Fragmented bones of the Lucy fossil will leave Ethiopia for display in Europe.

▲ Framed skeleton on display at the Natural History Museum of Ethiopia in Addis Ababa. Photo Ap

Ap

La Jornada Newspaper, Saturday, August 16, 2025, p. 4

Ethiopia. The fossil of the human ancestor known as Lucy has left Ethiopia to be displayed in a European museum, Ethiopian national media reported Friday, citing Tourism Minister Selamawit Kassa.

Lucy 's skeleton, which is 40 percent complete, left Ethiopia on Friday and will be on display at Prague's National Museum for about two months.

Lucy was recovered in Ethiopia in 1974, in what was once an ancient lake, near fossilized crocodile remains, turtle eggs, and crab claws. She belonged to Australopithecus afarensis , an early human species that lived in Africa approximately 4 to 3 million years ago.

This is Lucy 's second trip outside Ethiopia. The first was in 2013, when she toured the United States.

Lucy 's fragmented bones will be displayed alongside Selam , the fossil of an Australopithecus infant that is about 100,000 years older than Lucy and was discovered in the same region 25 years later.

“As an iconic specimen, it belongs to everyone, so sharing it with the rest of humanity is something everyone would love to see,” said Yohannes Haile-Selassie, director of the Institute of Human Origins at Arizona State University.

Although many experts believe Lucy 's trip to Europe represents a unique opportunity for Europeans and visitors from other parts of the world, there are safety concerns about the transport of her fragile bones.

“ Lucy ’s fragmented bones are truly unique and require the utmost care. Traveling to Europe has its own risks,” noted Gidey Gebreegziabher, an archaeologist and doctoral candidate at the University of Warsaw, Poland. “She will also be exposed to different climatic conditions, which could negatively impact her preservation.”

▲ Representation of the hominid Lucy on display at the Natural History Museum of Ethiopia in Addis Ababa. Photo AP

Even in Ethiopia, the public has rarely seen the real Lucy fossil. A replica is on display at the National Museum of Ethiopia, while the real remains are kept in a secure vault.

“I’ve seen how she was packaged, so I no longer have any concerns about anything happening to Lucy ,” Yohannes said.

The fossil's discreet release on Thursday night also raises questions about transparency, as many Ethiopians—who are proud of it—were unaware it would be traveling to Europe.

“It’s unbelievable! The government seems to be deliberately excluding its own people from the narrative of its own heritage,” said Gidey Gebreegziabher.

Bekele Reta, 43, a resident who lives just 50 meters from the museum that houses Lucy , was unaware of her departure until he saw it on social media. “I found out this morning on Facebook that she left for Prague. It's unfortunate that most Ethiopians only get the chance to see her displayed elsewhere,” he said.

Earlier this year, Michal Lukeš, director general of the National Museum of the Czech Republic, issued a statement announcing the exhibition of Lucy and Selam , expressing his gratitude to the Ethiopians for agreeing to “lend” the remains.

Lukeš said: “These invaluable exhibits give us a unique insight into the past and deepen our understanding of the roots of humanity.”

Eirinet Gómez

La Jornada Newspaper, Saturday, August 16, 2025, p. 4

The fourth edition of the "Ex-Céntricas: Feminine Cultural Capitals in the Mexican Stage" event, organized by the Rodolfo Usigli National Center for Theater Research, Documentation, and Information (Citru), is dedicated to presenting the archives of various female stage creators. This year, the figure of María Luisa Ocampo, a Guerrero playwright and cultural promoter who spearheaded the theatrical movement La Comedia Mexicana, stands out.

"The androcentric tendency has made it seem as if men are the only producers of culture in the country. The goal is to highlight women creators and their contributions," said Edith Ibarra, a researcher at Citru and curator of the Ex-Céntricas event.

The event will take place on Wednesday, August 20, starting at 10:00 a.m., in the Aula Magna of the National Center for the Arts (Cenart). It will feature three roundtable discussions: the presentation of the book "Stories that Elaborate Memory: Archives of Creative Women in the Mexican Theater Scene "; a discussion about María Luisa Ocampo; and a presentation of a methodology for rescuing and "activating" archives.

The book, the result of research by Citru, brings together the collections of five artists: Esperanza Iris, Graciela Castillo, Félida Medina, Aída Guevara, and María Luisa Ocampo. It includes a description of each archive and the testimony of the researchers who worked on them.

"The idea is to show how a woman observes another creator, what she tells her, what her archive tells her," Ibarra said. The work will be available for free consultation in the INBAL repository.

The second panel will present the findings from the archive of María Luisa Ocampo, "the only playwright who wrote about euthanasia and who articulated a national theater in the post-revolutionary era. From an androcentric perspective, we talk about a father of Mexican theater, but not about the women who participated," the curator emphasized.

The third panel will address strategies for disseminating and bringing archives to life through social media and artificial intelligence, so they can be consulted and studied.

Ex-Céntricas, which began in 2021, dedicated its first broadcast to reflecting on the strategies adopted by female stage creators to produce text and performance. Subsequent editions recognized the careers of Olga Martha Peña Doria, a researcher at the University of Guadalajara, and Jacqueline Bixler, a researcher at Virginia Tech and a scholar of theater in Mexico.

The event will be broadcast live on the CENART Interface website. "We call on young women and students to come and learn about the work of other women, and invite more people to join us," she concluded.

▲ The Pasatono Orchestra and the Tierra Mestiza Ensemble (right) will perform at the Nezahualcóyotl Hall on September 6 and at the Simón Bolívar Amphitheater on September 21, respectively. Photo: Annete Pérez and Eduardo Baltezer

Angel Vargas

La Jornada Newspaper, Saturday, August 16, 2025, p. 5

Music is an instrument of peace and social cohesion, said Mixtec musician Rubén Luengas, director of Pasatono Orchestra, when describing how in the Sierra de Oaxaca, people seal alliances through the gozona , a musical exchange where “I bring a band to your party and then you return the gift.”

This is the philosophy that guides the participation of this Oaxacan musical project in World Music , a series organized by the National Autonomous University of Mexico (UNAM) that will bring together six groups from Mexico, Argentina, and Poland from September 6 to October 5.

Behind this initiative is the intention to build bridges between roots and modernity, but also to open institutional spaces and concert halls dedicated to academic or classical music to traditional music or works inspired by those territories.

"It's very important to establish a dialogue between concert music and music rooted in the roots," emphasized composer José Julio Díaz Infante, head of the UNAM Music Department, when announcing the program for the series at a press conference yesterday. This program is part of the First National Week of a Culture of Peace at the country's leading educational institution.

In addition to Pasatono Orchestra, which will inaugurate this concert series with its debut at the Nezahualcóyotl Hall on September 6, the lineup includes the Tierra Mestiza Ensemble, also from Mexico, which will celebrate its 20th anniversary on September 13 at the Carlos Chávez Hall. On September 14, the Coral Meridies studio from Argentina will perform at the Simón Bolívar Amphitheater, a venue that will host the Polish children's choir Don-Diri-Don on the 21st.

With a proposal that blends Celtic, Scandinavian, Balkan, son jarocho, and jazz music, the Mexican ensemble Basasa will offer a free concert at Las Islas de CU, while Los Viudos de Piazzolla, a quartet led by bandoneon player César Olguín, will bring their classic and contemporary tango to the Simón Bolívar Amphitheater on October 5.

Díaz Infante emphasized that all these groups, in their respective fields and through their repertoires, have done significant work in raising awareness of tradition to the public, as well as how it evolves and interacts with modernity.

“The fact that all the concerts in the series feature newly created music is an essential message, because ultimately, that's what keeps any expression alive. Of course, the entire field of research from every angle is very important: musicological, ethnomusicological, anthropological, but ultimately, these musics aren't museum expressions: they're living music,” he emphasized.

“It's music of our time, contemporary, but rooted in its roots. That's very important: that the public can experience all these new creations and make them their own, request more of them, and seek to ensure that institutional spaces, festivals, and other venues become increasingly open to these proposals. That's what will keep our music alive and evolving.”

The fact that this series is part of UNAM's First National Week of a Culture of Peace has a profound significance for composer Gerardo Tamez, director of the Tierra Mestiza Ensemble and recent recipient of the 2024 National Prize for Arts and Literature.

"It's very important because we're past those times when it was necessary to search for an identity to see where we came from. I'm referring specifically to the era of nationalism, which was certainly justified, but is no longer appropriate for our times," he reflected.

Invitation to shake hands

Today, he added, we understand that seemingly alien cultures also belong to us: “It's part of a global understanding. We don't need to create nationalisms, be gregarious societies, isolate ourselves, or be chauvinistic. It's a time when the world has to catch up with itself.”

In this regard, Rubén Luengas emphasized that Pasatono Orchestra's proposal is an invitation to reflection, analysis, and, "above all, to extend a hand" through a musical invitation.

"Beyond the official projects, which can help, we see, from the perspective of the community and the reality of the people, how music is a peacemaker and a method of social cohesion," he stated, citing the example of the "gozona" (a type of dance).

After celebrating the opening of UNAM and the Nezahualcóyotl Hall to this type of musical proposal, the composer and researcher agreed with Díaz Infante on the importance of dialogue as a factor in promoting rapprochement, not only between genres, eras, and musical proposals, but also in human and social terms to build peace.

“For the cultures of Oaxaca, words are very important, and they are found in many languages, which we interpret as music. In fact, we have a work for orchestra and tonal language, Palabra Sagrada , in which language is used as the main material for the music,” he added.

"In the villages, as our elders used to say, the only thing we have and the most important thing is the word we speak. It establishes dialogue, and through it, we can build peace, communion, and social cohesion."

Regarding his group's proposal, which will celebrate its 27th anniversary on September 4, the Mixtec musician defined it as "a kind of musical grammar," given that its members come from different indigenous communities in Oaxaca.

This grammar "is expressed through Triqui, Zapotec, and Mixe thought, with distinct ways of understanding the world and the musical universe of each of these cultures. Oaxaca is one of the most musically diverse places in Mexico, and that is expressed in this musical language that we are going to share now."

Regarding her debut concert at the Nezahualcóyotl Hall, she indicated that it will be titled Migrante 27: Music of Migration, Exile and Transhumance , "because we are going to engage in a series of stories through music that have to do with these themes, in addition to including a repertoire about peace, something so important and necessary for our country, our region and our entity."

He added: “We are suddenly very surprised by the genocides and wars in other countries, but we rarely reflect on what is happening in our own territory. I'm talking about my region, Oaxaca, the Mixteca region, the Triqui region, where violence is a daily occurrence. One of our members, a traditional singer, had to flee his homeland because social movements can be very strong and violent.”

More information about the concerts can be found at https://musica.unam.mx.