boots in the Palace...

Santiago de Chile, can be an amazing turistic place, full of squares (Spanish, Chilean, and European Arquitecture). The modern (always clean plus cero grafittis!) and very fast subway is a perfect and cheap transport to discover this cosmopolitan city...

Santiago de Chile, pude ser un impresionate lugar turístico, lleno de plazas (Arquitectura Española, Chilena Criolla y Europea). El moderno (siempre limpio impecable y cero grafittis!) y muy rápido Metro subterraneo, es el perfecto y económico transporte para descubrir los rincones de esta Cosmopólita Ciudad...

Today I´m going to take some pictures in the Chilean Palace of Government, our own "White House", Palacio de la Moneda, Italian neoclasic style of architecture, builded in 1784 and located in the middle of Santiago.

Hoy voy a tomar algunas fotos al Palacio de Gobierno "La Moneda", nuestra propia "Casa Blanca", de estilo neoclásico Italiano, construida en 1784 y ubicada en el corazón de Santiago.

Guardias presidenciales...whisky!

This stately-looking building, represents the official seat of the Chilean government. Built by Joaquin Toesca y Ricci, it was originally the National Mint, hence its name: the Coin Palace. From 1848 onwards it was transformed into the presidential residence and government headquarters

....my new famous friend "Quiltro"...a Chilean typical Dog, Dingo´s cousin, hahhahahha

Look the camera! and Smile, Mate!

Es la expresión artesanal por excelencia en la Cultura Aymara -en el norte de Chile- y una de las manifestaciones más importantes de la Cultura Mapuche –en el sur del país. Se elaboran objetos utilitarios o domésticos, especialmente para cubrir las necesidades de abrigo, y otros con fines rituales o ceremoniales. Una artesanía que demuestra la vitalidad y fuerza de estas culturas que han sabido conservar sus tradiciones a través del tiempo.En ambas culturas el oficio lo transmiten las madres a sus hijas desde muy temprana edad, aproximadamente a los seis años, las niñas comienzan a tejer sus primeras piezas, en un desarrollo del oficio que va de lo más simple a lo más complejo. Asimismo, se han mantenido vigentes técnicas ancestrales con la utilización, en la Cultura Aymara, de telares de cintura y telares de cuatro estacas horizontales que se ponen sobre la tierra.

Cultural Centre of Moneda´s Palace, built in 2004 (Cristián Undurraga Architect)...beautiful Museum, expositions, Cinema, tipical food, Chilean authentic Clothes and cafe´s underground the Chilean Palace....for me is all new, amazing!

The tremendous symbolic density of the jewelry used by mapuche women (Chilean Aborigenes) leads us to outline new interpretations of their form and content, in terms of their vision of the cosmos, since the pectoral pendants, both the sükill, the trapelakucha and the three chain brooch, refer to the division of vertical space between the ethereal superior world, wenu mapu, where the benign powers of auxiliary spirits and ancestors abide, and its articulation with the horizontality of the physical world, mapu, where the weküfe, evil spirits, and the ngen, spirit owners of natural nature, live. To that end, the retrafe has used a common composition for the pectoral pendants, whose finish varies, and which consists of an upper plate, generally rhomboidal and exceptionally in the shape of a shell or half arch (trapelakucha and sükill), or in the case of the three chain brooch, consisting of a trapezoidal shape adapted to the figures of the two birds facing each other beak to beak, whose union with the upper plate descends in rectangular or square plates joined by flat links which end in the shape of a cross (trapelakucha), in a trapezoidal shape (sükill and three chain brooch), or in elliptical shapes (sükill).

Silver work origins date back to the 18th and 19th centuries. Silver coins were the currency used at the time as a result of the sale of cattle. The coins were melted, hammered or forged instead of being used as a means of exchange. They were transformed into jewels for women and for decorating harnesses of very important men’s horses. Those men with power, Ulmen and Lonkos, were rivals fighting for prestige; so the number of jewels that their women possesed was highly important.Today, Mapuche craftsmen still keep silver work tradition alive, especially the ancient designs. They make different pieces such as earrings or Chagüal, with different decorations, Pectorals and their miniature replicas.On the other hand, Aymara Culture also had silver work artisans whose main work was to make silver earrings. Women wore these jewels in ceremoniesor festivities. However, this ancient tradition abated throughout the years, because the artisans did not pass on the knowledege to the new generations. Today, some urban crafstmen from north of Chile, are making replicas from these jewels aiming to rescue this Aymara Cultural heritage.In addition, contemporary craftsmen have included particular shapes and figures from the Rapa nui Culture.

La cultura mapuche tiene una rica y prolífera orfebrería en plata, con una amplia y original gama de expresiones en formas, decoraciones y diseños. Las más características son las piezas elaboradas para la cabeza, trarilonco, y el pecho, los pectorales sikil y trapelacucha. Para la mujer mapuche la utilización de estas joyas tenía un profundo sentido de protección, pues al usarlas se sentía invulnerable ante los espíritus del mal.

Chilean dolls, maked from corn leaves

Muñecas hechas de hojas de maíz

Alfarería o Cerámica, es una práctica común en las primeras comunidades organizadas y está presente en casi todas las zonas del país. Reconocidos por su tradición alfarera son los pueblos de Pomaire, Quinchamalí y Pilén, entre otros. Históricamente, las piezas de cerámica jugaron un rol básico en la vida cotidiana, pues la cocción de los alimentos exigía utensilios que nacieron de este oficio. Además, también eran utilizados en rituales o cultos al confeccionarse piezas para las distintas ceremonias o festividades.

Textile work is the highest crafts expression of the Aymara Culture (North of Chile) as well as one of the most important manifestations of the Mapuche Culture (South of Chile). Domestic and utilitarian pieces are made especially for clothing and for other ritual or ceremonial purposes. These crafts prove the vitality and strength of the time kept traditions of these cultures.Both cultures have passed on their techniques from mother to daughter at a very early age. At six, girls start to weave their first works, developing simple to complex techniques. At the same time, the Aymara Culture has kept ancient techniques alive, using waist looms and four – posted upright looms on the ground.

Chilean crafts foundation, http://www.artesaniasdechile.cl/artes2/inicio.htm , invites you to learn about our cultural heritage and to visit the most complete and exclusive crafts offer

Pottery Work was a very common activity in the first organized communities and it is still present in almost every area of our country. Pomaire, Quinchimali and Pilén are, among other communities, very well known by their pottery work tradition. Historically, articles of pottery have had a very important role in the everyday life of these people; many objects were made for practical purpose. These pieces are also made to be used in rituals, ceremonies or festivities.Es una de las expresiones artesanales más importantes de la cultura Rapa Nui –Isla de Pascua- y de la cultura Mapuche –en el sur del país.
A pesar de su escasez, la madera fue el recurso preferido por los hombres del pueblo Rapa Nui para la realización de una gran variedad de expresiones artísticas. Piezas elaboradas en toromiro, la madera más apreciada por su dureza y calidad, sólo se encuentran en museos y colecciones privadas. Actualmente, el miro tahiti, nueva especie introducida en la isla, es la materia prima más utilizada por los talladores.
En el origen de las imágenes se asigna un rol preponderante al ariki -rey- Tuu-ko ihu, quien -según la leyenda- habría sorprendido, mientras dormían en el camino, a dos aku-aku –espíritus- cuyas imágenes talló para dominarlos.

Wood carving is one of the most important craftmaking expressions in the Rapa Nui Culture (Easter Island) and in the Mapuche Culture, South of Chile.
In spite of being limited in nature, wood was the favourite resource for men in Rapa Nui, to create a wide variety of art expressions. Pieces made of Tolomiro, the most appreciated wood because of its hardness and quality, are only to be found in museums and private collections. Today, Miro Tahiti, a new species introduced in the island, is the material widely used by woodcarvers.
Ariki (king) Tuu – ko ihu has a main role in the origins of the images. According to the legend, he might have seen two aku – aku (spirits) while they were asleep and then carved their images in wood to dominate them.
This would be the birth of moai Cava Cava, a huge statue with prominent ribs. Among their traditional images, it is possible to find moai Tangata or regular male figure, moai Tangata Manu or bird man, the Moko or lizard, the Reimiro or moon-shaped pectoral, the Tahonga or egg-shaped earring, the Ao or scepter – a power symbol -, and the Rapa or paddle.
On the other hand, wood carving in the Mapuche Culture dates back to early times because forests and so their wood, were a fundamental element in this enviroment. Mapuche people built their houses –Ruka- and ceremonial pieces with the best quality wood taken from Raulí trees,Pellín oaks and Coigüe.
Today, Mapuche crafstmen produce an unlimited number of utilitarian articles. Among the most popular, big plates or flat serving dishes carved in solid wooden blocks using the hachuela (native carving tool). Although some innovation was added to the traditional designs to meet the external demand, this has not affected ancient carving techniques which are still in use.

The spanish esthetics influence was manifested in new colors and decorations, as well as improvements in techniques, clay cooking processes, thus producing bigger and better quality articles.It is important to consider that pottery had, for several centuries, a fundamental role in meeting daily life needs, such as utilitarian objects. However, the industrial revolution and mass production changed people’s traditions drastically. As a result, most craftsmen shifted focus from the production of utilitarian articles into more decorative ones. Nevertheless, some artisans have kept their ancestors’ traditions alive and still use some ancient techniques (hand molding) to make objects such as pans, vessels that have a great esthetical and cultural value.
As an example, the Mapuche Culture has preserved some forms of pottery. They have reproduced vessels (Metawe) or simple one handle-jars (Ketrumetawe) or the duck jar, and the challa or ribbed necked pan with two handles.

Chilean Huaso typical clothes (Chilean Bush Man), Manta y Chupalla (Poncho and Hat).

A huaso (feminine huasa, although the term china is far more commonly used for his wife or sweetheart, whose dress can be seen in cueca dancing) is a Chilean countryman and skilled horseman, similar to the Argentinian or Uruguayan gaucho, the American cowboy, and Mexican vaquero and charro.
Huasos (plural) are generally found in Chile's central valley. They ride horses and typically wear a straw hat called a chupalla. They also wear a poncho —called a manta or a chamanto (although this is generally reserved to land owners, as it is much more expensive)— over a short Andalusian waist jacket, as well as tooled leather legging over booties with raw hide leather spur holders that sustain a beautiful long shanked spur with 4" rowels, and many other typical garments.
Huasos are an important part of Chilean folkloric culture and are a vital part of parades, fiestas, and holidays. The dancing of the cueca in which the coy china is courted by the persistent huaso, both traditionally attired, is de rigueur on such occasions.

Chilean Police (Carabineros)...waiting for the primer Minister of Malasia.

Policía Chilena, o Carabineros, esperando al Primer Misnistro de Malasia en su visita Oficial al País

Moai (pronounced (said) MO-EYE) are stone statues on Easter Island. Each moai is made out of one large stone but some have an extra stone on top of the head. Most were made from the volcanic rock in the Rano Raraku area of the island. Moai are usually called "heads" but most of them do have shoulders, arms, and a body, which have become buried over the years. The moai are between 2.5 and 10 metres high and, usually, weigh 14 tonnes. There are more than 1000 moai placed all around the beach of the island plus nearly 400 more which were left not yet finished at Rano Raraku.

I´ll see you mates in my next chapter, discovering this amazing Southern Country....Catcha!