More information: https://fundacionhugozarate.com/invitacion-charla-coloquio-viajes-sostenibles-versus-turismo-inaceptable-con-pepa-ubeda-iranzo/

Video of the event: https://fundacionhugozarate.com/charla-coloquio-viajes-sostenibles-versus-turismo-inaceptable/

Images of the event:

Video of the event

If Vicent Andrés Estellés (Burjassot, September 4, 1924 – Valencia, March 27, 1993) had been a plastic artist, I would have put him between Realism and Expressionism. Probably as prolific as he was as a writer.
Perhaps for this reason, the Estellés that Jaume Plensa sees is not the same one that admires Antoni Miró. Furthermore, let us not forget that Estellés, in the Mural of the Valencian Country, tries to pay homage to a group of writers and visual artitsts through the poetic word. Our poet already said that, during his writing, in addition to Neruda and Baudelaire, he was accompanied by Picasso's Guernica, the Poster for the Congress of Catalan Culture by Joan Miró, and the memory of the murals by David Alfaro Siqueiros and Diego Rivera.
But let's start with two Estellesian learnings from his youth, because he projected his hands on bread as a baker and on precious metals as a goldsmith before replacing them with radical realities transfigured into poetic words as a result of instinctual obsessions of sex and death.
Despite everything, we cannot ignore that the poetic work of V.A.E. it has a spatial dimension with a strong topographic component that goes beyond the literary representation of spaces and places. We can see this in the omnipresence of its spatial images and in an approach to interpretative itineraries of meanings. As well as in the poetic and discursive functions of places. There are his dazzling interpretations of the house, the urban world, the country… To articulate a poetic and political discourse.
Until now, the «plastic» Estellés. I leave the way open for an investigation of the influence of the plastic arts on the poet.
Next, the link between the Catalan sculptor Jaume Plensa and Estellés; and between our poet and the plastic artist Antoni Miró.
In 1956, Estellés composed the twenty-one poems that make up L'Hotel París, although the book did not see the light until 1974, when it was published by Edicions 62. But it was not until 1984 that one of those copies fell into the hands of Plensa, which then he lived in Berlin. He was so fascinated by the power of his verses that he decided to draw, paint and interpret them immediately. Thirty years later, he honored him by releasing an artist's book: a box that collects this very powerful text and the creations of the sculptor, Plensa / Estellés / Paris Hotel.
Plensa himself remembers how he contacted the poet through Valencian friends. Once introduced, they went to Malvarrosa to smoke and drink. The sculptor admits that he has never tried to meet the artists who have interested him. Estellés was an exception: he needed to meet the man and he has never regretted it. He assures that thew Valencian's work has accompanied him all his life and considers that Hotel París is a fundamental book of poetry. The problem is that Estellés is little known outside of home… And hidden by his leftist ideology. However, although the poet gave it permission to create the artist's book, the publisher did not give it to him. He had to wait. According to Plensa, what he has in common with the poet is the «mediterranean» which is not a country, but a place, a state of mind, an approach to the very particular reality of our environment, a place where things are not they touch, but they caress each other…
In the end, Jaume Plensa said of Estellés that, «as a good Valencian, he was a wild man and as a good poet he had no idea about art. He only knew about life».
As for Antoni Miró, I will limit myself to reading what V.A.E. wrote about him and his family:
TO THE FRIEND ANTONI MIRÓ
After recovering from the May crisis, I write
the first poem to friend Antoni Miró.
the name of friendship
I will tell you in plain words.
toni miró
sofia
ausias.
are the names of permanent affection,
of love,
of friendship for a lifetime.
I have shared bread and salt with them
and now I'm the happy man, thinking we're friends
lovers,
friends.
now I have written this and I am happy,
because I know tghat in a place of alcoi,
on the road that goes towards ibi,
they live in the «sopalmo» farmhouse, they make love,
they make bread and slice it, at the table with friends.
and I am happy about that, about their existence,
I find myself old and screwed, locked in my house,
I can't go to alcoi, we call each other often,
like that time I called him on the phone just because
sofia told me,
how to do the escalivada.
toni miró, painter,
that I met in alicante
and I tried in altea
I admire him and it's a lot
what I appreciate him as a person,
and more
as a painter.
I know how much and what his honesty is,
creo saber cuánto es su amor,
por lo que hace, I think I know how much his love is,
for the beings that accompany him,
sofia,
ausias.
and I want to leave the testimony here,
of my friendship and
my deep,
sweetly felt,
admiration.
because, painter,
has known how to do,
the best work of art.
life with sofia and ausias.
I finish, then, and close.
good day,
see you around.
any day I will be at the farmhouse.
and I will eat vegetables, vegetables products.
sofia.
good day toni.

Good afternoon to all those who wanted to join us today at La Intersindical.
I want to be brief because it is not my words that are of interest, but those of the protagonist of this call: FERRAN NAVARRO I SORIANO, born on July 29, 1965.
I will not expand on his musical career, broad and intense, nor his immense musical knowledge. You can find all this on the Internet and, above all, on the cover of this magnificent book that reveals so much information to us about our musical history in particular and cultural history in general.
First of all, I would like to quote the fragment of an interview I did with him for the Catalan magazine of cultural associations, TORNAVEU: «The book is the story of a war told from a musical point of view: how our soldiers sang, fought and paraded in the Civil War»
Secondly, I would like to briefly report on the content of the book.
There is a first part of a theoretical nature that allow us to understand the history of this compilation of music and lyrics and a second part dedicated to the SCORES.
As for the first part, it begins with an introduction by Josep Guia I Marín and a Prologue by J. Eduard Beneyto I Mateu.
Next, the author develops a set of topics necessary to understand the musical history of the book: historical background, use of double reed instruments, percussion, sound symbol of the Maulets, musical iconography, prohibitions in festivals and in music, musical ripostra, participation of Estrela Roja of Benimaclet in the Miquelets of the Kingdom of Valencia, other scores, musical and historical chronology and conclusion.
And I won’t say anything more about it because Ferran Navarro tells it much better in the book than I do…
That’s why I would like, after speaking to us himself, if you would let me ask you some questions. As a kind of «appetizer» of everything you want to know:
Why did you feel the need to write the book?
What characterizes you musically?
How did the project come about and how did it evolve?
Why has it been considered exceptional?
Who has participated?

I will introduce the presenter of the book, the poet Maria Fullana, and, very briefly, its author, Rafel Sena.

Text of my presentation: http://presentation_of_the_book_els_noms_dels_carrers_de_la_ciutat_de_valència_entre_la_història_i_la_política_by_rafel_sena

On this occasion, the usual hours will be from 4:00 p.m. To 6:00 p.m. every other Friday. Any changes will be announced in good time.
This is the continuation of the Workshop that began in the last quarter of 2023. The new participants have been provided with all the material from that first Workshop.
There are three new members within the group and everybody is eager to work.

THEORY
First session:
The Point of View (POV) in first person: simple, multiple, and peripheral vision or narrator-witness.
The third-person POV: a single vision.

Second session:
The third-person POV: multiple vision.
The third-person POV: the omniscient narrator.
The third-person POV: the objective narrator.
The POV in second-person.
Narrative distance: emotional and temporal.
How to properly choose the POV.

Third session: description
The five senses.
Precision.
The most appropriate words.
Tricks of the trade.
The significant details.
The descriptive traps.
Description of inner life.

Fourth session: dialogue.
Explained dialogue.
The illusion of reality.
The conventions of dialogue.
The notes.
Indirect dialogue.
The dialogue and the characters.
The subtext.
The bad dialogues.
The dialects.

Fifth session: setting and rhythm
The place.
Time.
Stage the mood.
The setting and the characters.
Stage the details.
The reality of the scene.
The rhythm of time.
The flashback.

Sixth session: the voice
Voice types.
Colloquial voice.
Informal voice.
Formal voice.
Solemn voice.
Other voices.
Style.
Words.
Sentences.
Paragraphs.
Coherence.
Find your voice.

TASKS
First: get into the shoes of a character and write a first-person passage from the POV of someone walking to a mailbox to send a difficult letter or confess something terrible. That character must belong to a certain gender and be of a certain age. Next, do the same with another character of a different gender and different age than the first.
Second: write a passage from the POV of an informal narrator who distorts the facts. It may be misleading or deceptive. Readers should note that it is very unstable.
Third: imagine an incident in a highly frequented public place (supermarket, department store…). An employee argues with a customer. Describe that crash in the third person. Take into account the thoughts of those characters.

Fourth: go back to the discussion exercise in the department store and write a passage about the same incident from the saleswoman’s POV, and another from the customer’s POV. Who has the most interesting POV on this incident?
Fifth: using omniscient POV, write a scene at a wedding.
Sixth: use the objective POV in the wedding scene. What does the characters’ behavior reveal to us about their thoughts?
Seventh: choose any of the exercises done so far written from the first-person POV and now use the second-person POV.

Eighth: try to figure out the dramatic question of your favorite work of fiction.
Ninth: imagine a protagonist. Give them name, body and details. Imagine that you are pursuing an abstract objective and a concrete goal that works out.
Thenth: give your previous protagonist internal and external obstacles to achieve his goal. In the end, it creates a big dramatic question.
Eleventh: write a story with a protagonist. It must focus on the big question and have a beginning, middle and end, with climax, crisis and consequences. You should not exceed 500 words.
Twelfth: go through all the characters you've created, choose one, and find a great question for him. Then, imagine a runner and say where he goes and why. Focus on the climax.
Thirteenth: create a complete outline for a short story, short novel or a novel. It should begin with the protagonist leaving on a journey. The destination could be near or far, but the story must end when the protagonist reaches his destination or returns to the starting point. Develop an approach, a middle and and an end, a crisis, a climax and consequences.
Fouyrteenth: get into the skin or a character. Write in the first person a character who is going to send a difficult letter. Then, the same thing about another character. They must be of a different gender or differrent ages.
Fifteenth: write a fragment from the POV of an informal narrator who distorts the facts. This is a very unstable character.
Sixteenth: tells of an incident in a department store between a salesperson and a customer. Use the third-person single vision POV that relates those events.
Seventeenth: write the story of the discussion from the seller's POV.
Eighteenth: write the story of the discussion from the customer's POV.
Nineteenth: write a wedding scene from the omniscient POV.
Twentieth: now use the target POV. As if you were a journalist.
Twenty-first: choose any story of yours written in first person and now use the POV in second person.
Twenty-second: think of some place from your youth that you know well. Write a story describing it in detail. If you don't remember many, use your imagination. You can ask someone who remembers it better.
Twenty-third: choose someone you know. Rename it and add new features. Don't use a single adjective or adverb. Use verbs and nouns…
Twenty-fourth: write a story using simile, metaphor, lyricism, alliteration, onomatopoeia and synesthesia.
Twenty-fifth: choose a significant detail from the previous story. Review the entire story paying attention only to that detail. Let the description be neither long nor overloaded, but rather brief and effective.
Twenty-sixth: describes a housewife. From his POV she relates a description. That she is in love and that emotions colors the description.
Twenty-seventh: the same character from the previous story must have broken off a love relationship.
Twenty-eight: write down a conversation you had recently. Try to be very faithful. Write it all down. Pretend you're transcribing it from a recording. Write the name of the character and, next to it, what they said. Then, write it as if it were a literary story.
Twenty-ninth: adds paragraphs and notes to the second dialogue of the previous exercise.
Thirtieth: summarize the previous dialogue in a story. It reflects the facts, hints at the personalities, the tension…
Thirty-first: a person stops to get gas and a dialogue begins with the employee. The customer must be very uptight and the employee must be very lonely and want to chat.
Thirty-second: write a story with a partner. Describe them. One of them suspects that the other has been unfaithful and the other feels guilty. Let them have a dialogue in which suspicion does not give way to saying exactly what they think. It could be during dinner.

Click here https://www.bibliotecaspublicas.es/godelleta/Actividades/ESCRITURA-CREATIVA.html

From de GODELLETA PUBLIC LIBRARY, we are preparing the SECOND CREATIVE WRITING WORKSHOP.
For those of you who were not in the first one, don’t worry: you will be provided with everything you need to catch up right away.

WHEN AND WHERE
In the Godelleta Public Library.
Every other Friday, from 4:00 p.m. to 6:00 p.m.

DO I HAVE TO PAY SOMETHING?
No: it is subsidized by the Godelleta Public Library.

WHAT CAN YOU WRITE DURING THE FIRST QUARTER OF 2024?
A personal diary, which has become so fashionable. Of course, it can be invented…
Write down your dreams.
Write a page every day in the morning.
Invent a story.
Any personal idea will be well received.

WHY JOIN A CREATIVE WRITING WORKSHOP?
To write a story.
To write a novel.
To express ourselves in a different way than usual: telephone, WhatsApp, Telegram, Social Networks…

IS IT NECESSARY TO KNOW HOW TO WRITE TO ENTER A WORKSHOP?
¡NOOOOO!
They guide you in everything.
You can let yourself go if you want.
You learn to think beautifully…

WHAT IS DONE IN A CREATIVE WRITING WORKSHOP?
Participate by writing and sharing.
Create with other people a privileged space that favors creation and friendship.
Learn from your colleagues and from life by sharing your writings.
Love writing, listening and reading.
Exchange doubts and insecurities and tame the ego.
Share passions, hobbies, anxieties, and obsessions with other people through writing.
Learn to distinguish good from bad and deep from superficial.
Tolerate criticism.

WHAT OBSTACLES APPEAR AND HOW TO OVERCOME THEM?
OBSTACLES:
Want to learn to write quickly. You come to enjoy yourself, not to suffer.
The lack of criticism: you don’t have to accept everything they tell you as good.
OVERCOMING:
Through shared discoveries and debate among colleagues.
WHAT DOES THE WORKSHOP COORDINATOR DO?
Since she is a writer like you, although with a few more good and bad experiences, she comes to share them with you, NOT to teach you how to write.
Challenge you, encourage you and share with you what you have learned and experienced.
Respect your voice and your stile.
Put a mirror in front of you so you can look at yourself in it.

IS THERE ANY PRIZE AT THE END?
Yes: publish the stories of all participants in an anthology.

CAN FOREIGNERS REGISTER?
Of course: it’s a way to practice in another language and with your colleagues.

HOW CAN I REGISTER?
Writing to biblioteca@godelleta.es

For the second consecutive year, Carcaixent (Valencian Community) has celebrated a cultural week that inclues all aspects related to the cultivation of oranges, of which it is a pioneer in Europe. In addition to the heritage, which includes the architectural.

Web http://www.bressoldelataronja.es

Article https://www.levante-emv.com/ribera/2023/12/15/expertos-abogan-vender-naranjas-patrimonio-cultural-95900358.html

Video https://youtu.be/WdTitnm1AWc

Last October 6, at 5:00 p.m., we started a Creative Writing Workshop promoted by the very active librarian Maite Picó and sponsored by the Most Excellent Godelleta City Council.
Two sessions per month were planned, on alternate Fridays, and it is as follows: October 6 and 20, November 3 and 17, and December 1 and 15.
Currently, there are eight “creative workshops”, who have focused primarily on short stories, although they have had and have absolute freedom when choosing which literary genre they prefer to develop.
I was delighted to accept the proposal that the librarian made to me and all of us who participated are working enthusiastically.

SESSIONS

In the first session we focused on answering a series of questions related to our interest in creative writing and I already began to teach theory, in addition to indicating tasks to be carried out during the following 15 days.

In the second session, the work carried out was shown, as well as issues that were considered important to highlight and doubts that arose. Theory was expanded and homework was written down for the third session.

In the third session, the workshop leaders already brought prepared stories. More than one per workshop owner. Meanwhile, we advanced in theory and were writing down tasks to do for the following sessions. Doubts and different options arose.

In the fourth session, each workshop participant chooses the stories they will write over 15 days to be read publicly on Friday and advances in theory. More and more tasks are being written down to carry out at home.

In the fifth session there were several activities carried out by each of the workshop participants: choose a passage from your favorite author and talk about it; choose a protagonist and apply an intense desire to him to encourage him to act; assigning a character with negative characteristics some positive quality to enhance a multiple dimension; take back the protagonist with intense desire and assign him two opposite traits; create a passage in which something happens to said protagonist that enhances and, at the same time, neutralizes the desire that was applied to him.

In the sixth session, the activities developed by all the workshop participants were three.
The first one go out into the street and observe someone you don’t know at all or know little about. If possible, talk to him, take mental or written notes and fill in the gaps created by the theory questions. It is clear that most of them are invented.
The second one take back the character about whom you answered the questionnaire, place that fictional person in the world and let it show itself. Imagine that you enter a certain place, such as an office or a consultation room, and write a passage in which you are described through what you do, say, look and think. It would be interesting to put him in a stressful situation and see how he reacts.
The third one is to go to a social network, open it and write down a name. Make that person the protagonist and think about what they can really be like. You can also try to fit the character into the chosen name. Let the mind form an image and write down the details of that character.

THEORY EXPLAINED
First session:
Definition of stories and their evolution.
Indicate some stories and notable authors in that genre.
Structures and styles of stories.
Offer titles and authors for workshop participants to read.
Distinction between novel, novella and short story.
Origin of the word “story”.
Different definitions of a story.
History of short stories.
Similar subgenres: example, fable, allegory, parable, bestiary, lai, fabliau, sketch, anecdote, yarn, fantastic story.

Second session:
The beginner's mind, pen and paper.
The first thoughts.
Writing as practice.
Make the compost.
Artistic stability.

Third session:
Definition of “fiction”.
Literary and genre fiction.
List of the best works of fiction in universal literature.
Ideas as the initial nucleus of a fragment and, then, of a story.
Where to look for ideas that will create stories.
Establish a well-defined daily writing schedule.
Types of writing schedules: writing and thinking.
The creator and the censor in every writer.

Fourth session:
Promising ideas + hard work + craft.
How to earn a job.
Is it necessary to publish what is written?
There are people who write because they want to, they don't need to publish.
The “journaling”.
The characters: how to create good characters.
Desire as a motor of action.
Human complexity must be transmitted to the character.
The character must present opposite traits and have the ability to change and talk about it in a coherent way.
Where do we get our characters from?
Try to know your characters deeply.

Fifth session:
Get to know the characters in the written story in depth through their appearance, background, personality, primary identity and asking questions about them and their daily lives.
Choose the type of characters for the story: protagonists, prominent characters, secondary characters, and antagonists.
Presentation of the characters through descriptions and narration of their actions.
Way of showing the traits of a character, their actions, their way of speaking, their appearance, their thoughts, and a combination of all the methods mentioned.
The choice of significant details that define the characters and the exclusion of superfluous ones.
The choice of names for the characters.

Sixth session:

Plot features.
The big question that is answered at the end of the story.
Characteristics of the protagonist.
The objective of the characters.
The conflict.
Plot structure: approach, middle and end.
Plot in the novel and in the story.
Subplots.
Development in different ways.

Video FROM INSIDE The Albufera: https://youtube.com/shorts/qvBp4XaO8Xg?si=0VYfOMiJnn7sIiGt

THE LAGOON AND CARING FOR THE ENVIRONMENT

(text by Juan Solbes)

If this book shows us anything about La Albufera de Valencia, DESDE DENTRO is the importance of Nature in our lives and the need to take care of those who take care of us, to love those who love us, and to be with those who are with us.

I don't know when human beings turned their backs on Nature. I also can't understand why we cut down the trees that convert our garbage and our bodily waste into oxygen to live and to build niches and houses that we will inhabit only 15 days a year.

Nor am I able to justify how human beings destroy the natural landscapes that give them Life, fill them with waste, kill them or clog them, and believe that we are above everything that exists around us.

And that is what this book is about in which the Albufera tells us, with a certain innocence but a lot of attitude, the wonder and how beautiful it is to live in the middle of Nature and enjoy its beauty. That is what has led us all to fall in love with her throughout all the pages and images of the book.

But if the beauty of the Albufera is captured on each page with images where it shows itself and its entire surroundings, what it does want to convey to us with each turn of the page is the need to make decisions to recover everything that as a society we have destroyed.

Recover transparency.

Recover life in its depths, its plants, and iths inhabitants...

Recover the joy of being able to feel how we bathe every day in its waters...

Because life is only life when we enjoy it, with health and with desire. Sick e cannot enjoy anything.

Recover transparency. Let Nature heal itself without human beings intervening. Or that we intervene helping this process to be carried out in a simple and natural way.

And we are already doing it in the “Tancat de la Pipa”, in the tancats of L'Illa and Milia, where some spaces have been recovered and some native species have been planted through which we let the water of the Albufera flow so that it become cleaner and more transparent, that the waters that we have dirty throughout its life are purified.

An exemple of becoming aware is the importance of taking care of Nature, through any expression it manifests. That our little ones can understand that the best way to love is to love and respect the other, even if the other is a lagoon in the middle of rice fields...

We have an opportunity to tell everyone, to tell, to shout, to sing... that to save the planet we must leave it alone, respect it and not dirty it, that we must work to preserve and clean our home. To have the best water and the best air to breathe...

This book only tells us abouyt the beauty and satisfaction that caring for those who care for us can give us human beings...

Caring for Nature in all its expressions.

Live respecting the environements.

Enjoy everything we have in health.

And Thank you for being able to contribute from here and today to putting an end to so much disregard towards Mother Nature in its expression through the Albufera of Valencia.

Saturday 28, David Quiles, Mayor of Geldo, chosen Cultural City of the Valencian Community in 2023, will present my book, Amores Viajeros (Traveling Loves), and the wonderful wines of José Arenes Vicente. We will talk about love, travel, wine and gastronomy. Mike & Mona will liven up the evening. I will raffle a watercolor among those who want to buy Amores Viajeros and José Arenes will guide us in a tasting through the secrets of his wines.
Afterwards, for those who want to continue in good company, there is a tasting dinner at the Balú Bar.

Video of the event: https://youtu.be/JbfxT7Ptc1M?si=BZyqVZMkKlRYqTBV

EDIBLE PLANTS AROUND US
Walk througn Carcaixent. On Sunday, 2013 / 10 / 22. From 10:00 to 13:00.
The “Wild Edible Plants” workshop, given by the expert and pedagogue Antoni Orengo, has shown us a handful of plants that grow freely in our fields and mountains and that we can use to cook and benefit from: health, aromes, beauty…
This activity consists of:
• A guided tour through the fields of the municipal territory with collection of different plants.
• Tasting of cakes and “coques” previously made with these products.
I havent taken photograhs of those plants that our expert has focused on the most.