“Indigenous” / “Afro” Theatre? Reconstructing Indigenous and Afrodescendent Lives on Stage Within and Beyond Art/Activism

Autores
Cañuqueo, Lorena; Álvarez, Miriam; Egido, Alejandra; Vivaldi, Ana
Año de publicación
2021
Idioma
inglés
Tipo de recurso
documento de conferencia
Estado
versión publicada
Descripción
Fil: Cañuqueo, Lorena. Universidad Nacionald de Río Negro. Río Negro, Argentina.
Fil: Álvarez, Miriam. Universidad Nacionald de Río Negro. Río Negro, Argentina.
Fil: Egido, Alejandra. Universidad Nacionald de Río Negro. Río Negro, Argentina.
Fil: Vivaldi, Ana. Universidad Nacionald de Río Negro. Río Negro, Argentina.
The two-decades-long work of Mapuche director Miriam Alvarez and Afrodescendant director Alejandra Egido challenge the project of a white (settler) Argentina and are hard to locate as “art” or “activism”. During 2020 we engaged in collaborative research over the theatrical practices of Alvarez, who reconstructs the histories of land displacement and silencing of Mapuche people; and Egido, whose stage challenges Afro-descendant erasure and microracism In Buenos Aires; alongside researchers Lorena Cañuqueo and Ana Vivaldi. Their work is anticolonial in several ways. It goes beyond artistic representation of Mapuche and Afro themes (art with a hyphen), and yet it does not necessarily follow a plan by political organizations. First, none of them is satisfied with “representing” their communities as essentialized identities. Instead, they recreate the multiplicity of lives, including Mapuche people who are urban and may not always identify as Mapuche, Afro-women who get trapped in representing ideal Afro and make fun of that. In this, they not only challenge but also overflow a politics of representation. Second, as trained directors, they are concerned with producing effective performances, ones that use theatrical poetics to affect their audiences. And yet Theatre conventions as a “Western” art push them to constant anticolonial disruptions, including breaking linear temporalities of Argentine history. These disruptions are not only aesthetic choices but political actions that transform the regime of the sensible against colonial erasure, to regenerate Indigenous and Afro lives.
Materia
Humanidades
Indigenous
Afrodescendent
Art/Activism
Argentina
Humanidades
Nivel de accesibilidad
acceso abierto
Condiciones de uso
https://creativecommons.org/licenses/by-nc-sa/4.0/
Repositorio
RID-UNRN (UNRN)
Institución
Universidad Nacional de Río Negro
OAI Identificador
oai:rid.unrn.edu.ar:20.500.12049/7912

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spelling “Indigenous” / “Afro” Theatre? Reconstructing Indigenous and Afrodescendent Lives on Stage Within and Beyond Art/ActivismCañuqueo, LorenaÁlvarez, MiriamEgido, AlejandraVivaldi, AnaHumanidadesIndigenousAfrodescendentArt/ActivismArgentinaHumanidadesFil: Cañuqueo, Lorena. Universidad Nacionald de Río Negro. Río Negro, Argentina.Fil: Álvarez, Miriam. Universidad Nacionald de Río Negro. Río Negro, Argentina.Fil: Egido, Alejandra. Universidad Nacionald de Río Negro. Río Negro, Argentina.Fil: Vivaldi, Ana. Universidad Nacionald de Río Negro. Río Negro, Argentina.The two-decades-long work of Mapuche director Miriam Alvarez and Afrodescendant director Alejandra Egido challenge the project of a white (settler) Argentina and are hard to locate as “art” or “activism”. During 2020 we engaged in collaborative research over the theatrical practices of Alvarez, who reconstructs the histories of land displacement and silencing of Mapuche people; and Egido, whose stage challenges Afro-descendant erasure and microracism In Buenos Aires; alongside researchers Lorena Cañuqueo and Ana Vivaldi. Their work is anticolonial in several ways. It goes beyond artistic representation of Mapuche and Afro themes (art with a hyphen), and yet it does not necessarily follow a plan by political organizations. First, none of them is satisfied with “representing” their communities as essentialized identities. Instead, they recreate the multiplicity of lives, including Mapuche people who are urban and may not always identify as Mapuche, Afro-women who get trapped in representing ideal Afro and make fun of that. In this, they not only challenge but also overflow a politics of representation. Second, as trained directors, they are concerned with producing effective performances, ones that use theatrical poetics to affect their audiences. And yet Theatre conventions as a “Western” art push them to constant anticolonial disruptions, including breaking linear temporalities of Argentine history. These disruptions are not only aesthetic choices but political actions that transform the regime of the sensible against colonial erasure, to regenerate Indigenous and Afro lives.2021-03info:eu-repo/semantics/conferenceObjectinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_5794info:ar-repo/semantics/documentoDeConferenciaapplication/pdfhttps://nomadit.co.uk/conference/asa2021/paper/60758http://rid.unrn.edu.ar/handle/20.500.12049/7912enghttps://theasa.org/conferences/asa2021/Association of Social Anthropologists of the UKinfo:eu-repo/semantics/openAccesshttps://creativecommons.org/licenses/by-nc-sa/4.0/reponame:RID-UNRN (UNRN)instname:Universidad Nacional de Río Negro2025-09-04T11:12:40Zoai:rid.unrn.edu.ar:20.500.12049/7912instacron:UNRNInstitucionalhttps://rid.unrn.edu.ar/jspui/Universidad públicaNo correspondehttps://rid.unrn.edu.ar/oai/snrdrid@unrn.edu.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:43692025-09-04 11:12:41.242RID-UNRN (UNRN) - Universidad Nacional de Río Negrofalse
dc.title.none.fl_str_mv “Indigenous” / “Afro” Theatre? Reconstructing Indigenous and Afrodescendent Lives on Stage Within and Beyond Art/Activism
title “Indigenous” / “Afro” Theatre? Reconstructing Indigenous and Afrodescendent Lives on Stage Within and Beyond Art/Activism
spellingShingle “Indigenous” / “Afro” Theatre? Reconstructing Indigenous and Afrodescendent Lives on Stage Within and Beyond Art/Activism
Cañuqueo, Lorena
Humanidades
Indigenous
Afrodescendent
Art/Activism
Argentina
Humanidades
title_short “Indigenous” / “Afro” Theatre? Reconstructing Indigenous and Afrodescendent Lives on Stage Within and Beyond Art/Activism
title_full “Indigenous” / “Afro” Theatre? Reconstructing Indigenous and Afrodescendent Lives on Stage Within and Beyond Art/Activism
title_fullStr “Indigenous” / “Afro” Theatre? Reconstructing Indigenous and Afrodescendent Lives on Stage Within and Beyond Art/Activism
title_full_unstemmed “Indigenous” / “Afro” Theatre? Reconstructing Indigenous and Afrodescendent Lives on Stage Within and Beyond Art/Activism
title_sort “Indigenous” / “Afro” Theatre? Reconstructing Indigenous and Afrodescendent Lives on Stage Within and Beyond Art/Activism
dc.creator.none.fl_str_mv Cañuqueo, Lorena
Álvarez, Miriam
Egido, Alejandra
Vivaldi, Ana
author Cañuqueo, Lorena
author_facet Cañuqueo, Lorena
Álvarez, Miriam
Egido, Alejandra
Vivaldi, Ana
author_role author
author2 Álvarez, Miriam
Egido, Alejandra
Vivaldi, Ana
author2_role author
author
author
dc.subject.none.fl_str_mv Humanidades
Indigenous
Afrodescendent
Art/Activism
Argentina
Humanidades
topic Humanidades
Indigenous
Afrodescendent
Art/Activism
Argentina
Humanidades
dc.description.none.fl_txt_mv Fil: Cañuqueo, Lorena. Universidad Nacionald de Río Negro. Río Negro, Argentina.
Fil: Álvarez, Miriam. Universidad Nacionald de Río Negro. Río Negro, Argentina.
Fil: Egido, Alejandra. Universidad Nacionald de Río Negro. Río Negro, Argentina.
Fil: Vivaldi, Ana. Universidad Nacionald de Río Negro. Río Negro, Argentina.
The two-decades-long work of Mapuche director Miriam Alvarez and Afrodescendant director Alejandra Egido challenge the project of a white (settler) Argentina and are hard to locate as “art” or “activism”. During 2020 we engaged in collaborative research over the theatrical practices of Alvarez, who reconstructs the histories of land displacement and silencing of Mapuche people; and Egido, whose stage challenges Afro-descendant erasure and microracism In Buenos Aires; alongside researchers Lorena Cañuqueo and Ana Vivaldi. Their work is anticolonial in several ways. It goes beyond artistic representation of Mapuche and Afro themes (art with a hyphen), and yet it does not necessarily follow a plan by political organizations. First, none of them is satisfied with “representing” their communities as essentialized identities. Instead, they recreate the multiplicity of lives, including Mapuche people who are urban and may not always identify as Mapuche, Afro-women who get trapped in representing ideal Afro and make fun of that. In this, they not only challenge but also overflow a politics of representation. Second, as trained directors, they are concerned with producing effective performances, ones that use theatrical poetics to affect their audiences. And yet Theatre conventions as a “Western” art push them to constant anticolonial disruptions, including breaking linear temporalities of Argentine history. These disruptions are not only aesthetic choices but political actions that transform the regime of the sensible against colonial erasure, to regenerate Indigenous and Afro lives.
description Fil: Cañuqueo, Lorena. Universidad Nacionald de Río Negro. Río Negro, Argentina.
publishDate 2021
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http://rid.unrn.edu.ar/handle/20.500.12049/7912
dc.language.none.fl_str_mv eng
language eng
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Association of Social Anthropologists of the UK
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