Folk With Presence Bolivian Exhibit Chronicles Long, Rich History of Nationís Arts, Crafts by Heather Nalbone Boliviaís history is in many ways unsettling. After breaking from Spanish rule in 1825, much of its ensuing history consisted of a series of nearly 200 coups and countercoups. Since democratic rule was established in 1982, leaders have faced the difficult tribulations of deep-seated poverty, social unrest and drug production. In October of last year, the nation gained national recognition when a month of politically instigated riots and demonstrations led to food shortages and the death of some 60 people. Amid this developing countryís perils, however, is a culture whose rich creative spirit has stood firm through the generations. Boliviaís tradition of folk art is one of the inventive and resourceful approaches that have been passed down from the nationís indigenous communities for centuries. A sampling of the peopleís resourcefulness and imagination is available at the Inter-American Development Bankís Cultural Center, where a collection of dolls, costumes, masks, a spinning wheel and other house wares is currently on display. The crafts are both artistic and p ractical in nature, with the objective of illustrating the impact Boliviaís native cultures have had on both past and present folk art. A large back wall display shows visitors how the various influences evolved over time in the countryís different regions, beginning with historical cave paintings and ceramics in the lowlands and valleys. A catalogue accompanying the exhibit explains that understanding the folk art produced in Bolivia today requires tracing its evolution through history. The display located in the small but well-manicured portion of the Inter-American Development Bank building on New York Avenue does just that, by presenting objects created within a span of several centuries along with explanations of the natural materials used to produce them. Of the displayís 50-plus items, two boxes for coca leavesóone made of wood in the 18th century, another formed with silver during the 19th centuryóshow off the well-preserved carvings and detail that made them both visually pleasing and functional. Items not designed for everyday use in Bolivian folk art are generally intended for celebrations and ceremonies. A dance mask made in 1993 ("M·scara de Moreno") is an attention-grabbing, almost frightening, headdress of a man with a full white beard and oversize glowing eyes ready to pop out of their sockets. Pieces such as these are still produced in the countryís many cities to be worn or displayed at festivals coinciding with religious feast days, many of which incorporate dances of celebration for harvesting and other everyday activities. The Cultural Center is the brainchild of Inter-American Development Bank President Enrique Iglesias, who established the educational branch in 1992 as part of the quintessential celebration of the first encounter between Europe and the Americas. It is intended as a forum for discussion and showcases works from the organizationís 46 member countries. According to the centerís Web site, its special emphasis on Latin America and the Caribbean makes the center the only institution in Washington with a comprehensive program on cultural expressions from the region. In addition to art exhibits, concerts and lectures, the agency also finances innovative projects in Latin America and the Caribbean to promote community cultural development through technical training, conservation of cultural heritage and youth education. "Indigenous Presence in Bolivian Folk Art" runs through Nov. 19 at the Inter-American Development Bank Cultural Center, 1300 New York Ave., NW. For more information, please call (202) 623-3774 or visit www.iadb.org/cultural. Heather Nalbone is a contributing writer for The Washington Diplomat.