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

En la región de Tarapacá (Chile), se celebran diversas manifestaciones vinculadas al sincretismo cultural propio de la cosmovisión aymara y la religión católica. En este sentido, la música cumple un rol fundamental, pues su presencia es indispensable en el desarrollo de danzas, festividades y costumbres propias de la zona. Enmarcados en este contexto, en el año 1976 en Iquique, se funda el sello discográfico “Carrero”, que se dedicará al resguardo y preservación de manifestaciones musicales de la región. Su creación es fundamental en la difusión de música de agrupaciones locales que cultivan formas y ritmos pertenecientes al mundo andino.  El siguiente artículo se basa en nuestra investigación del sello discográfico, su historia y motivos culturales que fundan su creación. Además de relatar la experiencia de grabación de dos agrupaciones emblemáticas que fueron parte de la compañía: comparsa “lakitas de Jaiña” y banda de bronces “Wiracocha”. Esta investigación pretende ser un aporte al patrimonio, pues deja un registro de las vivencias de músicos, productores y gestores culturales, que dedicaron y dedican su vida a la difusión y resguardo de música tradicional, permitiendo que la cultura y la identidad del Norte de Chile perdure en el tiempo. 

The purpose of this study is to establish a thought on the need to create the artistic work due to the "intolerable absence" of the historical event, according to the concept used by Roger Chartier. In this way, we will delve into the materialization of this event through the installation work.  This is how we observe that art, in its interaction with public space, has the ability to generate an important discourse of its social environment. This debate is focused on the memory of the “Unidad Popular” from which the “Torre Villavicencio” becomes relevant as a symbol of the ideals of an absent era. In this regard, through the installation "La torre vive" (2018) by Janet Toro, this space is once again in force and enters into discussion with the public debates of this period of study. For this same reason, this research is framed within the limits of cultural history relative to representations and practices, by understanding, firstly, the historical event through the need for artistic creation, and, on the other hand, the existing relationship with the social actors that participate in this dialogue.

Freedom continues to be present as a fundamental principle in current societies, understood in the Chilean political-cultural context as a right inherited from liberal currents through the emancipation of Latin American independence movements. Thus, both liberal democracy and neoliberal ideological doctrine have placed it at the center of their discourse. The purpose of this article is to analyze the problematic treatment of freedom in two songs of Chilean poetic-musical production from the perspective of its social representation: "Yo canto la diferencia", a song by Violeta Parra from 1960, which appeared on the album Toda Violeta Parra. El folklore de Chile Vol. VIII (1961), and "Las llamas de la impotencia", a song by Nano Stern from the album Las Torres de Sal (2011). Both productions are understood to be situated within the tradition of the Nueva Canción Chilena. Specifically, the problem of freedom in Chile is approached from a recent social and historical perspective, to move towards a conceptual framework that allows us to see the contradiction between social reality and the denial of this concept in the analysis of these productions.

Este año y con la figura de Juan Antonio Chicoria damos inicio formalmente a partir de este hito que es el año académico y bueno nos complace la presencia de Juan Antonio Chicoria por su trayectoria por su condición humana y por el referente musical que nos inspira a nosotros como escuela de música. Chicoria es es guitarrista destacado por su trabajo de fusión latinoamericana ha sido de considerado mejor compositor de fusión por la sociedad chilena derecho autor y obtuvo dos premios Altazor por su disco local 47 y por la música incidental de la película bahía azul en los años 2002 y 2003 entonces en esa condición, un artista que reúne varias características: intérpretes, compositor un tipo extremadamente brillante e inteligente en su postura estética y también como investigador y eso redunda en una aportación formativa hacia nuestros estudiantes y también hacia una lógica de extensión y de diálogo con la comunidad que nos acompaña te damos la bienvenida Chicoria Sánchez pero primero voy a presentar a Raúl Suau que es nuestro maestro de ceremonias e impulsor de esta actividad. 

This article presents an aesthetic discussion between, first, the dramatic figure of Caliban that, in the Latin American postcolonial region, has been a source of symbolic, cultural and political controversies as a result of the master-slave language that underlies the legacy of Shakespeare's The Tempest (1611). And second, the conjectures that emerge from it through the work of the Catrileo+Carrión Community, groups of Mapuche artists and activists, who have developed documentary countervisual strategies to destabilize the archive of Calibanist writings, usually centered on the symbol of rebellious and unsubmissive masculinity. For this, the format of the video-essay that this artistic group has developed will be examined to think about conditions of gender and identity displaced from classificatory, binary and civilizational categories, and more open to contrasexual forms of inhabiting the transliterations of Mapuzungun; knots of language whose postcolonial discussion is proposed through being epupillan: multiple spirits.

Ya han transcurrido más de 6 meses desde la inauguración de la controvertida XIV Bienal de La Habana, en concordancia con los tiempos actuales y más allá de su eje curatorial Contemporaneidad y Futuro, nunca una Bienal de La Habana había estado tan politizada. Si bien, históricamente la Bienal de La Habana ha sido un terreno catalizador de obras críticas e incómodas para el poder, fundada en 1984 en un espíritu de ser portadora de la voz creativa y reflexiva de artistas de países periféricos y de discursos disruptivos, hoy se sostuvo enfrentada a una fisura enmarcada en un complejo contexto socio-político, peligrosamente agudizado en épocas de pandemia. 

Reseña sobre la obra Cómo convertirse en piedra, de Manuela Infante, a partir de la cual se levantan preguntas sobre el propio modo de escribir sobre/con las obras escénicas.

The objective of this research is to know the critical understanding that the educational community has of the Catholic School Religious Education (EREC) that is taught in Catholic secondary schools in the metropolitan region of Santiago de Chile. We worked by inquiring the perspective of young believers, young agnostics, religion teachers and/or pastoral managers, other subject teachers and parents. Data collection was carried out using qualitative methodology, through focus groups and semi-structured interviews. The analysis of the results was carried out using Grounded Theory, with open coding and subsequent axial coding. The results obtained allow us to form an overview of how these school communities understand EREC, their positive and negative evaluations, and to know what expectations of change they have for it. 

Practical theology gives particular attention to the practices of the everyday or the daily life of the people in order to understand God’s revelation in time and space and as critical in doing theology. This article explores the methodology of participatory action research in practical theology in order to articulate on the lived experiences of college-age Latinas in the United States. Beginning with a brief overview of participatory action research, this works presents four phases of research in order to listen to the religious identity and cultural context of active participants or agents of research. This work also engages in conversation and dialogue with critical epistemology from Latina and Mujerista theologies as a way to contribute to the wider theological discourse.  

The new Curricular disposition in the subject of Catholic Religion (2020) responds to the need to rethink the Catholic School Religious Education in Chile and its paradigm, seeking the Curricular renovation of the subject, since it did not dialogue with the current Instruments of the Curriculum. An example of this was the terminology of Learning Sector, Minimum Compulsory Contents, Expected Learning, among others. To understand the need for renewal of Catholic Religion programs through a critical documentary review, establishing the principles and steps to develop a program proposal. This is the objective of this article, since there is an urgent need for the renewal of the Catholic Religion programs of the different educational institutions that adopted this option from the old Religion Program of 2005. Therefore, this research will be focused from the qualitative paradigm and will include a documentary analysis of the regulations on the elaboration of own programs, where the main findings will deal with the requirements for the elaboration of new program designs and their procedure, the minimum constitutive elements, the structure of an own program in the subject of Catholic Religion and a proposal of action strategies for a program proposal, in such a way that it responds to the problems established from the analysis of the new curricular instruments for the subject.