SciELO - Scientific Electronic Library Online

 
 número50MIRADAS DESDE LA OTREDAD: LA CONSTRUCCIÓN DE LA IMAGEN DE BOLIVIA EN LA OBRA FOTOGRÁFICA DE LUIGI DOMÉNICO GISMONDI índice de autoresíndice de materiabúsqueda de artículos
Home Pagelista alfabética de revistas  

Servicios Personalizados

Revista

Articulo

Indicadores

Links relacionados

  • En proceso de indezaciónCitado por Google
  • No hay articulos similaresSimilares en SciELO
  • En proceso de indezaciónSimilares en Google

Compartir


Diálogo andino

versión On-line ISSN 0719-2681

Resumen

MATURANA DIAZ, Felipe. INDIGENOUS REPRESENTATIONIN THE SOUTH-CENTRAL ANDEAN REGION: THE CASE OF THE URU-CHIPAYA. Diálogo Andino [online]. 2016, n.50, pp.59-73. ISSN 0719-2681.  http://dx.doi.org/10.4067/S0719-26812016000200005.

The indigenous visual representation in the South-Central Andean Region, has suffered an important change due to the emergen-ce of the ethnographic photography at the beginning of the 20th century. This scientific practice integrates the anthropological theory requirements, the aesthetic composition of the documentary, and a prudent and courteous approach to the Latin American indigenous communities; configuring a deeper, more humanitarian and artistic ethnographic practice. Breaking the naturalist Alcides D'Orbigny's (1847) indigenous imaginary forthe Bolivian Highlands andhis views onphysiognomics thatinvisibilized the indigenous people, relegating them to a marginal orpicturesque place. It also breaks with the canons set by George Squier (1877) and Charles Wiener (1880), which consolidates an indigenous imagery filled with striking archaeological ruins like Sillustani, Tiwanaku and the chullpas of the Carangas, among many. And, finally, it breaks with the anthropometric model and its fragmented view, concerned with the body as a container of meaning and identity; practiced by the missions of Créqui-Montfort (Chervin 1908) and Arthur Posnansky (1915-1918). Representational turn that becomes evident in the ethnographic photograph of Alfred Métraux amongst the chipaya of Carangas (1931), where the image played an active role in the processes of memory reactivation and identity that reconfigured indigenous imagery in the South-Central Andes.

Palabras clave : Visual ethnography; highland; imaginary; Alfred Métraux.

        · resumen en Español     · texto en Español     · Español ( pdf )

 

Creative Commons License Todo el contenido de esta revista, excepto dónde está identificado, está bajo una Licencia Creative Commons