The date Patoruzito was born and the documentaries for the Cultural Diversity Day

His strips were drawn by Tulio Lovato with scripts by Mirco Repetto and they recounted the adventures of the noble and brave indigenous boy who faced thieves, bad Indians, rustlers, ambitious foreigners and swindlers, generally determined to steal the lands he had inherited from his father, the chief Patoruzek.

His personality was opposed to that of his friend Isidorito , who would become with the passage of time his godfather, symbol of a prototypical Buenos Aires vividness and mischief.

Patoruzito had a close friendship with Isidorito, a spoiled, vain, selfish, spoiled, capricious child, a bad student and, sometimes, a Guarango.

Isidorito’s vices were various, especially cigarettes, which would cost him more than a slap on the part of the young cacique who, despite that, gave him shelter and protection.

Among the “baddies” of the strip was the tricky and sly sorcerer Chiquizuel and his lazy grandson Chupamiel , a boy who wore a kind of fluff, never parted with his jar of honey and licked his fingers.

Patoruzito rode his Pamperito horse and had as a nurse a woman with a stern face, braids, distrustful and few fleas: the Chacha Mama , who fed him with empanadas.

Other characters in the strip were Ñancul , in front of the ranch next to Chacha, the paunchy Hope , younger brother and baby, from Patoruzito; and Isidorito’s uncle, the Captain Cannons , dressed in old-fashioned military uniform.


Patoruzito had his Appearance on television in 1988, on Channel 2 of La Plata (Argentina). A There was a daily broadcast of an animated short starring Patoruzito, Isidorito and Pamperito, with the function of marking the end of the child protection schedule.

In 2006, 20 minutes of cartoons of the same characters were broadcast through the Cartoon Networks cable channel (for all of Latin America).

And it also made it to short films and movies, but with little success. In 1996 a 1 and a half minute video was produced by the Aguafí production company, called “El cazador”. The pilot was made for character study and presentation at international festivals. Finally the project did not prosper.

In 1999, the production of a feature film had been started by the Patagonik Group, with a technical team headed by Franco Vittolo. The story told a legend that involved four feathers that, when they disappeared, would bring misfortune to the Indians, but the project did not have continuity either.

On July 8, 2004 the film Patoruzito was released , with executive production by Juan Buscaini and direction by José Luis Massa, at a cost of 3 million dollars and with musical input from L os Nocheros, León Gieco and the group La Mosca.

The indiecito participated in an epic and humorous adventure. The presence of the Maritime and Andean Patagonia, the meals, the mate, the parties, the gaucho skills and the native sounds were highlighted.

Cartoonists, animators, experts in digital imaging, editors, musicians and sound engineers worked on this film. Behind Patoruzito there were around 120 artists. The movie It has classic, creole and handmade cartoon, but there are also 3D digital imaging works.

Telluric and nationalist superhero

The telluric and nationalist superhero, Patoruzú, the character adult from Patoruzito, born in 1928 and it was from the 40s to the 50s, the icon of the popular Argentine comic strip.

He was referring to the “last of the Tehuelches”, whom the Spanish conquerors have seen at the time as giants endowed with prodigious strength.

It was one of the antecedents of superheroes created in the late 1930s, having superpowers like super speed and super strength.

Dante Quinterno introduced the future Patoruzú for the first time in a strip published in the newspaper Crítica , called “The Adventures of Don Gil Contento”. Quinterno had announced his arrival for two days by means of notices that Don Gil Contento adopted the Indian Curugua-Curiguagüiguá.

But the director of the newspaper suggested that he change the name to something more Creole and catchy. In the strip, the change is described by Gil Contento himself, who said that he would rename Patoruzú “because his name disjointed his jaws.” He also started out as a humble, taciturn and ignorant character who later became a powerful being.

The nationalism and racism manifested by the foreign characters earned criticism of the comic ; It has also been criticized for the stereotypical use of force and money as a solution to problems. And it has been seen to be close to the ideals of the military governments, from the 1930s strips – which ambiguously praised the José Uriburu coup against the constitutional government of Hipólito Yrigoyen – until the 1970s when the 1976-1983 dictatorship took it as homeland mascot.

In Rosario there was a bust of the character. It had been inaugurated on November 26, 1932, in the now defunct club Patoruzú Soccer Club (PFC, Campo de Deportes: Mendoza corner Brasil), work of the sculptor Erminio Blotta (1892-1976).

Tuesday of documentary cycle

From tomorrow, Tuesday 12 until Friday 15, always at 18, and as part of the Cultural Diversity Week , the cycle is launched “Coloniality, fiction and memory: conversation around the creation documentary”.

It is a cycle with talks organized by BienalSur, Transversal Content Program (Faculty of Humanities and Arts, UNR) and the Fontanarrosa Cultural Center, of San Martín 1080.

There will be four days in which they will be screened documentaries made by Rubén Plataneo, Valeria Mapelman, Alejandro Fernández Mouján and Pablo Romano. The cycle, which will be attended by the filmmakers and guests, and will end with a dialogue between the four filmmakers and the audience.

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You can participate in this cycle in person, with free admission and limited capacity: it will be in order of arrival, in the Hilarión Hernández Larguía Room (3rd floor). The documentaries will be available at the Cairo film official website (October 18 and 19)

Tuesday 12: Screening of “The great river”

David, a young rapper from Guinea known as Black Doh, stows away on overseas ships to the land of Maradona. In Africa his friends, his family and his mother remained, whom he did not see again. He records his first album with songs in Soussou, French and Spanish. Years later, his first album reaches his homeland. This is a film that travels between Argentina and Africa, reflecting routes and filial roots, clashes and meeting of cultures. Direction and Script: Rubén Plataneo / Presented: Rubén Chababo.

Wednesday 13: Screening of “Octubre Pilagá”

In October 1947, the second year of the first government of Juan Domingo Perón, in a place called La Bomba, in northern Argentina, hundreds of people belonging to the Pilagá people were murdered. The fear sown by the State covered the events with a blanket of silence. More than sixty years after the massacre, the survivors reveal details of what happened in a documentary that demanded more than three years of investigation from its director in the province of Formosa and in official archives. Direction and script: Valeria Mapelman / Presents: Claudia Gotta.

Thursday 14: Screening of “Damiana Kryggi”

In 1896, a 3-year-old Aché girl is captured after a massacre in the Paraguayan jungle. It becomes an object of study for anthropologists of the moment. More than 100 years later, his remains are found in the Museum of Natural Sciences of La Plata and the Hospital Charité in Berlin. Direction: Alejandro Fernández Mouján / Presents: Marcela Valdata.


Friday 15: Screening of “Longing for rebellion” and conversation about the creation documentary with the directors of the submitted documentaries.

On April 21, 1904, the town of San Javier was the scene of a confrontation between the Mocoví population and the Creoles and immigrants who inhabited the region. The event was the result of a long succession of conflicts between the aborigines and the “whites”, a process characterized by the marginalization and exploitation of the Mocovíes by European descendants. What today we can think of as a movement to demand the original settlers was conceived in its time as an “attack by Indians” and justified the repression that ended in a massacre. “Longing for rebellion” is a documentary about the memory of a massacre that occurred a hundred years ago and how the specters of that massacre haunt the spaces of the community. Direction, production and image: Pablo Romano.

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