Pub Date : 2022-07-12DOI: 10.1080/17442222.2022.2099168
D. Marini
ABSTRACT This paper addresses whiteness in environmental imaginaries underpinning mainstream agroecology activism in Argentina. It examines the cultural politics of race and nature articulated by intellectual leaders during the period of nation-making, and by contemporary agroecology advocates who are preoccupied to define appropriate human-land relations. Empirically, it mostly focuses on an activist organization that has been reimagining alternatives to the dominant agro-export economy in an agricultural hub in central Argentina. Paradoxically, new territorial configurations to regulate pesticide drift from herbicide resistant (HR) soy fields leave fresh vegetable producers outside environmental protection zones. I argue that by neglecting the exposure to toxicity of farmworkers who fall outside dominant ethno-racial identifications, mainstream agroecology advocates endorse a double standard in food production. The article suggests that there is a need for deeper attention to the ways in which the practices of racialization work in and through ideas of ‘proper environmental relations’ in progressive agendas for socio-environmental change.
{"title":"White spatial politics in mainstream agroecology activism in Argentina","authors":"D. Marini","doi":"10.1080/17442222.2022.2099168","DOIUrl":"https://doi.org/10.1080/17442222.2022.2099168","url":null,"abstract":"ABSTRACT This paper addresses whiteness in environmental imaginaries underpinning mainstream agroecology activism in Argentina. It examines the cultural politics of race and nature articulated by intellectual leaders during the period of nation-making, and by contemporary agroecology advocates who are preoccupied to define appropriate human-land relations. Empirically, it mostly focuses on an activist organization that has been reimagining alternatives to the dominant agro-export economy in an agricultural hub in central Argentina. Paradoxically, new territorial configurations to regulate pesticide drift from herbicide resistant (HR) soy fields leave fresh vegetable producers outside environmental protection zones. I argue that by neglecting the exposure to toxicity of farmworkers who fall outside dominant ethno-racial identifications, mainstream agroecology advocates endorse a double standard in food production. The article suggests that there is a need for deeper attention to the ways in which the practices of racialization work in and through ideas of ‘proper environmental relations’ in progressive agendas for socio-environmental change.","PeriodicalId":35038,"journal":{"name":"Latin American and Caribbean Ethnic Studies","volume":"18 1","pages":"282 - 295"},"PeriodicalIF":0.6,"publicationDate":"2022-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41983721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-11DOI: 10.1080/17442222.2022.2097821
Guillermo Rebollo Gil
ABSTRACT Ascribed exclusively to the wealthy, white privilege is often understood and explained in Puerto Rico as a localized phenomenon, confined to select geographies, social circles, habits of thought, and action. This paper problematizes this notion by first highlighting the social significance of elite whites, commonly referred to as blanquitos, and then exploring some of the ways in which white privilege operates more broadly across Puerto Rican society, as evidenced in recent autoethnographic writings by self-identified white Puerto Rican authors.
{"title":"Privileged whites and white privilege in Puerto Rico","authors":"Guillermo Rebollo Gil","doi":"10.1080/17442222.2022.2097821","DOIUrl":"https://doi.org/10.1080/17442222.2022.2097821","url":null,"abstract":"ABSTRACT Ascribed exclusively to the wealthy, white privilege is often understood and explained in Puerto Rico as a localized phenomenon, confined to select geographies, social circles, habits of thought, and action. This paper problematizes this notion by first highlighting the social significance of elite whites, commonly referred to as blanquitos, and then exploring some of the ways in which white privilege operates more broadly across Puerto Rican society, as evidenced in recent autoethnographic writings by self-identified white Puerto Rican authors.","PeriodicalId":35038,"journal":{"name":"Latin American and Caribbean Ethnic Studies","volume":"18 1","pages":"296 - 307"},"PeriodicalIF":0.6,"publicationDate":"2022-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44649250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-27DOI: 10.1080/17442222.2022.2091908
María Elena Bedoya Hidalgo
ABSTRACT This article explores the relationship between art, folklore, and cultural institutions in mid-twentieth-century Ecuador. The founding of the Casa de la Cultura Ecuatoriana (CCE) in 1944 represented a milestone in the construction of the idea of ‘national culture’. It generated a cultural policy that recognized indigeneity as the foundation of Ecuadorian identity. The artists of the time took up joint actions with the CCE intended to salvage what was initially regarded as ‘manual art’ or ‘indigenous arts’, and eventually became notions of ‘handicrafts’ and/or ‘folklore’. Following the creation of the Instituto Ecuatoriano del Folklore and the Instituto Azuayo del Folklore in the 1960s, both of which were affiliated with the CCE, a series of art-related activities were organized. The artists involved regarded themselves as folklorists and took charge not only of collecting ethnographic materials throughout the country but also of motivating an aesthetic interest in, and promoting craft practices among the indigenous peoples. From this perspective, this article considers the complex interweaving between what was being configured as a field of artistic-aesthetic creation and research as conceived from the standpoint of material culture, its intersection with the anthropology of folklore at the time, and the interests of the nation-state in this kind of cultural practice.
{"title":"Artists, folklorists, and cultural institutions in Ecuador (1944–1964)","authors":"María Elena Bedoya Hidalgo","doi":"10.1080/17442222.2022.2091908","DOIUrl":"https://doi.org/10.1080/17442222.2022.2091908","url":null,"abstract":"ABSTRACT This article explores the relationship between art, folklore, and cultural institutions in mid-twentieth-century Ecuador. The founding of the Casa de la Cultura Ecuatoriana (CCE) in 1944 represented a milestone in the construction of the idea of ‘national culture’. It generated a cultural policy that recognized indigeneity as the foundation of Ecuadorian identity. The artists of the time took up joint actions with the CCE intended to salvage what was initially regarded as ‘manual art’ or ‘indigenous arts’, and eventually became notions of ‘handicrafts’ and/or ‘folklore’. Following the creation of the Instituto Ecuatoriano del Folklore and the Instituto Azuayo del Folklore in the 1960s, both of which were affiliated with the CCE, a series of art-related activities were organized. The artists involved regarded themselves as folklorists and took charge not only of collecting ethnographic materials throughout the country but also of motivating an aesthetic interest in, and promoting craft practices among the indigenous peoples. From this perspective, this article considers the complex interweaving between what was being configured as a field of artistic-aesthetic creation and research as conceived from the standpoint of material culture, its intersection with the anthropology of folklore at the time, and the interests of the nation-state in this kind of cultural practice.","PeriodicalId":35038,"journal":{"name":"Latin American and Caribbean Ethnic Studies","volume":"18 1","pages":"1 - 23"},"PeriodicalIF":0.6,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47178731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-13DOI: 10.1080/17442222.2022.2065625
Emilio J. Gallardo-Saborido
ABSTRACT This article examines the treatment of the figure of the ‘Indian’ in the Bolivian theater of the 1920s. It opens up with a presentation of the theatrical work of Bolivia’s generación del 21. The selected corpus is then read as a set of texts that discuss the intersections between the notions of the ‘Bolivian nation’ and ‘indigeneity,’ two key elements in the intellectual debates of early 20th century Bolivia. It attends to the connection between these plays and Bolivian indigenismo and inter-American indigenismo more broadly, thereby highlighting how the ‘Indian’ was understood to be a contemporary subject constrained by specific material circumstances. The article considers the plays Supay marca (1928), by Zacarías Monje Ortiz, which premiered in 1920; two plays by Antonio Díaz Villamil: La voz de la quena (1988), which premiered in 1922 and La Rosita ([1928] 2001), which premiered in 1925; and Los lobos del Altiplano (1930), by Federico Ávila.
本文考察了20世纪20年代玻利维亚戏剧中“印第安人”形象的处理。它以玻利维亚的generación del 21的戏剧作品开场。选定的语料库然后作为一组文本阅读，讨论“玻利维亚民族”和“土著”概念之间的交叉点，这是20世纪初玻利维亚知识分子辩论的两个关键要素。它关注这些戏剧与玻利维亚本土主义和更广泛的美洲本土主义之间的联系，从而突出了“印第安人”是如何被理解为受特定物质环境约束的当代主体。本文考虑了戏剧《星期日》(1928)，由Zacarías Monje Ortiz创作，于1920年首演;安东尼奥Díaz维拉米尔的两部戏剧:1922年首演的La voz de La quena(1988)和1925年首演的La Rosita ([1928] 2001);以及费德里科(Federico Ávila) 1930年的《高原狼》(Los lobos del Altiplano)。
{"title":"The figure of the ‘Indian’ in 1920s Bolivian theater","authors":"Emilio J. Gallardo-Saborido","doi":"10.1080/17442222.2022.2065625","DOIUrl":"https://doi.org/10.1080/17442222.2022.2065625","url":null,"abstract":"ABSTRACT This article examines the treatment of the figure of the ‘Indian’ in the Bolivian theater of the 1920s. It opens up with a presentation of the theatrical work of Bolivia’s generación del 21. The selected corpus is then read as a set of texts that discuss the intersections between the notions of the ‘Bolivian nation’ and ‘indigeneity,’ two key elements in the intellectual debates of early 20th century Bolivia. It attends to the connection between these plays and Bolivian indigenismo and inter-American indigenismo more broadly, thereby highlighting how the ‘Indian’ was understood to be a contemporary subject constrained by specific material circumstances. The article considers the plays Supay marca (1928), by Zacarías Monje Ortiz, which premiered in 1920; two plays by Antonio Díaz Villamil: La voz de la quena (1988), which premiered in 1922 and La Rosita ([1928] 2001), which premiered in 1925; and Los lobos del Altiplano (1930), by Federico Ávila.","PeriodicalId":35038,"journal":{"name":"Latin American and Caribbean Ethnic Studies","volume":"17 1","pages":"473 - 494"},"PeriodicalIF":0.6,"publicationDate":"2022-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41939942","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-18DOI: 10.1080/17442222.2022.2064099
Haydeé López Hernández
ABSTRACT The construction of popular arts in Mexico is a process that is generally attributed to the proposals of the plastic artists of the post-revolutionary period. Here, I explore some of these (Exposición Nacional de Artes Populares, 1921; y Museo de Artes Populares, 1930–1942), along with others not yet analyzed by historiography, mainly developed by anthropologists (at the Museo Nacional, 1920–1924; in the Misión Universitaria del Instituto de Investigaciones Estéticas de la Universidad Nacional, 1936–1937; and in the Departamento de Asuntos Indígenas, 1936–1946). The goal is to show their affinities (a purist and primitivist notion) but, above all, to highlight their differences regarding the aesthetic (art), cultural (folklore), and identity (Mexican, indigenous, national) valuation of the objects (industry/crafts), as well as the need for its conservation vs. transformation. I argue that, far from being a linear and homogeneous history derived exclusively from post-revolutionary plastic arts, it is a heterogeneous process that was not consolidated into a single centralized and institutionalized project until the middle of the century, within the framework of the modernization of the Mexican State and the inter-American indigenism.
摘要墨西哥大众艺术的建构是后革命时期造型艺术家提出的一个普遍的过程。在这里，我探索了其中的一些（Exposición Nacional de Artes Populares，1921；y Museo de Artes Populares，1930-1942），以及其他尚未被史学分析的作品，主要由人类学家开发（1920–1924年在国家博物馆；1936–1937年在国家大学科学研究所米西翁大学；1936–1946年在印度阿汤托斯部）。目标是展示它们的亲和力（一种纯粹主义和原始主义的概念），但最重要的是，强调它们在物品（工业/工艺）的美学（艺术）、文化（民间传说）和身份（墨西哥、土著、民族）估价方面的差异，以及保护与改造的必要性。我认为，这远不是一部完全源于革命后造型艺术的线性和同质历史，而是一个异质的过程，直到本世纪中叶，在墨西哥国家现代化和美洲土著主义的框架内，它才被整合为一个单一的中央化和制度化项目。
{"title":"Art, folklore, and industry: popular arts and indigenismo in Mexico, 1920–1946","authors":"Haydeé López Hernández","doi":"10.1080/17442222.2022.2064099","DOIUrl":"https://doi.org/10.1080/17442222.2022.2064099","url":null,"abstract":"ABSTRACT The construction of popular arts in Mexico is a process that is generally attributed to the proposals of the plastic artists of the post-revolutionary period. Here, I explore some of these (Exposición Nacional de Artes Populares, 1921; y Museo de Artes Populares, 1930–1942), along with others not yet analyzed by historiography, mainly developed by anthropologists (at the Museo Nacional, 1920–1924; in the Misión Universitaria del Instituto de Investigaciones Estéticas de la Universidad Nacional, 1936–1937; and in the Departamento de Asuntos Indígenas, 1936–1946). The goal is to show their affinities (a purist and primitivist notion) but, above all, to highlight their differences regarding the aesthetic (art), cultural (folklore), and identity (Mexican, indigenous, national) valuation of the objects (industry/crafts), as well as the need for its conservation vs. transformation. I argue that, far from being a linear and homogeneous history derived exclusively from post-revolutionary plastic arts, it is a heterogeneous process that was not consolidated into a single centralized and institutionalized project until the middle of the century, within the framework of the modernization of the Mexican State and the inter-American indigenism.","PeriodicalId":35038,"journal":{"name":"Latin American and Caribbean Ethnic Studies","volume":"17 1","pages":"495 - 518"},"PeriodicalIF":0.6,"publicationDate":"2022-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44109736","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-28DOI: 10.1080/17442222.2022.2041349
L. Giraudo
ABSTRACT This article addresses the Brazilian interpretation of the Day of the Indian, a hemispheric indigenista celebration created in 1940 and observed in Brazil since 1944. It especially focuses on the prominence of the figure of Cuauhtémoc after the Mexican government sent a monument of the ‘Aztec hero’ to Brazil in 1922. The arrival of the Cuauhtémoc monument in Rio de Janeiro triggered a debate about who Brazil’s Indian hero should be, which continued until 1965 when a sculpture of the ‘Indian’ Araribóia was placed in Niteroi, on the other side of the Guanabara Bay. In the Day of the Indian ritual, the figure of Araribóia achieves some importance, but no autochthonous local figure could displace the mighty Cuauhtémoc and his status as Amerindian hero. The analysis of these specific stagings suggests a strong connection between the public displays of the ‘Indian heroes’ and the concomitant processes of national institutionalization and international recognition of Brazilian indigenismo. In the end, the heroic figures promoted by the Day of the Indian were not the Indians, but the indigenistas themselves. Their model, General Rondon, would be recognized in 1958, the year of his death, as ‘Indigenist hero.’
{"title":"In the shadow of Cuauhtémoc: commemorative sculptures, indigenous heroes, and indigenismo in Mexico and Brazil, 1944-1958","authors":"L. Giraudo","doi":"10.1080/17442222.2022.2041349","DOIUrl":"https://doi.org/10.1080/17442222.2022.2041349","url":null,"abstract":"ABSTRACT This article addresses the Brazilian interpretation of the Day of the Indian, a hemispheric indigenista celebration created in 1940 and observed in Brazil since 1944. It especially focuses on the prominence of the figure of Cuauhtémoc after the Mexican government sent a monument of the ‘Aztec hero’ to Brazil in 1922. The arrival of the Cuauhtémoc monument in Rio de Janeiro triggered a debate about who Brazil’s Indian hero should be, which continued until 1965 when a sculpture of the ‘Indian’ Araribóia was placed in Niteroi, on the other side of the Guanabara Bay. In the Day of the Indian ritual, the figure of Araribóia achieves some importance, but no autochthonous local figure could displace the mighty Cuauhtémoc and his status as Amerindian hero. The analysis of these specific stagings suggests a strong connection between the public displays of the ‘Indian heroes’ and the concomitant processes of national institutionalization and international recognition of Brazilian indigenismo. In the end, the heroic figures promoted by the Day of the Indian were not the Indians, but the indigenistas themselves. Their model, General Rondon, would be recognized in 1958, the year of his death, as ‘Indigenist hero.’","PeriodicalId":35038,"journal":{"name":"Latin American and Caribbean Ethnic Studies","volume":"17 1","pages":"399 - 422"},"PeriodicalIF":0.6,"publicationDate":"2022-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41677637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-19DOI: 10.1080/17442222.2022.2065624
Angélica Alomoto, María Elena Bedoya, Elvira Espejo, José Luis Macas, Alberto Muenala
ABSTRACT Artists Angélica Alomoto, Elvira Espejo and Alberto Muenala shared with María Elena Bedoya and José Luis Macas their artistic experiences and the complexities of their artistic practices in the field of art and in cultural institutions in Ecuador and Bolivia. This is only a fragment of a long collective conversation we had in the context of the pandemic of COVID 19. We would like to clarify that by saying yuyarinchik ninchik, which we could translate as ‘thinking and saying together,’ we exalt the process of collective dialogue that is often invisible: work meetings, readings, shared experiences and interests, etc.
{"title":"Yuyarinchik ninchik: un diálogo colectivo sobre arte indígena e indigenismos","authors":"Angélica Alomoto, María Elena Bedoya, Elvira Espejo, José Luis Macas, Alberto Muenala","doi":"10.1080/17442222.2022.2065624","DOIUrl":"https://doi.org/10.1080/17442222.2022.2065624","url":null,"abstract":"ABSTRACT Artists Angélica Alomoto, Elvira Espejo and Alberto Muenala shared with María Elena Bedoya and José Luis Macas their artistic experiences and the complexities of their artistic practices in the field of art and in cultural institutions in Ecuador and Bolivia. This is only a fragment of a long collective conversation we had in the context of the pandemic of COVID 19. We would like to clarify that by saying yuyarinchik ninchik, which we could translate as ‘thinking and saying together,’ we exalt the process of collective dialogue that is often invisible: work meetings, readings, shared experiences and interests, etc.","PeriodicalId":35038,"journal":{"name":"Latin American and Caribbean Ethnic Studies","volume":"17 1","pages":"528 - 537"},"PeriodicalIF":0.6,"publicationDate":"2022-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45678511","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-28DOI: 10.1080/17442222.2022.2058446
Charmane M. Perry
ABSTRACT In the Bahamas, children born to undocumented migrants grow up without citizenship but are entitled to apply for it upon their eighteenth birthday. However, due to the stigma of having Haitian origin, Bahamians of Haitian descent continue to be othered racially and ethnically even after eventually becoming Bahamian citizens. In this essay, I argue that second-generation Haitian Bahamians are viewed as perpetual foreigners by mainstream Bahamians and continuously struggle to access the benefits of cultural and legal Bahamian citizenship. Structural and individual practices of ‘othering’ and exclusion have created notions of a two-tier system of citizenship in the Bahamas where some people are considered to be ‘real Bahamians’ and others are considered to be ‘paper Bahamians.’ Using semi-structured interviews with second-generation Haitian Bahamians with and without citizenship, participants reveal the ways they continue – or expect to continue – to experience discrimination and exclusion from Bahamian citizenship because of their Haitian ethnicity. Second-generation Haitians are often treated as perpetual foreigners and practices of individual and structural discrimination reproduce inequality and reflect the failure to fully integrate Haitians into Bahamian society.
{"title":"‘Real Bahamians’ and ‘paper Bahamians’: Haitians as perpetual foreigners","authors":"Charmane M. Perry","doi":"10.1080/17442222.2022.2058446","DOIUrl":"https://doi.org/10.1080/17442222.2022.2058446","url":null,"abstract":"ABSTRACT In the Bahamas, children born to undocumented migrants grow up without citizenship but are entitled to apply for it upon their eighteenth birthday. However, due to the stigma of having Haitian origin, Bahamians of Haitian descent continue to be othered racially and ethnically even after eventually becoming Bahamian citizens. In this essay, I argue that second-generation Haitian Bahamians are viewed as perpetual foreigners by mainstream Bahamians and continuously struggle to access the benefits of cultural and legal Bahamian citizenship. Structural and individual practices of ‘othering’ and exclusion have created notions of a two-tier system of citizenship in the Bahamas where some people are considered to be ‘real Bahamians’ and others are considered to be ‘paper Bahamians.’ Using semi-structured interviews with second-generation Haitian Bahamians with and without citizenship, participants reveal the ways they continue – or expect to continue – to experience discrimination and exclusion from Bahamian citizenship because of their Haitian ethnicity. Second-generation Haitians are often treated as perpetual foreigners and practices of individual and structural discrimination reproduce inequality and reflect the failure to fully integrate Haitians into Bahamian society.","PeriodicalId":35038,"journal":{"name":"Latin American and Caribbean Ethnic Studies","volume":"18 1","pages":"122 - 140"},"PeriodicalIF":0.6,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49198369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-08DOI: 10.1080/17442222.2022.2050501
Deborah Dorotinsky
ABSTRACT This article focuses on the visual imagery within the journal América Indígena published by the Inter-American Indigenist Institute (IAII). I analyze how the images published there operate as symbolic capital in the formation of an indigenista visual culture. I hold that the images published by the IAII’s journal significantly contributed to the consolidation of an indigenista discourse and the establishment of an inter-American indigenista visuality. This article examines three types of images used by the IAII’s journal highlighting the ideological agendas they played in the articulation of inter-American indigenismo. First, I analyze the emblematic image designed by Carlos Mérida that represented the IAII institutional identity. Second, I analyze some woodcuts designed by artists active at the Taller de Gráfica Popular (TGP, Popular Graphic Workshop). Their images gave the journal an homogenous editorial visual identity even though the publication attempted to recognize the diversity and plurality of indigenista perspectives. Finally, I focus my attention on photographs taken by different practitioners – explorers, anthropologists, state-allied photographers, and photographers working for tourism offices and publicity. This work allowed inter-American indigenous diversity to reach (or be exported to) international audiences; it also facilitated the plurality of agendas taken up by indigenistas during the 1940s.
摘要本文关注的是美洲印第安人研究所（IAII）出版的《美洲印第安人》杂志中的视觉意象。我分析了在那里发表的图像是如何作为土著视觉文化形成的象征资本运作的。我认为，IAII杂志发表的图像对巩固土著话语和建立美洲土著形象做出了重大贡献。这篇文章研究了IAII杂志使用的三种类型的图像，强调了他们在表达美洲土著主义中所扮演的意识形态议程。首先，我分析了卡洛斯·梅里达设计的象征性形象，它代表了IAII的制度身份。其次，我分析了一些活跃在Taller de Gráfica Popular（TGP，Popular Graphic Workshop）的艺术家设计的木刻作品。尽管该出版物试图承认土著人观点的多样性和多样性，但他们的图像赋予了该杂志同质的编辑视觉身份。最后，我把注意力集中在不同从业者拍摄的照片上——探险家、人类学家、国家摄影师，以及为旅游办公室和宣传工作的摄影师。这项工作使美洲土著人的多样性能够接触到（或出口到）国际观众；它还促进了20世纪40年代土著人采取的多种议程。
{"title":"América Indígena and inter-American visual indigenismo, 1941–1951","authors":"Deborah Dorotinsky","doi":"10.1080/17442222.2022.2050501","DOIUrl":"https://doi.org/10.1080/17442222.2022.2050501","url":null,"abstract":"ABSTRACT This article focuses on the visual imagery within the journal América Indígena published by the Inter-American Indigenist Institute (IAII). I analyze how the images published there operate as symbolic capital in the formation of an indigenista visual culture. I hold that the images published by the IAII’s journal significantly contributed to the consolidation of an indigenista discourse and the establishment of an inter-American indigenista visuality. This article examines three types of images used by the IAII’s journal highlighting the ideological agendas they played in the articulation of inter-American indigenismo. First, I analyze the emblematic image designed by Carlos Mérida that represented the IAII institutional identity. Second, I analyze some woodcuts designed by artists active at the Taller de Gráfica Popular (TGP, Popular Graphic Workshop). Their images gave the journal an homogenous editorial visual identity even though the publication attempted to recognize the diversity and plurality of indigenista perspectives. Finally, I focus my attention on photographs taken by different practitioners – explorers, anthropologists, state-allied photographers, and photographers working for tourism offices and publicity. This work allowed inter-American indigenous diversity to reach (or be exported to) international audiences; it also facilitated the plurality of agendas taken up by indigenistas during the 1940s.","PeriodicalId":35038,"journal":{"name":"Latin American and Caribbean Ethnic Studies","volume":"17 1","pages":"445 - 472"},"PeriodicalIF":0.6,"publicationDate":"2022-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45758964","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-07DOI: 10.1080/17442222.2022.2046650
María V. Barbero
ABSTRACT This article interrogates the role of silence in Argentine ‘racial grammar.’ Drawing from ethnographic fieldwork on youth migration in Buenos Aires, as well as a case study analysis of a state-sponsored anti-racism campaign, it analyzes how silences and silencing mechanisms serve to (re)produce the naturalization of whiteness in Argentina despite recent challenges. Specifically, it analyzes (1) the ways in which racial categories have been essentialized and erased historically, (2) the changing slippery and spatialized forms of racialization that emerge in the present, and (3) the silencing mechanisms that, although localized and nuanced, can continue to powerfully mitigate potential challenges to white supremacy. In exploring the role of silences on processes of racialization and anti-racist efforts, this article calls for further comparative research onanti-racism in the region, echoing past work that has challenged the narrative of Argentine ‘racial exceptionalism’ in Latin American race and ethnic studies.
{"title":"Interrogating the constitutive silences of whiteness: racial categorizations and spatial racialization in Argentina","authors":"María V. Barbero","doi":"10.1080/17442222.2022.2046650","DOIUrl":"https://doi.org/10.1080/17442222.2022.2046650","url":null,"abstract":"ABSTRACT This article interrogates the role of silence in Argentine ‘racial grammar.’ Drawing from ethnographic fieldwork on youth migration in Buenos Aires, as well as a case study analysis of a state-sponsored anti-racism campaign, it analyzes how silences and silencing mechanisms serve to (re)produce the naturalization of whiteness in Argentina despite recent challenges. Specifically, it analyzes (1) the ways in which racial categories have been essentialized and erased historically, (2) the changing slippery and spatialized forms of racialization that emerge in the present, and (3) the silencing mechanisms that, although localized and nuanced, can continue to powerfully mitigate potential challenges to white supremacy. In exploring the role of silences on processes of racialization and anti-racist efforts, this article calls for further comparative research onanti-racism in the region, echoing past work that has challenged the narrative of Argentine ‘racial exceptionalism’ in Latin American race and ethnic studies.","PeriodicalId":35038,"journal":{"name":"Latin American and Caribbean Ethnic Studies","volume":"18 1","pages":"100 - 121"},"PeriodicalIF":0.6,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41560300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：