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An Archive for the Future: Seeing Through Occupation

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An Archive for the Future: Seeing Through Occupation ,------------------------------------------------ iiiiiiiii ILL Number: -12724861 Call Number: F2210 .G66 2017 !!!!!!! Location: Knight ~ iiiiiiiii 1111111111111111111111111111111111111111111111111111111 Q. iiiiiiiii ISSN:9780822368755 -!!!!!!! e !!!!!!! Borrower: RAPID:GZM ODYSSEYENABLED ....J == ....J iiiiiiiii -iiiiiiiii Journal Title: c The extractive zone Max Cost: 0 iiiiiiiii t:l.O !!!!!!! Q) iiiiiiiii Volume: Issue: ~ !!!!!!! email: [email protected] a Month/Year: 2017 Pages: 66-90; 154-57. '+- \.0 EMAIL: [email protected] 0 N > 0"1'" Article Title: An Archive for the Future: Seeing +oJ o::t \.0 ~III through Occupation," Odyssey: 216.54.119.76 Q) z Article Author: Macarena Gomez-Barris > ~ c rapid :::> CHAPTER 3 An Archive for the Future Seeing through Occupation In his thirty-two-minute independent film Mencer: Ni Pewma (zon), Ma- puche filmmaker Francisco Huichaqueo draws attention to the current dystopic landscape of the southern territories in Chile.' This is a continu- ous nightmare that stretches back over five centuries, from the colonial endeavor to nation building through Pinochet's neoliberal experiment and into the current period of the ongoing invasion of pine and eucalyp- tus plantations; a nightmare that takes place within the extractive zone of the Bio Bfo region. In Mapudungun, the term iii pewma translates as "a bad dream," and one interpretation of Huichaqueo's use of the term in the film's title is that the Spanish colonial nightmare persists in the hands of the Chilean state. Mencer, on the other hand, is a word that "came to him in a dream" (and a term that we could not find a definition for), thereby adding to the nonlinear and experimental dimensions of its effect. Unconcerned that his film has screened only once in public, Huicha- queo has deliberately created an archive "that will illuminate to Mapuche peoples living in the future the terrible conditions that we live through now,'" The exceptional quality of the film's work, then, is to document the persistence of the colonial dystopic through experimental means: in the past three decades, Mapuche lands have been reduced to 510,000 hectares, or just 6.4 percent of their original territorial holdings. As Huichaqueo says about his film, "I use the symbolic language of our ancestors to help us shape, live, and act in the world as if occupation did not ravage all of our existence.'" Like the genre ofIndigenous video art that has proliferated in the hemisphere, and the work of Native visual media more Francisco Huichaqueo, Mencer: Ni Pewma, poster for Sela Juana Eugenua, 2011. Image courtesy of Francisco Huichaqueo. globally. Mencer: Ni Pewma documents the struggle for Indigenous life as an ongoing conflict between two fundamentally distinct epistemes.' In this chapter. I take the opportunity of this little known work to disentangle the layers of complexity within the extractive zone. analyzing the symbolic. representational, material, spatial, temporal, and epistemological dimen- sions of the permanent war against Indigenous peoples and their territories in the Southern hemisphere. Since the sixteenth century the colonial occupation of the original ter- ritories known as Wallmapu that span the Andes from Southern Chile to Argentina is a permanent war against Indigenous populations. This war advances on material and representational fronts. ranging from genocidal atrocities. such as those that took place during the failed Spanish conquest of the region, to the expropriation during the "Reducciones" and enclosure period of the 1800s, to the neoliberal privatization ofindigenous territories from 1973forward, to the multicultural state's project of incorporation and expulsion during the 1990S. A financialized view that sees land as transparent exchange value is AN ARCHIVE FOR THE FUTURE 67 distinctly opposite from Huichaqueo's viewpoint, whose opening scene is an opaque landscape with blurry boundaries between land, sky and trees, offering a mode of perceiving beyond the neat delineations of the extractive zone. Mapuche embodied thought systems see past monocul- tural transaction to address the perrimonton dreamscape as a parallel plane of existence. Mencer: Ni Pewma follows this cosmology by rendering and making audible the worlds of ancestors, the elements, and erased anticolo- nial histories, challenging the dominant discourses that decontextualize the present-day conflict between Mapuche land and water defenders, on the one hand, and the colonial state and its military apparatus, on the other. Rather than recur to the documentary paradigm of direct address and testimonials often used in human rights representation, or to a mode of cultural politics that appeals to the state as the main site of redress and recognition, Huichaqueo instead breaks open the matrix of representa- tional confinement and evacuation." And, unlike the sociological impulse of many other films in the documentary genre, in Huichaqueo's monochro- matic palette and echo-chamber soundtrack, Mapuche worlds can be ac- cessed through visual and sound bridges that invoke the supernatural; it is also conjured through the use of the elements of fire, earth, air, and water, all of which become the symbolic anchors for a visual imaginary that per- ceives life otherwise. As I address throughout the chapter, the cumulative effect of these experimental techniques is an assault upon colonial modes of representation. More specifically, Huichaqueo's experimental film plays with conventions, incorporating elements, such as repeated motifs and echoes, non sequitur edits, long takes of performance art, literary and the- atrical references, and footage from other films, to make connections to similar landscapes of violent colonization throughout the Americas. An experimental, and more radical proposition emerges in Huicha- queo's work, one that challenges what it means to witness and live with devastation and genocide by shifting the viewer's sense of time, space, and narrowly framed constructions of reality. In particular, Huichaqueo offers a fragmented, partial, and often confused view that disorients the viewer in order to insert Mapuche viewpoints into the frame. Thus, Mencer: Ni Pewma imagines the sensual and natural worlds not as fatally destroyed by colonial capitalism but as counternetworks of possibility enabled through dreamscapes and the invisible parallel worlds of cultural memory. How does experimental film shift normative imaginaries of land and 68 CHAPTER THREE landscape through visuality that documents the already arrived apoca- lypse toward life after extinction? Can experimental film sort through the memories of Indigenous experience that work in opposition to the state, especially in the heightened contlict within the southern territories of Wall- mapu! By giving us a filmic language based in Mapuche relations to the visible and invisible realms, how does Huichaqueo open up an aesthetic sensibility that perceives territory as a multidimensional space that curates an archive for the future? Can experimental film suggest what the land remembers? Retakes on Occupation Huichaqueo's experimental film must be situated alongside a range of pro- ductions made by Indigenous filmmakers about violence, contestation, and increased militarization of Mapuche territories," For instance, Wall- mapu (2001), by Mapuche filmmaker Jeanette Paillan, and the story of Pe- huenche activist Berta, as told in El velo de Berta (Berta's Veil, 2004), both begin from a Southern Indigenous point of view that documents how Ma- puche, Pehuenche, and Huilliche peoples are differentially treated before the law through a developmentalist offensive upon territory and rural life. As we will see, such films carefully attend to the resource-dense Bio Bio re- gion, illustrating the degree to which communal lands have been increas- ingly legislated as zones of state terror, displacement, and bare life; yet at the same time, this geography has become fertile ground for submerged perspectives, where sources of creativity and collective resistance multiply. When placed within this filmic genre, Huichaqueo's film is unique in that it considers colonial representation in order to eventually destroy it. work- ing from the presumption that despite extinction. social ecologies continue to flourish. The first image in Mencer: Ni Pewma is a colonial portrait of a young) bare-chested Mapuche man gazing directly into the camera, recalling the famed warrior figure Lautaro and the historical victory by Mapuche mili- tias against the Spanish Crown from the 1520S to the 1540S. Lautaro is a complex figure for Mapuches and huincas (nonindigenous) alike, given that Republican literature recycles the undefeated warrior as a symbol of its national pride. In Pedro Subercaseaux's nineteenth-century paintings. Lautaro was idealized as a hero of war. He is also the protagonist of nation- AN ARCHIVE FOR THE FUTURE 69 ally celebrated novelist Alberto Blest Gana's Mariludn (1859), as well as a genre of nationalist writings that formed Chilean literature.' In the colo- nial transition to nation-state formation, constraining images of Mapuche peoples served to construct the "appropriate" place of the Native in the nation. By opening the film with an image of Mapuche portraiture, Hui- chaqueo immediately registers the entanglements of the colonial referent with the national history of European tropes of Indigenous representation. Writing specifically on the Mapuche context, Patricia Richards discusses how, "like their counterparts
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