2018 Fanny Ekaterina Montes Guzman

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2018 Fanny Ekaterina Montes Guzman Programa de doctorado en Estudios Feministas y de Género Tesis doctoral Katoü: la mochila wayuu como tejido de relaciones. Doctoranda: Fanny Ekaterina Montes Guzman Directora: Margaret Bullen Universidad del País Vasco/Euskal Herriko Unibertsitatea (EHU/UPV). Facultad de Educación, Filosofía y Antropología. Departamento de Filosofía de los Valores y Antropología Social. 2018 (c)2018 FANNY EKATERINA MONTES GUZMAN Agradecimientos. Antes que nada, debo agradecer a mi madre; aunque no la cito como autora, su voz, su sensibilidad y su fuerza la percibo en cada página que acá presento. A Andrés Illanes, que me ha acompañado y apoyado en mi formación desde mi pregrado hasta hoy. Debo agradecer a las familias Siosi y Cotes quienes me aceptaron en su cotidianidad y cuyos miembros me dieron la fuerza para terminar este proyecto. A Fannys, Adriana, Mabelis, Doña Doris, Doña María, Elva, Luzday y Patricia que más que informantes fueron mi fortaleza, mis maestras y mis amigas. No puedo expresar en palabras el cariño y respeto que siento por ellas. A Maggie, mi tutora y espíritu guía que con paciencia me acompañó en este viaje. A todos y a todas, gracias. Contenido Introducción .................................................................................................................. 5 ¿Por qué la mochila wayuu? .................................................................................... 5 EL VIAJE ..................................................................................................................... 8 La casa Siosi y mi entrada al mundo wayuu ................................................... 10 Metodología .............................................................................................................. 14 El mundo material y la materialidad ...................................................................... 16 Análisis de contenido digital ................................................................................... 17 Entrevistas abiertas ................................................................................................. 17 La etnografía ............................................................................................................. 20 Sobre WhatsApp y códigos QR ............................................................................. 25 Sobre las imágenes ................................................................................................. 25 Un pequeño artificio heurístico .............................................................................. 26 Estructura del documento ....................................................................................... 27 Una arijuna con privilegios, ¿Y qué vas a hacer con ellos? ............................. 28 CAPÍTULO I. Wale´kerü en la encrucijada. Un estado de la cuestión. ........ 31 Desde la antropología ............................................................................................. 31 Instituciones del sistema cultural wayuu .......................................................... 31 Sobre el tejido en y del sistema cultural wayuu .................................................. 42 El cuerpo: Sobre el encierro y el aprendizaje del tejido femenino ............... 42 Tejidos y roles de género ................................................................................... 54 Las mujeres wayuu y el mercado ...................................................................... 63 ¿Y si pensamos el tejido wayuu/einushii como una institución, con un régimen de género propio? Mi propuesta de marco de perspectiva sobre género ........................................................................................................................ 68 CAPÍTULO 2. Mochilas Caníbales. La mochila como parte de una lógica extractiva. .................................................................................................................... 80 Una historia institucional de la katoü, antropología de la dominación ............. 81 Discurso colonial con fines comerciales sobre el territorio wayuu ................... 83 “Colombia Es Realismo Mágico” ....................................................................... 83 “Indiana Jones y la Cueva de Oro” ................................................................... 90 Katoü un eje material de relación. Discursos coloniales desde instituciones arijuna ...................................................................................................................... 101 Territorio en los márgenes: resistencia, corrupción y responsabilidad ..... 102 Misión Capuchina: “Implantar entre los Indígenas, de suyo indolentes, de Amor al trabajo.” ................................................................................................. 107 “La Guajira: pueblo Wayuu, con hambre de dignidad, sed de justicia y otras necesidades insatisfechas" .............................................................................. 112 El Estado: “Es obligación del Estado y de las personas proteger las riquezas culturales y naturales de la nación” ................................................ 120 Resistencias y alianzas. (algunas) mujeres wayuu como tejedoras y el estado .................................................................................................................................. 122 CAPÍTULO 3. Siguiendo “arijunamente” la katoü: la materialidad creada y en movimiento. ......................................................................................................... 131 Materialidad y performance .................................................................................. 132 Creación de la katoü, cómo el objeto llega a ser. ............................................. 135 Doña María ......................................................................................................... 136 Espacio y tiempo de la creadora. Cuerpo y base de la katoü .................... 140 Patrones de colores, patrones matemáticos para representar la realidad. .............................................................................................................................. 142 Improvisación estética y las relaciones de intercambio en torno a la katoü .............................................................................................................................. 149 Las partes de la katoü ....................................................................................... 157 Elva y sus tejidos. ............................................................................................. 160 Gasa ..................................................................................................................... 162 La capacidad económica de la creadora de katoü. ...................................... 164 El movimiento de la katoü. Distribución y venta. .............................................. 165 La katoü en movimiento. ....................................................................................... 166 Riohacha ............................................................................................................. 170 El movimiento de los cuerpos .......................................................................... 175 La Calle Primera. ............................................................................................... 176 Rompoy (rotonda) .............................................................................................. 183 Mercado Nuevo .................................................................................................. 187 Fuera del Mercado Nuevo. ............................................................................... 188 Venta de gasa osonuchii .................................................................................. 192 El mercado y la osonuchii. ................................................................................ 196 Dentro del Mercado Nuevo (M.N). .................................................................. 198 CAPÍTULO 4. Los hombres que tejen en la oscuridad. ................................. 209 La mirada arijuna sobre los hombres wayuu ..................................................... 209 La guajira es una dama ........................................................................................ 212 Los hombres arijunas que ya no quieren tejer en la oscuridad ...................... 217 Los hombres que tejen en la oscuridad: una etnografía de lo que mi racismo no me dejaba ver. .................................................................................................. 220 En 2011 el bolívar estaba bien, ahora… ........................................................ 225 “Asinasi”: la palabra punitiva para los hombres que tejen. .......................... 230 ¿Pero si no hay trabajo? Ah, entonces sí. ..................................................... 234 Los hombres que se mueven como Juyá (hombres-transporte-tradición) 243 Sobre el desplazamiento .................................................................................. 244 “Antes” ................................................................................................................. 250 CONCLUSIONES ...................................................................................................... 257 Glosario ......................................................................................................................... 264 Bibliografía ...................................................................................................................
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