crude rituals; but the Ona opened his eyes by initiating him into the tribe's all-male lodge. There he heard that once upon a time the women had ruled the tribe with witchcraft, until the men, in desperation, had banded together and killed all the women. To forestall any attempt by growing girls to reestablish female tyranny, the men had "invented a new branch of Ona demonology: a collection of strange beings . . . who would take visible shape" and scare the women into submissiveness. The women never failed to scare, but Author Bridges believed it "impossible that [they] were utterly deceived."
Measles Massacre. When World War I broke out, Author Bridges sailed to England to enlist. After the war he returned to Tierra del Fuego only occasionally, spent much of his time developing frontier land in South Africa. He would have learned little more about his Indian friends anyhow, for in the '20's two epidemies of measles killed almost three-quarters of them.*
A weak heart finally forced Bridges to settle down in Buenos Aires. There, before his death in 1949, he wrote his book. It contains many of the faults its author saw in his first draft, which "like the country of its origin, was criss-crossed by precipitous gullies interspersed with tangled thickets and bogs." But readers who follow daredevil Author Bridges' trail will hardly care to complain about a few irregularities in the terrain.
*By 1947 the pure-blooded Indian population of Tierra del Fuego numbered less than 150. The white population, principally engaged in sheep-raising, had grown to over 10,000.