Arpilleras Da Resistência Política Chilena De La Resistencia Política Chilena

Total Page:16

File Type:pdf, Size:1020Kb

Arpilleras Da Resistência Política Chilena De La Resistencia Política Chilena Arpilleras da resistência política chilena de la resistencia política chilena REALIZAÇÃO: Projeto Comissão de Ministério da MARCAS DA MEMÓRIA ANISTIA JUSTIÇA . COMISSÃO DE ANISTIA COMISIÓN DE AMNISTÍA PROJETO MARCAS DA MEMÓRIA PROYECTO MARCAS DE LA MEMORIA DO MINISTÉRIO DA JUSTIÇA DEL MINISTERIO DE LA JUSTICIA Marcas da Memória: Um projeto de memória e reparação coletiva Marcas de la Memoria: Un proyecto de memoria y reparación A Comissão de Anistia é um órgão do Estado brasileiro La Comisión de Amnistía es un órgano del Estado Brasileño para o Brasil colectiva para Brasil ligado ao Ministério da Justiça e composto por 24 dependiente del Ministerio de Justicia formado por 24 conselheiros, em sua maioria agentes da sociedade civil ou consejeros, en su gran mayoría, agentes de la sociedad civil o Criada há dez anos, em 2001, por meio de medida provisória, Creada hace diez años, en 2001, por medio de una medida professores universitários, sendo um deles indicado profesores universitarios, siendo uno de ellos indicado por las a Comissão de Anistia do Ministério da Justiça passou a provisoria de la Presidencia de la Republica, la Comisión de pelas vítimas e outro pelo Ministério da Defesa. Criada víctimas y otro por el Ministerio de la Defensa. Creada en 2001 integrar em definitivo a estrutura do Estado brasileiro no ano Amnistía del Ministerio de Justicia, pasó a integrar la estructura del em 2001, há dez anos, com o objetivo de reparar moral con el objetivo de reparar moral y económicamente las víctimas de 2002, com a aprovação de Lei n.º 10.559, que regulamentou Estado Brasileño en el año de 2002 , con la aprobación de la ley e economicamente as vítimas de atos de exceção, de actos de excepción, arbitrio y violaciones a los derechos o artigo 8º do Ato das Disposições Constitucionais 10.559 por el Parlamento, reglamentando así el artículo 8º. del acto arbítrio e violações aos direitos humanos cometidas humanos que se cometieron en el país, la Comisión cuenta TransitóriasTendopor objetivo promover a reparação de de disposiciones Constitucionales Transitorias.Teniendo por objetivo entre 1946 e 1988, a Comissão hoje conta com mais de con más de 70 mil pedidos de amnistía ya registrados. Hasta violações a direitos fundamentais praticadas entre 1946 e promover la reparación de violaciones a derechos fundamentales 70 mil pedidos de anistia protocolados. Até o ano de el año de 2011, se había declarado más de 35 mil personas 1988, a Comissão configura-se em espaço de reencontro practicadas entre 1964 e 1985, la Comisión se convierte en un espacio 2011 havia declarado mais de 35 mil pessoas “anistiadas como “amnistiadas políticas”, promoviendo el pedido oficial do Brasil com seu passado, subvertendo o senso comum da de re-encuentro del Brasil con su pasado, subvirtiendo el sentido políticas”, promovendo o pedido oficial de desculpas do de disculpas del Estado por las violaciones practicadas. En anistia enquanto esquecimento. A Anistia no Brasil significa, común de la amnistía en cuanto olvido. La Amnistía en Brasil significa, Estado pelas violações praticadas. Em aproximadamente aproximadamente 15 mil de estos casos, la Comisión igualmente a contrário senso, memória. Em seus 10 anos de atuação, o al contrario, Memoria. En sus diez años de actuación, la Comisión 15 mil destes casos, a Comissão igualmente reconheceu reconoció el derecho a reparación económica. La Comisión de órgão reuniu milhares de páginas de documentação oficial reunió miles de páginas de documentación oficial al respecto de la o direito à reparação econômica. O acervo da Comissão Amnistía posee el más completo conjunto de documentos sobre a repressão no Brasil e, ainda, centenas de depoimentos, represión en Brasil, así como centenas de testimonios, escritos e orales, de Anistia é o mais completo fundo documental sobre la dictadura brasileña (1964-1985) mezclando escritos e orais, das vítimas de tal repressão. E é deste grande de víctimas de esta misma represión. Y es de este gran reencuentro con sobre a ditadura brasileira (1964-1985), conjugando documentos oficiales con inúmeras evidencias y documentos reencontro com a história que surgem não apenas os la Historia que surgen no apenas los fundamentos para la reparación documentos oficiais com inúmeros depoimentos agregados por las víctimas. Este acervo estará disponible al fundamentos para a reparação às violações como, também, a estas violaciones como también la necesaria reflexión a respecto de e acervos agregados pelas vítimas. Esse acervo será público por medio del Memorial de la Amnistía Política de a necessária reflexão sobre a importância da não repetição la importancia de la no repetición de estos actos de arbitrio. destes atos de arbítrio. disponibilizado ao público por meio do Memorial da Brasil, sitio de memoria y homenaje a las víctimas que está 3 2 Anistia Política do Brasil, sítio de memória e homenagem actualmente en construcción en la ciudad de Belo Horizonte. Es dentro de este contexto que el proyecto “Marcas de la as vítimas em construção na cidade de Belo Horizonte. Desde 2007 la Comisión pasó a promover diversos proyectos É neste contexto que surge o projeto “Marcas da Memória”, Memoria” esta insertado, pues él busca expandir todavía más la Desde 2007 a Comissão passou a promover diversos de educación, ciudadanía y memoria, llevando las secciones de que expande ainda mais a reparação individual em um reparación individual en un proceso de reflexión y aprendizaje projetos de educação, cidadania e memória, levando apreciación de los pedidos de Amnistía a los mismos locales processo de reflexão e aprendizado coletivo, fomentando colectivo. Fomentando iniciativas locales, regionales y nacionales as sessões de apreciação dos pedidos aos locais onde donde ocurrieron las violaciones. Estos actos se promovieron iniciativas locais, regionais e nacionais que permitam àqueles que permitan que aquellos que vivieron este pasado sombrío, ocorreram às violações por meio das Caravanas da Anistia, por medio de Caravanas de la Amnistía, las cuales ya que viveram um passado sombrio, ou que a seu estudo se o que se dedicaron a su estudio, compartir lecturas del mundo que já superaram 50 edições; promovendo chamadas superaron 50 ediciones en los cuatro puntos cardinales del dedicaram, dividir leituras de mundo que permitam a reflexão que permitan la reflexión crítica al respecto de un tiempo que públicas para financiamento a iniciativas sociais de país. La Comisión también promueve llamadas públicas crítica sobre um tempo que precisa ser lembrado e abordado necesita ser recordado y discutido bajo perspectivas democráticas. memória, como a que presentemente contempla este para financiar iniciativas sociales de memoria, como es la sob auspícios democráticos. Para atender estes amplos Para cumplir con estos amplios propósitos, las acciones del proyecto projeto; e fomentando a cooperação internacional para o que contempla este proyecto. Adicionalmente, fomenta la propósitos, as ações do Marcas da Memória estão divididas “Marcas de la Memoria” están divididas en cuatro campos distintos: intercâmbio de práticas e conhecimentos, com ênfase nos cooperación internacional para el intercambio de prácticas y em quatro campos: a) audiências públicas; b) projetos de a) audiencias públicas; b) proyectos de colecta de testimonios de países do Hemisfério Sul. conocimientos, con énfasis en los países del Hemisferio Sur. coleta de história oral; c) chamadas públicas de fomento la historia oral; c) Llamadas publicas de fomento a iniciativas de à iniciativas da Sociedade Civil, como a que selecionou o memoria de la Sociedad Civil, como la que seleccionó el presente presente projeto; d) publicações. O projeto “Marcas da proyecto; d) publicaciones El proyecto “Marcas de la Memoria” Memória” reúne depoimentos, sistematiza informações e reúne testimonios, sistematiza informaciones y fomenta iniciativas fomenta iniciativas educativas, intelectuais e culturais que educativas, intelectuales y culturales que permiten a toda la sociedad permitam a toda sociedade conhecer o passado e dele extrair conocer el pasado y de el extraer lecciones para el futuro. Su objetivo lições para o futuro. Seu objetivo é descentralizar do Estado o es descentralizar del Estado el proceso de fomento á la memoria processo de fomento à memória histórica sobre as violações capa: verso de histórica a respecto de las violaciones a los derechos humanos y de Temos que viver aos direitos humanos e de cidadania ocorridos no passado, ciudadanía ocurridas en el pasado, garantizando el surgimiento de trancados garantindo a insurgência de memórias plurais, que reflitam a memorias plurales, que analicen la diversidad de perspectivas que el tapa: reverso de diversidade de perspectivas que o povo brasileiro tem de sua pueblo brasileño tiene de su propia historia. Tenemos que própria história. vivir bajo llave foto: Martin Melaugh Las mujeres salieron a la noche Apresentação Presentación Las mujeres salieron a la noche y buscaron el hilo del rocío, pero sólo hallaron las pisadas Arpilleras / Marcas da Memória Arpilleras / Marcas de la Memória de sus insomnes, amados muertos. El hilo de la papa hallaron y Paulo Abrão Paulo Abrão más tarde Secretario Nacional de Justicia Secretário Nacional de Justiça el hilo de las hojas del maizal, Presidente de la Comisión de Amnistía Presidente da Comissão de Anistia el hilo de la piedra de moler y el zumbido de unas grises mariposas El proyecto Marcas de la Memoria de la Comisión de Am- O Projeto Marcas da Memória da Comissão de Anistia do Ministé-
Recommended publications
  • Queremos Democracia / We Want Democracy Chilean Arpillera, Vicaría De La Solidaridad, 1988 Photo Martin Melaugh
    Queremos Democracia / We want democracy Chilean arpillera, Vicaría de la Solidaridad, 1988 Photo Martin Melaugh This arpillera, from a Chilean church community workshop, depicts the However, Agosín (2008) maintains that women were not given due “people’s power” in insisting on their rights to a peaceful, nonviolent recognition in the new democracy: “…democracy has not acknowledged society. The bright colours of the houses and the women’s clothes the significance of the arpilleristas and other women’s groups…who had convey hope. However, the presence of the police car reminds us that a fundamental role to play in the return of democracy.” overcoming the barriers to poverty and peace are not easy. In this difficult context they carry a banner that reads “democracy” hoping that if this is Courtesy of Seán Carroll, USA achieved, things will change. They want to be part of the process. 24 The next four arpilleras, recently brought back from Chile, are an account by a Chilean arpillerista of recent events in the country. Direct confrontation between the indigenous Mapuche people, who consider themselves a separate people, and the Chilean State, who consider them Chileans, is the overarching theme depicted. Hermanos Mapuche en huelga de hambre / Mapuche people on hunger strike Chilean arpillera, Aurora Ortiz, 2011 Photo Martin Melaugh This poignant arpillera is the testimony of a recent historical (2010) The Mapuche flag is placed in a prominent place to reinforce their episode experienced by the Mapuche people, who have suffered identity. The artist has added her support by embroidering a banner colonisation for over 500 years.
    [Show full text]
  • Arpilleras: Evolution and Revolution
    Arpilleras: Evolution and Revolution Public lecture – Friends of Te Papa, Main theatre, Te Papa Tongarewa, Monday 2 September , 2013 Roberta Bacic Curator, www.cain.ulst.ac.uk/quilts August 2013 Introduction Arpilleras, from their humble origins in Chile, have traversed the globe, prompting much debate, resistance and action in their wake. In this brief address I will focus on the origins of arpilleras and how they evolved, the revolutionary nature of arpilleras and their universal journey. The origins and evolution of arpilleras What are arpilleras? Arpilleras (pronounced "ar-pee-air-ahs") are three-dimensional appliquéd tapestries of Latin America that originated in Chile. The backing fabric of strong hessian, “arpillera” in Spanish became the name for these particular type of sewed pictures which came to mean the cloth of resistance. As empty potato or flour bags, materials at hand in any household, were also used for the backing, the typical arpillera size is a quarter or a sixth of a bag. At a later stage, the sewing of cloth figures and other small memorabilia onto these “cuadros” (pictures) evolved, giving them a special personalized quality and a three dimensional effect. We believe that contemporary arpilleras originated in Isla Negra on the Chilean coastline. Around 1966 Leonor Sobrino, a long standing summer visitor to the area, prompted local women to use embroidery to depict scenes of their everyday lives. The group of women became Las Bordadoras de Isla Negra (the Embroiders of Isla Negra) and, mainly in the long 1 winter months, they embroidered bucolic scenes of their everyday rural lives.
    [Show full text]
  • Transforming Threads of Resistance: Political Arpilleras & Textiles by Women from Chile and Around the World
    TRANSFORMING THREADS OF RESISTANCE: POLITICAL ARPILLERAS & TEXTILES BY WOMEN FROM CHILE AND AROUND THE WORLD The Art of Conflict Transformation Event Series Presents Transforming threads of resistance: political arpilleras & textiles by women from Chile and around the world Foreword Since 2008 the interdisciplinary Art of Conflict Transformation Event Series has served as a platform, bringing to the University of Massachusetts Amherst scholars, artists, and conflict resolvers to explore the geography of conflict; the spaces in and on which conflict has been imprinted and expressed; and the terrains of resistance, resilience, and transformation. In 2012 we are proud to host events focusing on women’s acts of resistance to state violence in conflict zones throughout the world through their creation of arpilleras and other political textiles. The exhibition on display at the Student Union Art Gallery serves as the centerpiece of six weeks of activities interrogating women’s critical engagement with state oppression and their crafting of visual narratives that have defied silencing. The Art of Conflict Transformation Art Gallery of the National Center for Technology and Dispute Resolution also hosts this exhibition online at http://blogs.umass.edu/conflictart. The Art of Conflict Transformation Event Series is indebted to Dr. John Mullin, Dean of the Graduate School, whose visionary and steadfast support has been instrumental to its success. Outstanding administrative support has been provided for the 2012 activities by Michelle Goncalves from the Legal Studies and Political Science Programs. A very special thanks goes to internationally renowned curator Roberta Bacic, whose arpilleras exhibitions have been shown in museums and at universities throughout the globe.
    [Show full text]
  • Chilean Arpilleras: Writing a Visual Culture R
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2018 Chilean Arpilleras: Writing a Visual Culture R. Darden Bradshaw University of Dayton, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Bradshaw, R. Darden, "Chilean Arpilleras: Writing a Visual Culture" (2018). Textile Society of America Symposium Proceedings. 1069. https://digitalcommons.unl.edu/tsaconf/1069 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Textile Society of America Symposium Proceedings 2018 Presented at Vancouver, BC, Canada; September 19 – 23, 2018 https://digitalcommons.unl.edu/tsaconf/ Copyright © by the author(s). doi 10.32873/unl.dc.tsasp.0023 Chilean Arpilleras: Writing a Visual Culture R. Darden Bradshaw [email protected] Demonstration outside of a church, 00001; M. Dieter collection ©Museum of Memory and Human Rights, Santiago, Chile Arpilleras, historically created in the home and sewn by hand, are constructions of pictorial narratives in which bits of discarded cloth are appliqued onto a burlap backing. The art form has been historically practiced in Chile for some time but arose to global prominence during a period of intense political oppression; these works of art, created in response to the atrocities committed by the Pinochet regime from 1973 to 1990 have served, and continue to serve, as seditious and reconstructive forms of visual culture.
    [Show full text]
  • Interactions: UCLA Journal of Education and Information Studies
    UCLA InterActions: UCLA Journal of Education and Information Studies Title Textiles of Change: How Arpilleras can Expand Traditional Definitions of Records Permalink https://escholarship.org/uc/item/80j818zz Journal InterActions: UCLA Journal of Education and Information Studies, 12(1) ISSN 1548-3320 Author Doolan, Elizabeth Publication Date 2016 DOI 10.5070/D4121028883 Peer reviewed eScholarship.org Powered by the California Digital Library University of California During the months of July and August 2015, I participated in an internship with the archives of the Tower Museum in Derry, Northern Ireland,1 where I worked with a personal collection of arpilleras donated by lecturer, curator, and human rights activist, Roberta Bacic. Arpilleras are appliquéd and embroidered tapestries or quilts first created by women in Chile as a form of self-expression. The Tower Museum treats the arpilleras both as museum artifacts and as archival records due to the acknowledgement of their archival qualities. Both the arpilleras themselves, and how they are classified by the museum, challenge dominant conceptions of what records are and how expansion of those conceptions might begin to answer some of the silences currently present in many archives, among them, those surrounding the voices and experiences of women. They thus present an excellent case for exploring not only non-traditional record forms, but also the gendered nature of their production, materiality, content, and ultimately, reception and understanding. This paper begins by providing a brief social and political history of arpilleras in order to provide readers with a sense of their gendered nature, as well as the multitude of stories that they are able to relate or expose.
    [Show full text]
  • Stitching Resistance: an Educator’S Guide to Chilean Arpilleras
    Stitching Resistance: An Educator’s Guide to Chilean Arpilleras Produced by the University of New Mexico Stitching Resistance: An Educator’s Guide to Chilean Arpilleras Latin American & Iberian Institute 1 Table of Contents Introduction . 3 Background & History . 4 Vocabulary . 10 Curriculum Discussing Arpilleras . 11 The Arpillerista: Poem Analysis . 12 Comparing Herstories: The Arpilleristas of Chile and African-American Women Quilters in the U .S .: . 18 Creating an Arpillera . 25 Supplementary Materials . 33 *Cover image is a photograph of a woman’s hands threading a needle, wearing a thimble. The photographer is Jerry Soalte, date un- known. Provided by Kheel Center for Labor-Management Documentation and Archives, Cornell University Libraries, via Flickr. Copy- right unknown. UNM Latin American & Iberian Institute 2 Introduction Dear Educators, These resources have been created to support teachers in integrating discussions and activities concerning Chilean arpilleras into their classroom. The UNM Latin American & Iberian Institute (LAII) developed this educator’s guide in conjunction with profes- sional development workshops held in Spring and Fall 2013 through a partnership with the National Hispanic Cultural Center. The workshops were organized to explore teaching about the exhibition “Stitching Resistance: The History of Chilean Arpilleras,” on display at the NHCC from October 19, 2012, through January 31, 2014. The intent of this powerful and extensive exhibit was to help illuminate the artistry and the history of arpilleristas and arpilleras in the hope that what happened to Chileans between 1973 and 1990 is never forgotten - and that the artists who stitched it are forever recognized. As a first recommendation, we suggest that educators review another wonderful resource available online at no cost: The Making History Series “Stitching Truth: Women’s Protest Art in Pinochet’s Chile” from Facing History and Ourselves.
    [Show full text]
  • The Arpillera Movement in Chile Margaret D
    Journal of International Women's Studies Volume 10 | Issue 2 Article 24 Nov-2008 Book Review: Tapestries of Hope, Threads of Love: The Arpillera Movement in Chile Margaret D. Stetz Follow this and additional works at: http://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Stetz, Margaret D. (2008). Book Review: Tapestries of Hope, Threads of Love: The Arpillera Movement in Chile. Journal of International Women's Studies, 10(2), 248-250. Available at: http://vc.bridgew.edu/jiws/vol10/iss2/24 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2008 Journal of International Women’s Studies. Tapestries of Hope, Threads of Love: The Arpillera Movement in Chile, Second Edition. Marjorie Agosin. 2008. Foreword by Isabel Allende. Introduction by Peter Kornbluh. Afterword by Peter Winn. Lanham, MD: Rowman & Littlefield. 240 pp. (includes illustrations, foreword, acknowledgments, and chronology). $65.00 (cloth); $19.95 (paper). Reviewed by Margaret D. Stetz1 In his Introduction to Tapestries of Hope, Threads of Love, Peter Kornbluh likens Marjorie Agosin’s work on the collages first woven by Chilean women during the military dictatorship of General Augusto Pinochet to the very projects that she documents, saying that “this book is nothing less than a literary arpillera” (10). Kornbluh draws this analogy as a compliment to Agosin, but it also proves an accurate assessment.
    [Show full text]
  • Curating the Difficult Knowledge of Conflict Textiles
    Aberystwyth University Knowing Through Needlework Andra, Christine; Bliesemann de Guevara, Berit; Cole, Lydia; House, Danielle Published in: Critical Military Studies DOI: 10.1080/23337486.2019.1692566 Publication date: 2020 Citation for published version (APA): Andra, C., Bliesemann de Guevara, B., Cole, L., & House, D. (2020). Knowing Through Needlework: Curating the difficult knowledge of conflict textiles. Critical Military Studies, 6(3-4), 341-359. https://doi.org/10.1080/23337486.2019.1692566 Document License CC BY-NC-ND General rights Copyright and moral rights for the publications made accessible in the Aberystwyth Research Portal (the Institutional Repository) are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the Aberystwyth Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the Aberystwyth Research Portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. tel: +44 1970 62 2400 email: [email protected] Download date: 23. Sep. 2021 Critical Military Studies ISSN: 2333-7486 (Print) 2333-7494 (Online) Journal homepage: https://www.tandfonline.com/loi/rcms20 Knowing Through Needlework: curating the difficult knowledge of conflict textiles Christine Andrä, Berit Bliesemann de Guevara, Lydia Cole & Danielle House To cite this article: Christine Andrä, Berit Bliesemann de Guevara, Lydia Cole & Danielle House (2019): Knowing Through Needlework: curating the difficult knowledge of conflict textiles, Critical Military Studies, DOI: 10.1080/23337486.2019.1692566 To link to this article: https://doi.org/10.1080/23337486.2019.1692566 © 2019 The Author(s).
    [Show full text]
  • Arpilleras the Vessels of Chile's Resistance
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 10-2020 Arpilleras the Vessels of Chile’s Resistance Soledad Fátima Muñoz Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Arpilleras the Vessels of Chile’s Resistance Soledad Fátima Muñoz Most historians locate the beginning of the Chilean military dictatorship after the coup d'état that overthrew democratically elected President Salvador Allende on September 11th of 1973. However, for this paper, I will focus on the ideological background that preceded this era and the economic structures that continue to oppress impoverished people in Chile today. Through the history of the arpilleras and subsequently the resistance embroideries created after the 2018 Chilean Feminist Revolution and the Revolt of October 2019, this paper will look into the relationship between Western academic institutions (specifically the University of Chicago) and their role in the implementation of Neoliberalism in Chile. I will be supplementing this essay with interviews from “La Parte de Atrás de la Arpillera” (The Back of the Arpillera), an audiovisual work I made in collaboration with Amaranta Espinoza and Lula Almeyda for my presentation at 2020 Hidden Stories/Human Lives Textile Society of America's Symposium.
    [Show full text]
  • Chilean Street Art As a Form of Emancipatory Journalism (2021)
    Seattle University ScholarWorks @ SeattleU International Studies Undergraduate Honors Theses International Studies 2021 Broadcasting from the Streets: Chilean Street Art as a Form of Emancipatory Journalism (2021) Hallie Evans Seattle University Follow this and additional works at: https://scholarworks.seattleu.edu/intl-std-theses Recommended Citation Evans, Hallie, "Broadcasting from the Streets: Chilean Street Art as a Form of Emancipatory Journalism (2021)" (2021). International Studies Undergraduate Honors Theses. 22. https://scholarworks.seattleu.edu/intl-std-theses/22 This Latin America is brought to you for free and open access by the International Studies at ScholarWorks @ SeattleU. It has been accepted for inclusion in International Studies Undergraduate Honors Theses by an authorized administrator of ScholarWorks @ SeattleU. 1 Seattle University Broadcasting from the Streets: Chilean Street Art as a Form of Emancipatory Journalism A Thesis Submitted to The Faculty of the College of Arts and Sciences In Candidacy for the Degree of Departmental Honors in International Studies By Hallie Shirnia Evans June 2021 2 This honors thesis by Hallie Evans is approved by: _____________________________________________ Dr. Robert Andolina, Instructor Serena Cosgrove _____________________________________________ Dr. Serena Cosgrove, Reader 3 Abstract Beginning in 2019, Chile saw a new wave of large scale protests termed the Estallido Social in response to the consequences of the Augusto Pinochet dictatorship and the persistence of social inequality upheld by neoliberal economic expansion. This thesis explores the use of street art in the Chilean Estallido Social Protests and the ways in which it functions as a form of emancipatory journalism. The traditional means of mass communications in Chile are rooted in neocolonial and corporate interests, and are thus a limited means for disseminating information concerning political action against the present administration and its interests.
    [Show full text]
  • Chile and Argentina: Madre = Resistencia: Mothers of the Disappeared 47
    Restoring Women to World Studies June 5-8, 2007 A Workshop for Educators Primary Researchers: Natalie Arsenault, Outreach Director Teresa Lozano Long Institute of Latin American Studies Christopher Rose, Assistant Director Center for Middle Eastern Studies Allegra Azulay, Outreach Coordinator Center for Russian, East European & Eurasian Studies Rachel Meyer, Outreach Coordinator South Asia Institute Hemispheres The International Outreach Consortium at the University of Texas at Austin http://www.utexas.edu/cola/orgs/hemispheres/ [email protected] Restoring Women to World Studies: A Document-Based Question Curriculum Unit for Grades 9–12 Final Edition Publication Date: October 2009 This unit contains copyrighted material, which remains the property of the individual copyright holders. Permission is granted to reproduce this unit for classroom use only. Please do not redistribute this unit without prior permission. For more information, please see: http://www.utexas.edu/cola/orgs/hemispheres/ Restoring Women to World Studies: A Document-Based Curriculum Unit for Grades 9–12 Table of Contents We l c o m e . vii Standards Alignment . ix Introduction: Restoring Women to World Studies . 1 Classroom Activity: Graffiti Wall—“What are Gender Norms?” . 15 Graphic Organizer: Gender Norms and Women’s Responses . 16 Classroom Activity: Analyzing Images of Women . 17 Case Studies The Arab World: Islam and Feminism in the Age of the Arab Renaissance . 29 Brazil: Black Women’s Work and Social Progress . 37 Chile and Argentina: Madre = Resistencia: Mothers of the Disappeared. .47 India: Women in the Indian Independence Movement: The Salt Protests of 1930 . 59 Israel: Pioneers in Pre-state Israel: The Women of the First Aliyah .
    [Show full text]
  • Tradición Campesina En Dos Arpilleras De Violeta Parra
    Universidad de los Andes Facultad de Artes y Humanidades Departamento de Arte Canto a lo Divino: Tradición campesina en dos arpilleras de Violeta Parra Andrea Carolina Tunarrosa Gaitán Dirigida por: Carla María Macchiavello Cornejo Ph.D 3 de Diciembre de 2013 1 A mis padres, Amparo y Alfonso por el apoyo incondicional en este largo proceso y a Mario Esteban por la compañía que me brindó a lo largo de toda mi carrera. 2 Índice Introducción:……………………………………………………………………………….5 1. Estado del arte……………………………………………………………………...7 2. El Canto a lo Divino 2.1 ¿Qué es el Canto a lo Divino?............................................................................13 2.2 Violeta Parra y su relación con el Canto a lo Divino………………………….17 3. Las producciones Arpilleristas de Chile 3.1 Relevancia de las arpilleras de Parra con respecto a las diseñadas en Isla Negra y durante la dictadura de Pinochet…………………………………………………..19 4. El Canto a lo Divino en Árbol de la Vida y Cristo en Bikini 4.1 Relevancia de las arpilleras de Parra en relación al Canto a lo Divino………..24 4.2 Árbol de la vida: Parra como intérprete del Canto a lo Divino………………..27 4.3 Cristo en Bikini: Reinterpretación de la Crucifixión………………………….34 5. Conclusiones………………………………………………………………………43 6. Bibliografía…………………………………………………………………..........46 7. Apéndice de imágenes…………………………………………………………….49 8. Cancionero y Décimas…………………………………………………….............67 3 “Las arpilleras son lo más hermoso de la vida…” “…son como canciones que se pintan.” Violeta Parra 4 Introducción A principios del siglo XIX en los sectores rurales de Valparaíso, Aculeo y Cabildo, región central de Chile, varios campesinos empezaron a narrar las historias bíblicas desde sus propias experiencias, utilizando como herramienta el canto1.
    [Show full text]