Building on analyses of the relationship between race, aesthetics and politics, the volume elaborates on the epistemological possibilities arising from collaborative and decolonial methodologies at the intersection of ethnography, art, performance and the urban space. It moves from practice-based and collaborative research with young Mapuche and mestizo artists and activists in Santiago (Chile), drawing together a range of different materials: from artworks to theatre and performance; from graphics to audio and visual materials. An edited collection, the book is constructed by shifting between different authorships and changing perspectives from the individual to the collective. This approach, while to a certain extent within the classical structure of editors/authors, plays with the roles of researcher/research participant, highlighting the ambiguities, frictions and exchanges involved in this relationship. Elaborating on indigenous knowledge production, the book thus addresses the possibility of disrupting the social and material landscape of the (post)colonial city by articulating meanings through artistic and performative representations. As such, the essays contained in the book put forward alternative imaginations constructed through an aesthetic defined by the Mapuche concept of champurria (‘mixed’): a particular way of knowing and engaging with reality, and ultimately an active process of home- and self-making beyond the spatialities usually assigned to colonised bodies and subjects. Actively engaging with current debates through collective writing by indigenous people raising questions in terms of decolonisation, the book stands as both an academic and a political project, interrogating the relationship between activism and academia, and issues of representation, authorship and knowledge production.
staging a site-specific play constructed as a moving city-tour that later became Santiago Waria: Pueblo Grande de Wigka ; and second, on the Quinta Normal Park as the place where the art exhibition would be displayed – at the Centro de Extensión Balmaceda Arte Joven – later also becoming the starting point for the theatre piece. Claudio: Yes, from a Mapuche point of view, in the most traditional sense, one would say that I have a tuwün. I even know it, having spent a few
) the only witnesses to what is happening to each other. As soon as love ends, there is an interruption also in terms of communication: the interlocutor, the recipient of our intimate thoughts, memories, and shared words, changes. When that experience is narrated to someone else, the ‘audience’ is inevitably different from what it was when we were sharing it with our beloved one. During the whole project, including the final artistic exhibition and the site-specific play, the research participants clearly had a Mapuche