Poesía en las Lenguas de América en homenaje a Carlos Montemayor

 “Cuando muere una lengua,
Ya muchas han muerto
Y muchas pueden morir.
Espejos para siempre quebrados,
Sombra de voces
Para siempre acalladas:
La humanidad se empobrece”

 “Cuando muere una lengua” (Fragmento), Miguel  León-Portilla

Carlos-Montemayor(Mex) A 518 años del inicio del choque sangriento y cultural de la raza hispana con los pueblos originarios del “Nuevo Mundo” de Mesoamérica, en el que convergían, convivían y luchaban cientos de culturas emparentadas, y en donde sólo quedaron las “Venas abiertas de América” y la mezcolanza racial que daría la “Raza Cósmica”, se celebró el IV Festival de Poesía Las lenguas de América.

 A pesar de que casi no “hay nada que festejar”, ya que sólo hubo cerrazón, incomprensión y masacre sobre la Madre Tierra y  la humanidad, cultura y creencias de los pueblos indígenas que la habitaban; aún quedan 364 variantes lingüísticas vivas en nuestro continente y ello, dio pie a una fiesta de palabras. 

 La hora estaba acordada, se tenía que llegar una hora antes para no quedarse fuera de la Sala Nezahualcóyotl del Centro Cultural Universitario de la UNAM. La cola cruzaba todo el CCU. Se tenía que subir escaleras y caminar frente al Museo de Arte Contemporáneo y dar la vuelta como si fueras de regreso. No tardamos más de media hora en ingresar. 

La imagen iluminada de Montemayor, la cual parecía adquirir vida a cada soplo de viento entre cascadas de palabras sol de luna: ya que la “poesía son las lenguas”; “para los colonizadores, la raza –cultura- es una justificación de dominio; para los colonizados, es una resistencia”, dice Marco Rascón en La Jornada por el llamado Día de la Raza.

 Ante el reciente fallecimiento de su fundador, el escritor Carlos Montemayor, se decidió que oficialmente dicho festival se llamará “Festival de Poesía Las lenguas de América Carlos Montemayor y, se celebrará de manera bianual”, explicó José del Val, Director del Programa Universitario México, Nación Multicultural (PUMC), quien enfatizó su amistad y admiración por Montemayor.

 El recinto, sublime espacio para el canto poético de los invitados de carácter multicultural, estaba colmado por miles de asistentes que serían conducidos por dos poetisas zapotecas. Natalia Toledo e Irma Pineda, quienes también leyeron sus cantos.

Dicho festival nació en 2004 a partir de los talleres del poeta, narrador, cantante, humanista y ensayista, Carlos Montemayor (1947-2010) con la intención de buscar el “reconocimiento de las lenguas originarias en la literatura contemporánea, sin omitir las cuatro lenguas europeas del continente” americano: francés, inglés, español y portugués.

 “En este día con la casa llena de estudiantes de la UNAM quiero evocar a Carlos Montemayor, traer a la memoria a un hombre del Renacimiento, que estudió Derecho, Lenguas Clásicas, conoció el griego y el latín, el náhuatl, inglés, francés…y cojeábamos del mismo pie: el de los pueblos indígenas y la defensa de sus derechos. Se ejercitó en el arte de escribir, pero cantaba ópera muy bien, que hubiera podido vivir de cantar…no se dio reposo: creó los primero talleres de escritores indígenas. Gracias a él, tenemos este festival de lenguas, ya que el inicio de esta reunión fue idea suya, por eso, México se empobreció. Era un luchador decidido que defendió los Acuerdos de San Andrés Larráizar… Nos dio un gran obsequio, acercarnos a los pueblos indígenas. 

“Leeré un poema que leí en aquella ocasión ‘Cuando muere una lengua’” expresó el antropólogo León-Portilla, quien abrió la fiesta de las lenguas.

Enseguida se leyó Parral (comunidad chihuahuense en donde nació y fueron depositadas sus cenizas de Montemayor Aceves) del autor de Guerra en el Paraíso en lengua náhuatl y enseguida en español. Su voz rebotó en las paredes de acústico lugar y nuestra memoria.

 “Mi collar de palabras, para mi hermano Montemayor, tú que portas la pluma sagrada”, improviso la poetisa huichola, Angélica Ortiz, quien dijo estar llorando en la “tierra de Venado, Viricota”.

Por su parte el peruano Odi Gonzáles (quechua, Perú), entono sus poesías armónicamente, porque el quechua es una lengua muy melodiosa que resbala lentamente por los sentidos llevándote por senderos de ensueño cercanos a la madre naturaleza.

Así también el canadiense Albert Moritz (inglés, Canadá) con su poética bucólica ahondo en la importancia de las palabras con su poema “Una historia natural de las palabras, que fue traducido por la poeta Silvia Prat.

Elicura Chihuailaf (mapuche, Chile), poetisa que ha traducido varias canciones de Víctor Jara al mapuche, exhortó a los oyente a pensar si “La poesía no sirve para nada” en un pueblo que ha “perdido el habla”.

Después Irma Pineda colmo con su boca musical el recinto que no dejaba de aplaudir entre poema y poema como deseando agradecer las bellas palabras del cenzontle que volaban entre los suspiros de los escuchas.

Presentándose en un español mocho pero comprensible, Paul Bélanger (francés, Canadá), que fue traducido nuevamente por Prat, se disculpo por “no hablar bien el español, ya que la “poesía habla todas las lenguas”, externo en su tono francés.

Briceida Cuevas (maya, México) demostró que la poesía es un arte que sigue en el agrado de las personas, ya que al ser anunciada los aplauso retumbaron entre las arquitectura acústica de la Sala y canto “Orígenes”, poema en donde relaciona el nacimiento con el fútbol.

Por su parte el brasileño Lêdo Ivo (portugués, Brasil) dedicó su poesía a Carlos Montemayor quien tradujo uno de sus libros. Leyó “Los pobre de los autobuses”, “Mi patria” y “El ratón de la sacristía”.

Prosiguió Natalia Toledo (Juchitán, Oaxaca), quien a parte de conducir leyó excelentemente sus palabras hiladas entre las montañas de su imaginación y las costas de su pueblo.

Enseguida el “mestro” –como algunos gritos del público delató- Natalio Hernández (Nahua, Veracruz), de igual manera dedico sus cantos a Montemayor: “Enigma”, “Yo me pregunto”, entre otros.

De igual manera, la perodista guaraní, Susy Delgado, cantó el “Tacum, Tacum, suena el tambor”, melodías que cantan los guaranís en sus rituales, mostrando porque esta lengua es una de las más admiradas por su tonalidad y remembranza al canto de la selva.

“Así como cambio mis lentes me gustaría cambiar mi cuerpo”, sentenció en tono burlesco el maestro Hugo Gutierrez Vega, que dejaba ver el paso del tiempo en sus movimientos que no mermaron la belleza y profundidad de sus palabras que dedico a su “hermano Carlos Montemayor”, para cerrar con su Oda de Burrón” y clausurar la hecatombe poetica que retumbaran en el recuerdo de su fundador, el maestro Carlos Montemayor., quien ahora puede descansar en paz pues su obra a dado pie a la hermandad de las lenguas.

RL

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