Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Dentro de la gran variedad de pueblos originarios en el Perú, hay uno sobre el cual se conoce poco: el pueblo Urarina o urarinaaürü, y lo mismo podemos decir de su lengua. Ubicado en territorios de la cuenca del río Chambira

The article reviews the representations of the Chilean youth in the “Unidad Popular” period in the film “Descomedidos y Chascones” (1973), one of the first documentary feature films that is focused into this historical subject. The cinematographic piece is analyzed according to the socio-historical implications that give it shape, that are determined by the election and presidency  of Salvador Allende; as well as the rise and development of the Escuela de Cine Experimental de la Universidad de Chile in the same period. On the other hand, an intertextual analysis is carried out to give account of the different representations and perceptions that are articulated through the interactive opposition of classes: the proletarian youth and the bourgeois youth. Also, in a series of style decisions that bet on narrative and cinematographic resources are discussed. These resources are inspired in mass culture, which seduce, but also challenge and disrupt the viewer perspective, with the aim of achieving a de-infantilized, critical reception, by generating a mobilizing experience. In conclusion, the work of Carlos Flores shows a point of view of great analytical value, both for the way in which Chilean youth is represented in the times of the Popular Unity in the film, as well as for its novel and original staging, which accounts for the political and aesthetic implications that will characterize fiction and non-fiction cinema of the time.

The context of the cold war was articulated around the confrontation between the United States and the Soviet Union. It is in this scenario that the Panzós massacre originated, which is part of the bloody recent history of Guatemala in the mid-20th century. Considering this historical context, this article aims to identify the artistic practice linked to the memory processes of traumatic events of the recent past, case study "Mural massacre of Panzós in Guatemala". To do this, consider the stories of artists and teachers at the Perquín School of Art and Open Workshop, El Salvador, who were convened from Guatemala by the Community Studies and Psychosocial Action Team (ECAP). The particularity of this artistic work lies in its makers. They are members of the Mayan-Q’eqchí community who were victims of the massacre. The results indicate that the participants in the mural involve a visual plastic narration that materializes the memories not only of the massacre, but of the history of Panzós. This work concludes that artistic practice is not only a representation of episodes, but that art can collaborate in the traumatic experiences of individuals.

The performing arts in general and dance in particular can be understood as dynamic territories, meeting spaces and co-creation of shared worlds. The objective of this article is to recognize the trajectories and emerging phenomena in the research processes carried out by three teachers from the Dance School of a university. The methodological approach of the investigation will be developed through autoenographies. The analysis of the investigation shows a perspective of the body, not only as a physiological unit capable of being trained to represent a certain choreography or narrative; but as corporeities, plural spaces where our experience of being in the world is embodied and updated, affecting and being affected by multiplicity of experiences and links. In conclusion, the research identifies dance as a discipline that can mobilize affects and corporations oriented to collaboration and democratic dialogue before the transmission of expert knowledge

The government of the Chilean Popular Unity (UP) (1970-1973) was an unprecedented experience for Latin American politics in the mid-20th century: it was a Marxist candidate, who assumed the government through a left-wing coalition, respecting the legality of the time and through the electoral route. The Chilean path to socialism is also a unique process in terms of its cultural dimensions. In this context, this article seeks to analyze the role that culture had in the experience known as the Allende days. For this, music and literature will be analyzed as historical sources. Among which are selected iconic songs from the UP and the work carried out by the Editorial Nacional Quimantú. We find that literature and music acquire a relevant role in the UP project, by assuming a social and political commitment, both cultural dimensions become fundamental supports of Salvador Allende's electoral campaign in 1970.

The importance of music education for the formation of Chilean girls and boys is crystallized in the presence of the subject of Music Education in the national curriculum. This article seeks to examine the current situation of music teaching in two multigrade basic schools, in order to identify the characteristics of their practice, given the particular conditions of the context. This context corresponds to rural schools in the south-central zone of Chile. From a qualitative approach and through the application of in-depth interviews to teachers in charge of these establishments. The analysis of the results showed that even though both school communities lack specialist teachers in the discipline, they do make efforts to implement music teaching-learning spaces, which vary according to the possibilities of each school community, and of whom they impart such teaching. The foregoing also shows the positive impact that these musical activity spaces have had on the development of students as well as on the educational communities in question.

In the framework of the Chilean cinema studies, which place the representation of the popular subject as the epicenter of an aesthetic investigation work, this article seeks to analyze the cinematographic and aesthetic operations that the filmmaker Sergio Bravo uses in his documentary "Mimbre" (1957), in which he tries to establish a language associated with an idea of ​​local identity. The analysis of the work indicates a counterpoint between popular subject and artistic avant-garde. It takes as a central motif the daily life of the artisan Alfredo Manzano, "Manzanito", posing a visual subversion to the idea of ​​Chilean reality proposed by the cinema of the period. In conclusion, Sergio Bravo's work is not only disruptive in form, but also in the political conscience of the role of images in a process that assumes the construction of a language of its own in a period that shows openness towards popular art.

Based on the reflection on the strategies used by university dance teachers and students to teach and learn academic technique in Latin American bodies, it investigates the conscious and unconscious understanding of certain pedagogical approaches to academic technique that seek to overcome the distance that relates two different historical and cultural realities: academic technique and the Latin American body. Through a historical journey and the analysis of the influencing factors collected in interviews with teachers and students, it is possible to identify fundamental issues to be addressed in the symbiosis of these elements that seem, at times, so distant from each other and that they intervene in the development of the university academic technique. The consideration in the classroom of the factors collected in the interviews sheds light on a new conception of academic technique that is being carried out in the classrooms. A new look is being built that calls into question the unification and homogenization and that makes room for diversity as the main Latin American identity characteristic. Finally, this openness to modifying the rigid determining parameters of academic technique in favor of diversity constitutes a manifestation of sociopolitical resistance, as it responds to the questioning of external impositions to their Latin American identities.

The following article aims to review the notion of both body and skin in Jean-Luc Nancy's thinking. The scope and discussions of the aesthetic conceptions of Nancy's thought propose an ex-explanatory reflection of the body as the central device of contemporary performing arts. The conformations of 'being' -in contrast to what Heidegger thought-, allow 'exposing', or, opening the sense of the body in relation to 'being', which, in short, would become the pure exposition of being same as body. The body, from the reflection of its exposition, is only the extension of the uncapturable soul, it is its expeau. So, these reflective singularities on the body provided by Nancy, allow glimpses of an irreducibility of the body as an operative extension of the (performing) arts, that is, an idle body, a self-bent body in its infinite alteration. The performing arts are the arts of over-exposure.

Gesture archeology is a research project that, from contemporary dance and sound exploration, aims to link our identities in relation to the concepts of history and memory from a series of approaches to the Mapuche and Tiahuanaco communities. From this laboratory space open to thinking practice, we try to build critical sensibilities that interrogate those stories that propose closed identities, resolved stories and accessible memories. In this sense, this work is in the line defined by Borgdorff (2010) as research in the arts or perspective of action, which does not contemplate the difference between research and artistic practice. This is the gesture that appears as a research tool that in the analyzes from the epistemological perspective, dialogues with proposals that are developed from dance studies, postcolonial and anticolonial discourses and feminisms.