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

The art of Taquile Island is known for its unique characteristics that distinguish it from other locations in the Lake Titicaca region, including its musical style, textile iconography, spinning and weaving techniques, instrumental cycle, etc. The discourse disseminated by academic and non-academic sources about the isolation of Taquile society is often used to explain the greater preservation and “purity” of its culture in aspects such as political organization, religion, language, etc. This discourse is also reproduced with regard to its art, without taking into account the role played by other aspects such as the consolidation of tourism as its main economic activity or the ongoing construction of its local identity. In this context, this research aims to explain the preservation of Taquile’s cultural identity through its artistic expressions, analyzing the social and economic factors involved, such as the discourse reproduced by the Taquileños regarding the preservation of their artistic tradition, the meaning given to variations in local artistic characteristics, and the role played by the discourse of isolation, respect for tradition, and the phenomenon of the commercialization of ethnicity in the construction of their artistic identity.Findings included the exoticization of the island’s relative isolation, the importance of maintaining traditions for the people of Taquile, and the important role of tourism in the continued reproduction of traditions.

Based on the theme of the dossier “Body, Art, and Memory,” Miguel Ángel Farfán was interviewed to reflect on the construction of memories through performance.During this conversation, Miguel Ángel shares his reflections on the staging of Túpac Amaru II and its importance in the Cusco region, as a way of reflecting on the imaginaries surrounding Túpac Amaru II, Micaela Bastidas, and other figures who gained importance alongside them. Likewise, we sought to understand how the past not only influences the present in which we find ourselves, but also impacts the future we are building. It explores the ways in which collective and individual memories come to life through embodiment, and how discourses about the past are reproduced, maintained, and reconstructed. This conversation arises from the final research project that Miguel Ángel Farfán carried out to obtain his Master’s degree in Visual Anthropology.

Pedro Costa’s Fontainhas Trilogy—Ossos (1997), No Quarto da Vanda (2000), and Juventude em Marcha (2006)—offers a unique approach to the experience of uprooting and exclusion in contemporary Lisbon. Through a minimalist and collaborative aesthetic, the filmmaker constructs a bodily archive that highlights the precariousness of the inhabitants of Fontainhas, a predominantly Cape Verdean migrant community. His approach avoids both exoticism and the aestheticization of suffering, placing bodies as active narrators of memories, struggles, and resistance.Each film articulates a specific dimension of this living archive: in Ossos, bodies embody the vulnerability of daily survival; in No Quarto da Vanda, confinement and addiction reveal the inscription of pain in the intimate; and in Juventude em Marcha, Ventura’s walk bears witness to the loss of territory and the persistence of collective memory in the face of gentrification. Taken together, the trilogy shows that displaced bodies are also political agents that challenge the viewer and reconfigure dominant narratives about poverty and migration. This analysis proposes reading Costa’s cinema as an exercise in visual anthropology that problematizes the representation of marginality and proposes an ethics of the gaze. His images remind us that bodies, even when expelled from spaces, resist as living archives capable of transforming memory and challenging oblivion.

Physical appearance plays a crucial role in how others perceive us, especially when we “deviate” from conventional social norms. Throughout history, tattoos have been stigmatized as associated with crime, rebellion, and unprofessionalism. However, with the rise of tattoos in recent decades, they have begun to be interpreted in more complex ways, reflecting identity, memory, and personal expression. In this context, the historical discussion of tattoos and their meanings in non-Westernized societies has gained momentum. Despite this change, tattooed people continue to face prejudices that impact their social relationships, including those in professional and academic settings. In fieldwork, these narratives about tattooed bodies can significantly influence interactions between researchers and informants, affecting both the researcher’s reception and their own reflective positioning. This article aims to explore, from an autoethnographic methodology, how narratives and meanings are constructed around the tattooed bodies of social researchers during fieldwork, addressing the tensions that emerge between tattooed bodies and social expectations in research contexts.

The article examines the main interpretive trends that have emerged around Artemisia Gentileschi’s La Pittura. It argues that interpretations of this painting have been shaped by two main approaches: one that highlights the artist’s exceptionality and agency, and another that proposes a critical decentralization of that very exceptionality. Through the analysis of these perspectives, the study contends that the painting has become a fertile ground for debate on self-representation, gender, and female agency in Baroque art.

This article analyzes representations of female sexuality in reggaeton songs performed by women. Based on an analysis of a corpus of popular songs on streaming platforms and social media in Latin America, it explores narratives about female sexual pleasure, autonomy, and the tensions between subversion and reproduction of patriarchal norms. The conclusions highlight how artists reconfigure their role as desiring subjects and generate new representations of desire and pleasure. However,female reggaeton, although presented as a means of empowerment and sexual liberation, also shows contradictions by simultaneously reproducing patriarchal stereotypes. This highlights the duality of gender as a space where subversion and the perpetuation of traditional norms coexist, emphasizing its complexity as a terrain of cultural and symbolic dispute around female sexuality.

In this review of the film La sustancia (2024), I analyze several key moments in the film based on contributions from the anthropology of the body and health.First, I examine the relationship between the protagonist and her boss as a dynamic inherited from the early days of capitalism. Next, I explore how the film shows that the demands of capital affect the definition of a healthy body, which is determined by factors such as youth, beauty, and productivity. Finally, I offer an interpretation of the meaning of “the substance” within the context of the contemporary neoliberal regime.

This chronic explores the experience of living with a chronic disease, type 1 diabetes mellitus (DM1), from an autoethnographic perspective, highlighting the tensions between Western biomedicine and traditional and alternative therapies in a hybrid cultural context. Through a narrative that encompasses diagnosis, treatment, and cultural implications, it reflects on how the disease becomes a frontier between different systems of knowledge and power. In addition, the impact of these experiences on identity, the body, and conceptions of health are analyzed, addressing illness not only as a physiological phenomenon, but also as a cultural, symbolic, and political phenomenon. In this process, writing becomes a tool to understand and resignify vulnerability and the relationship with the body.

Corporate entities can be convicted if one of their members willfully commits any of the crimes against public health listed in articles 359 to 365 of the Spanish Criminal Code. Some authors consider that criminal liability can also be attributed to these entities if any of these crimes are committed through recklessness. However, we must reject this interpretation, since the literal wording of articles 366 and 367 of the Criminal Code shows that it is not possible. On the other hand, the drafting of article 369 bis of the Criminal Code, which regulates the criminal liability of corporate entities for drug trafficking crimes, must be criticized, as it incomprehensibly leaves out the particularly serious cases of drug trafficking provided for in article 370 of the Criminal Code. There is no provision for criminal liability of corporate entities for the crime of trafficking in precursors under article 371 of the Criminal Code.

This paper analyses the new criterion of “rational administration of assets”, provided for in the bankruptcy crime of article 463 of the Chilean Penal Code, recently amended by the Economic Crimes Law, No. 21,595 of August 2023. For such purposes, the article compares this standard with other equivalent criterions, such as “orderly economic management” or “diligence in the management of economic affairs”. The paper concludes that, beyond the terminological issue, all these standards point in the same direction. Additionally, the article highlights that the Chilean criterion is not only more precise and adequate in criminal law matters, but can also have a broad scope, capable of extending to crimes such as disloyal administration or fraud against the State.