Rechercher

El retrato ha sido, a lo largo de la historia de la fotografía, un ritual cuya gramática visual está siempre condicionada por una mirada determinada. Retratamos para recordar, para fijar un instante en el tiempo. Cuando recordamos lo fotografiado convocamos de nuevo ese instante, pero, además, convocamos una realidad, un orden social específico construido por determinados actores sociales. La fotografía ha representado y legitimado en muchos momentos un patrón de poder colonial que, a través de sus estructuras de dominación, ha elaborado rígidas jerarquías sociales y raciales que han circunscrito a indios, afros, mujeres y clases populares a lo que Frantz Fanon llama la zona del No-ser. ¿Es posible recordar, entonces, a partir de la fotografía, de manera crítica y sin reproducir en tal ejercicio la matriz colonial que hizo posible la toma de la imagen?

Article sur les machinimas de l'artiste Skawennati (Kanien'kehá:ka) et du travail du laboratoire d'ABTEC (Aboriginal Territories on cyberspace) à l'Université Concordia.

Indigenous researchers are knowledge seekers who work to progress Indigenous ways of being, knowing and doing in a modern and constantly evolving context. This book describes a research paradigm shared by Indigenous scholars in Canada and Australia, and demonstrates how this paradigm can be put into practice. Relationships don’t just shape Indigenous reality, they are our reality. Indigenous researchers develop relationships with ideas in order to achieve enlightenment in the ceremony that is Indigenous research. Indigenous research is the ceremony of maintaining accountability to these relationships. For researchers to be accountable to all our relations, we must make careful choices in our selection of topics, methods of data collection, forms of analysis and finally in the way we present information

To the colonized, the term 'research' is conflated with European colonialism; the ways in which academic research has been implicated in the throes of imperialism remains a painful memory. This essential volume explores intersections of imperialism and research - specifically, the ways in which imperialism is embedded in disciplines of knowledge and tradition as 'regimes of truth.' Concepts such as 'discovery' and 'claiming' are discussed and an argument presented that the decolonization of research methods will help to reclaim control over indigenous ways of knowing and being. Now in its eagerly awaited third edition, this bestselling book includes a co-written introduction features contributions from indigenous scholars on the book's continued relevance to current research. It also features a chapter with twenty-five indigenous projects and a collection of poetry

Our goal in this article is to remind readers what is unsettling about decolonization. Decolonization brings about the repatriation of Indigenous land and life; it is not a metaphor for other things we want to do to improve our societies and schools. The easy adoption of decolonizing discourse by educational advocacy and scholarship, evidenced by the increasing number of calls to “decolonize our schools,” or use “decolonizing methods,” or, “decolonize student thinking”, turns decolonization into a metaphor. As important as their goals may be, social justice, critical methodologies, or approaches that decenter settler perspectives have objectives that may be incommensurable with decolonization. Because settler colonialism is built upon an entangled triad structure of settler-native-slave, the decolonial desires of white, non-white, immigrant, postcolonial, and oppressed people, can similarly be entangled in resettlement, reoccupation, and reinhabitation that actually further settler colonialism. The metaphorization of decolonization makes possible a set of evasions, or “settler moves to innocence”, that problematically attempt to reconcile settler guilt and complicity, and rescue settler futurity. In this article, we analyze multiple settler moves towards innocence in order to forward “an ethic of incommensurability” that recognizes what is distinct and what is sovereign for project(s) of decolonization in relation to human and civil rights based social justice projects. We also point to unsettling themes within transnational/Third World decolonizations, abolition, and critical space-place pedagogies, which challenge the coalescence of social justice endeavors, making room for more meaningful potential alliances

Told-to narratives, or collaboratively produced texts by Aboriginal storytellers and (usually) non-Aboriginal writers, often confound traditional literary understandings of voice and authorship. In this innovative exploration, these unique narratives are not romanticized as unmediated translations of oral documents, nor are they dismissed as corruptions of original works. Rather, the approach emphasizes the interpenetration of authorship and collaboration. Discussing a wide range of told-to narratives, including ethnography, recorded (auto)biography, testimonial life narrative, documentary, myth, legend, and song, Sophie McCall explores the multifaceted implications of the choices that editors, translators, narrators, and filmmakers make as they channel these narratives into new forms. Focused on the 1990s, when debates over voice and representation were particularly explosive, this comprehensive study examines collaboratively produced texts in conjunction with key political events that have shaped the struggle for Aboriginal rights in Canada. Emphasizing the scope rather than the limits of the told-to narrative, McCall considers how Aboriginal voices have been represented in a range of forums such as public inquiries, commissioners’ reports, and land claims court cases. A captivating inquiry, First Person Plural offers a vital, interdisciplinary discussion of how told-to narratives contribute to larger debates about Indigenous voice and literary and political sovereignty. This innovative, interdisciplinary study will be of interest to students and scholars of Indigenous studies, textualized oral narrative, literary studies, and Canadian cultural studies

This book seeks to clarify postcolonial Indigenous thought beginning at the new millennium. It represents the voices of the first generation of global Indigenous scholars and converges those voices, their analyses, and their dreams of a decolonized world.

This dissertation aims to describe the specific schooling process developed in the quilombo of Conceição das Crioulas, in Salgueiro / PE. This process was a result of the socio-historical reconstruction movement of the quilombo’s history, which started in the 1980s. This process triggered several conflicts, and priority was given to the regaining of their territory and to the search for educational practices with decolonizing ideals. Based on the individual and collective memories of Conceição das Crioulas people, we have registered the historical accounts of the community’s resistance to the domination and oppression systems imposed to them since the arrival of the creole founders until today. The methodological trajectory was based on interviews, informal conversations and the analysis of a video-documentary, specifically recorded for this research. This path also allowed us to evaluate how we have perceived and done our school education over a period of twenty-two years, whose milestone is the inauguration, in 1995, of Professor José Mendes school, a local public school where grades 6th to 9th are taught. First, this paper addresses important elements for the beginning of this search. Next, it describes practices and specific actions of the education of Conceição das Crioulas. After that, it draws a comparative analysis about this and other pedagogical experiences, highlighting connections and significant distances between them. Finally, at the end of the last chapter, it conceptualizes this experience, which was named Crioula Pedagogy in the community.

Transference, Tradition, Technology explores Canadian Aboriginal new media and references the work of artists within a political, cultural and aesthetic milieu. The book constructs a Native art history relating to these disciplines, one that is grounded in the philosophical and cosmological foundations of Aboriginal concepts of community and identity within the rigour of contemporary arts discourse. Approachable in nature but scholarly in content, this book is the first of its kind. A text book for students and teachers of Canadian Aboriginal history and visual and media art, and a source for writers, scholars and historians, Transference, Tradition, Technology is co-produced with the Art Gallery of Hamilton, Hamilton; and Indigenous Media Arts Group, Vancouver.

Documentaire du Wapikoni Mobile. Responsable de la radio de Wemotaci, le musicien atikamekw, Patrick Boivin, rencontre le sage Charles Coocoo. Un très beau film sur l'importance pour les autochtones de s'approprier les médias contemporains afin de faire entendre la voix de leur de peuple.

The Modernity/Coloniality/Decoloniality (MCD) research program is a collective project associated with Latin America. In addition to a critique of Eurocentric “colonial modernity,” the project highlights non-Eurocentric forms of knowing and being in the world. It also aims to foster alternative or decolonial thinking emerging from the lived colonial experiences of those situated “outside” Europe. This last is what MCD proponents claim differentiates it from postcolonial critiques of modernity with their emphasis on deconstruction. This review provides a brief but critical overview of the MCD project's parameters and claims. It makes a cautionary call to those tempted by “alternatives to modernity,” who might want to uncritically adopt alternative decolonial thinking. It concludes with a call for a closer and critical engagement with Latin American decolonial ideas and those they contest.

This paper analyzes the growth of gender studies in Latin America, despite facing resistance in the scientific field and from the advance of conservative policies on the continent. It also addresses the challenges that feminist research faces in colonized spaces. To develop our argument, we draw on the scholarship of feminist researchers in Brazil, Mexico, and Argentina, such as Veleda da Silva and Lan (2007), Silva and Vieira (2014), Silva, César and Pinto (2015), Colombara (2016), Lan (2016), Veleda da Silva (2016), Ibarra-García and Escamilla-Herrera (2016), Zaragocin-Carvajal, Moreano-Venegas, and Álvarez-Velasco (2018), and Silva and Ornat (2019). This paper also examines the difficulties that Latin American feminist geographies face in establishing their own foundations in a globalized world where the geopolitics of global knowledge of geography is increasingly structured by the epistemological centralization of the Anglophone northern hemisphere.

Discussion of Coloniality at Large: Latin America and the Postcolonial Debate (Durham, NC and London: Duke University Press, 2008) by Mabel Moraña, Enrique Dussel, and Carlos A. Jauregui (eds.).

This article is a portal into the rapidly expanding historiography of modern Brazil. It highlights the major nodes of discussion and debate among historians of Brazil over the last two decades, and describes how these debates have been shaped by broader shifts in the historical profession. Two themes frame this survey of the new historiographical trends for postcolonial Brazil. One is the impact of the linguistic or cultural turn on that historiography. Slower to have an impact in the Brazilian historiography were the writings of the Subaltern Studies scholars and postcolonial theorists.

This article attempts to review and synthesise the main debates in critical geography across both the Latin American and Anglo-Saxon traditions. By reviewing the main theoretical approaches including from political ecology, feminist geography, post-colonial and de-colonial approaches and the geography of motilities and migration, the aim of this article is to delineate a pan-Latin American approach to critical geography. We also consider why some approaches and topics have received greater or lesser attention in Latin American scholarship. Finally, we emphasize the importance of establishing a new transnational dialogue based on regionally situated critical research that questions and proposes new pathways in the production of knowledge from and about the region. We suggest this approach be nested in critical theory and committed to local political and territorial struggles.

Este libro reúne ensayos de doce teóricos latinoamericanos, quienes hacen una reflexión acerca de la diversidad epistémica en el mundo contemporáneo. Plantean que la decolonialidad en el siglo XXI tendrá que dirigirse a la heterarquía de las múltiples relaciones raciales, étnicas, sexuales, económicas y de género que quedaron intactas durante el siglo XX.

Este trabajo trata sobre artes visuales modernas y contemporáneas en América latina. Como ejes trasversales del texto se plantea: la decolonialidad y la antropofagia crítica. Parte desde la problematización de las estéticas decoloniales y la revisión histórica del arte latinoamericano del siglo XX, primero modernista luego posmoderno, desde una aproximación decolonial. Su intención es analizar si la opción decolonial es viable para artes visuales. Pretende analizar la propuesta de la decolonialidad, así como sus límites y sus principales riesgos. Además de establecer puentes con la ética posmoderna y la ética latinoamericana. En el capítulo dos trata como eje principal la antropofagia, tanto como movimiento artístico moderno, como propuesta de producción y aproximación crítica, cultural y artística. Mira a la antropofagia como proceso y como metodología posmoderna de resistencia. Bajo estos parámetros analiza la obra de tres artistas modernistas latinoamericanos: Joaquín Torres García, Tarsila do Amaral y Wilfredo Lam. Luego, y a partir de esta aproximación, en el capítulo tres se plantea el análisis crítico a una práctica artística: la muestra ARTNIVORA (2011) del colectivo femenino de arte La emancipada en Quito. Analiza en esta muestra, como el colectivo emplea la antropofagia crítica para buscar un argumento de emancipación de género. En esta muestra de arte actual, las estrategias de la apropiación y la cita contemporáneas son leídas como una práctica antropofágica. La intención es presentar un diferente punto de vista para la producción y la apreciación de las artes visuales y plásticas contemporáneas latinoamericanas, tanto obras de arte, como el trabajo creativo y los procesos de sus autores y autoras. El texto plantea la importancia del sentido de pertenencia con la localidad en la expresión de arte visual, si bien emplea un lenguaje cuyos códigos pueden ser leídos internacionalmente, su anclaje es su localidad y problemáticas insertas en un contexto local.

The proliferation of critical and creative post-porn movements, which vindicate the representation of dissident sexualities under a new feminist, queer and transgender perspective, provide tools of analysis to rethink past literary and audiovisual pornographic productions, as well as to reformulate current ones. In this line of intermediate research, between cinema and literature, an approach to the work of Chilean writer Roberto Bolaño is proposed that will allow us to discern whether he can be considered a post-porn author related to the Golden Age of pornographic cinema in the 1970s and 1980s. Two of his stories and a novel will be studied: “Joanna Silvestri”, from which a gender reading will be made that problematizes the role of women within an eminently heteronormative industry, obsessed with representing male ejaculation; “Prefiguración de Lalo Cura”, analyzed under a postcolonial perspective of appropriation of subaltern bodies conceived as geographical territories, and Una novelita lumpen, in the field of porn pedagogy. The resulting findings make it possible to establish that Roberto Bolaño can indeed be considered a post-porn author by translating the narrative proposals of the Golden Age porn films into his own literary project, with a feminist and post-colonial critical intention.

La producción visual de América Latina del siglo XX condensa una variable de emergentes artísticos diversosno solo por la complejidad histórica que caracteriza al continente sino por la pluralidad de comunidades nativas que conformaron su territorio geográfico. Así como la crítica cultural ha abonado fuertemente el terreno de las artes también han surgido otras vías de estudio enlazadas con dimensiones sociales, económicas y políticas. Cabe mencionar los aportes al ámbito de las producciones visualesde una perspectiva analítica que en el escenario latinoamericano se inscribe en el llamado ‘giro decolonial’. América Latina posee una tradición franqueada por luchas contra el colonialismo y el eurocentrismo. En la actualidad, la esfera artística contemporánea manifiesta sus posicionamientos colectivos frente a una sociedad globalizada. En este aspecto, las contribuciones de la inflexión decolonial permiten pensar otros sentidos inherentes a las formulaciones estéticas surgidas en estas regiones. Se analizarán las obras de Alfredo Jaar, Tania Bruguera y Milagros de la Torre.