The song La hora de volvé by Rita Indiana & Los Misterios plays
Point 5: We are the relationships that constitute us, something of our own life is curtailed when other lives and environments are destroyed. Being aware of different communities that make up a society will allow us to build management structures of collective power in interrelation. The conditions that allow the Tiempo de Zafra collective to exist in the Dominican cultural ecosystem are not exceptional or a fortuitous result, but rather the result of the continuity and evolution of ideas that are anchored in the late 1990s. Also, more intensely during the early 2000s, when contemporary art practice in the Dominican Republic began redefining the roles and fields of action of aesthetic art in contexts like this, particularly with the La Vaina Collective and Shampoo Collective projects.
Point 6: The La Vaina collective, at that time, was made up of students from the Autonomous University of Santo Domingo, today most of them artists with research in different fields of aesthetic thought: Eddy Núñez, Engel Leonardo, Farah Paredes, Fernando Soriano, Ivory Núñez, Karmadavis, Sayuri Guzmán, Virginia Perdomo and Willian Ramírez. La Vaina was established in the city of Santo Domingo in 2000 along with the magazine of the same name. The publication was created in response to the lack of independent, critical and experimental cultural print media and functioned as an exhibition space in editorial format with works by artists, writers and musicians of the city’s then emergent cultural community. Each edition—seven in total—was accompanied by events, performances and installations that were connected to its central theme. For the magazine’s last edition, published in 2005 in the context of Santo Domingo’s International Book Fair, La Vaina produced a bestseller: El Matatain (The Time Killer). The format that had the highest sales records at said Fair was the Time Killers. It was through El Matatain that the collective brought to the public space the first reflections based on contemporary aesthetic thought in relation to the origins and connections between the dictatorial processes of the former Dominican presidents Rafael Trujillo and Joaquín Balaguer and their direct impact on the Dominican present.