Academic literature on the topic 'Arte indigenista'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Arte indigenista.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Arte indigenista"
1
MoraC de Asmat, María del Socorro. "Andrés Zevallos de la Puente: aproximación neuroestética al artista y su obra." Illapa Mana Tukukuq, no. 14 (February 18, 2019): 34–47. http://dx.doi.org/10.31381/illapa.v0i14.1878.
Full textAbstract:
Don Andrés Zevallos de la Puente fue un ser humano especial que buscó desarrollar al máximo sus capacidades. En este artículo analizaremos sus palabras desde el punto de vista psicobiológico y neuroestético. Comenzaremos por su infancia; sus inicios en el arte, descubriendo a los pintores que había en su tierra; sus estudios y avatares personales; su obra, que nos llevará directamente al amor que sentía por su tierra y costumbres, formando parte de la corriente indigenista, para terminar con sus reflexiones sobre la espiritualidad, la muerte y sus últimos consejos a las futuras generaciones. El recuerdo que nos queda de él es que supo conciliar devoción y obligación en su larga vida, con sabiduría y tesón.
Palabras clave: neuroestética, vida, obra, indigenismo, resiliencia, espiritualidad, memoria.
AbstractDon Andrés Zevallos de la Puente was a special human being who sought to develop his abilities to the fullest. In this article we will analyze his words from a psychobiological and neuroesthetic point of view. We begin with his childhood, his beginnings in art discovering the painters who lived in his land, his studies and personal avatars, his work that will lead us directly to the love he felt for his land and customs, being part of the Indigenist current; to end with his reflections on spirituality, death and his last advice to future generations. The reminder we have of him is that he was able to reconcile devotion and obligation in his long life with wisdom and tenacity.
Keywords: neuroaesthetics, life, work, indigenism, resilience, spirituality, memory.
2
Villanueva Ccahuana, Philarine Stefany. "Cuestionamiento al indigenismo plástico peruano: el caso de Camilo Blas en la década de 1920." Cuadernos de Música, Artes Visuales y Artes Escénicas 16, no. 2 (July 4, 2021): 250–63. http://dx.doi.org/10.11144/javeriana.mavae16-2.cipp.
Full textAbstract:
Este artículo tiene como objetivos problematizar la naturaleza del movimiento indigenista plástico en el Perú y proponer, a partir de la producción pictórica de Camilo Blas durante la década de 1920, una manera de comprender el desarrollo de las apuestas estético-ideológicas que quedaron simplificadas bajo la etiqueta de “indigenistas”. Nuestra metodología se enmarca en la historia del arte como disciplina, es decir, abordamos la capacidad de expresividad de las pinturas (Fiesta andina, La cashua de 1924 y Hogar de 1926) desde su lenguaje específico y qué dice eso sobre la posición de enunciación del artista dentro de la historia plástica e intelectual peruana. Se encontró que es insuficiente calificarlo de indigenista tal como se concebía en esa década, porque, en vez de evocar al indio del pasado y congelado en el tiempo incaico, Blas lo actualiza dentro de la sociedad mestiza contemporánea. Por tanto, concluimos que existen sentidos que se han silenciado históricamente para sustentar juicios hegemónicos en ese periodo. Estos juicios se enmarcaban en el discurso dicotómico criollo, cuyo mensaje reivindicativo del indio peruano se dirigía a un tipo de indígena ideado fuera de la modernidad. En consecuencia, la representación de indígenas contemporáneos era invisibilizada, por lo que se desvirtuaban proyectos en esa línea, como los de nuestro artista. Nosotros planteamos que, en vez de un proyecto indigenista, él desarrolló un proyecto peruanista en clave moderna y popular, cuyos inicios se advierten desde la década de 1920.
3
Burgos-Videla, Sergio. "El antiimperialismo en el arte yla literatura latinoamericanas Integrar para desintegrar: el macrocosmos mapuche." Temas de Nuestra América. Revista de Estudios Latinoaméricanos 31, no. 58 (April 8, 2016): 165. http://dx.doi.org/10.15359/tdna.31-58.9.
Full textAbstract:
Propongo una interpretación crítica de algunos prolegómenos académicos usados en la primera década del siglo XXI en Chile que justifica la extracción y el uso de materiales sonoros que constituyen el devenir excéntrico del Pueblo mapuche. Esta apropiación de materiales sonoros y la fusión con elementos, procedimientos y estéticas que provienen del Occidente invasor, plantean una violenta transculturación y un evidente mestizaje en la creación de la llamada <em>M</em><em>úsica indigenista</em>. Se alude al pueblo mapuche excéntrico pero subyugado por una historia que es anterior a la configuración de Chile como Nación-Estado, producto de la invasión y colonización occidental. Dicha configuración comienza a producir y reproducir estrategias de carácter hegemónico que silencian, desintegran y ocultan la historia donde me pretendo situar para contemplar cómo es la creación de músicas circunscritas a la academia en Chile, por muchos llamadas "indigenistas", se observa el devenir occidental que niega el derecho a la autodeterminación, no solo del pueblo mapuche, sino a la de los pueblos originarios de América, creando imaginarios sociales constituyentes de una cultura que dentro de sus estrategias colonizadoras e invasoras, aplica la de integrar para desintegrar
4
Yllia Miranda, María Eugenia. "Pedro Azabache Bustamante (1918-2012)." Illapa Mana Tukukuq, no. 9 (February 21, 2019): 7–9. http://dx.doi.org/10.31381/illapa.v0i9.1949.
Full textAbstract:
La muerte del pintor Pedro Azabache ha enlutado al arte peruano y puesto fin a una corriente pictórica que planteó una nueva forma de mirar el Perú. Considerado el último pintor indigenista, su obra llevó con celo la estirpe de una tradición plástica, actualizándola y otorgándole una perspectiva y carácter personal que reflejan las vivencias del hombre rural trujillano. Su labor artística en esa ciudad fue al mismo tiempo fundacional en un mediocarente de plataformas para la difusión del arte contemporáneo, en el que con perseverancia y sin dogmatismos, logró incentivar su desarrollo y estimular a generaciones de artistas que decantaron el estilo del maestro a través de diversas y novedosas propuestas.
5
Carpio, Kelly, and María Eugenia Yllia. "Alicia y Celia Bustamante, la Peña Pancho Fierro y el Arte Popular." Illapa Mana Tukukuq, no. 3 (November 10, 2017): 45–60. http://dx.doi.org/10.31381/illapa.v0i3.1152.
Full textAbstract:
Lima no ha vuelto a tener un espació como el que se creó en la Peña Pancho Fierro. Allí se exhibió por primera vez la colección más completa de arte popular peruano reunida por la pintora indigenista Alicia Bustamante Vernal (1907-1968), asistida incondicionalmente por su hermana Celia (1910-1973), esposa, por ese entonces, del escritor y antropólogo José María Arguedas (1911-1969). La Peña propició una singular ecuación con estos tres personajes, generando una atmósfera única en la que la presencia y exhibición de las propuestas estéticas populares - llamese andinas- se vieron reforzadas por las vivencias y el talento musical de Arguedas. A lo largo de sus tres décadas de existencia (1936-1967). la Peña convocó destacadas personalidades de distintas generaciones y latitudes, convirtiendose así en el más importante escenario de tertulia y reflexión en torno a los acontecimiento políticos, literarios y artísticos del Perú y del mundo
6
Muzardo, Fabiane Tais. "“Ídolos tras los altares”: a (re)construção da arte mexicana no período pós-revolucionário." Mana 25, no. 3 (December 2019): 667–700. http://dx.doi.org/10.1590/1678-49442019v25n3p667.
Full textAbstract:
Resumo Anita Brenner, Tina Modotti e Edward Weston viajaram pelo interior mexicano, no início dos anos 1920, para produzir um registro escrito e imagético sobre a arte popular e religiosa. Desse projeto resultou o livro “Ídolos tras los altares”, publicado pela primeira vez nos Estados Unidos no ano de 1929. Esse artigo visa analisar essa obra a partir dos diálogos que ocorriam no México sobre os indígenas e a questão cultural, no pós-revolução. Defende-se que tal obra ora se aproxima da teoria indigenista, de Manuel Gamio; ora da mestiçagem, de José Vasconcelos; ora cria algo novo, mais próximo a teorias antropológicas atuais, como a de Serge Gruzinski. Em “Ídolos...”, Brenner mescla crônicas populares, resultados de sua observação, descobertas e suas próprias lembranças, em uma narrativa que, apesar da organização cronológica da obra, tem o período pós-revolucionário como referência.
7
Moyano-Chiang, Giuliana. "«Indias Huancas» de Julia Codesido = «Indias Huancas» by Julia Codesido." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 8 (November 17, 2020): 221. http://dx.doi.org/10.5944/etfvii.8.2020.27408.
Full textAbstract:
La obra Indias Huancas de Julia Codesido (1883-1979) forma parte de la colección de arte moderno del Centro Pompidou de París y es una obra que, al igual que muchas obras de artistas mujeres, actualmente no está expuesta al público. Este artículo analiza el trabajo de Codesido desde la perspectiva feminista y decolonial. Al mismo tiempo, la relectura de su obra propone una revisión de la iconografía representada a partir de la significación de sus elementos. Codesido fue una artista comprometida con las ideas de la vanguardia artística del Perú, su adhesión a la estética indigenista le permitió crear obras que alteraron los cánones academicistas, explorando nuevas formas de expresión. Mediante estas nuevas maneras de representación restituyó la presencia de las mujeres y su diversidad étnica y cultural en la historia del arte del Perú.AbstractThe work Indias Huancas by Julia Codesido (1883-1979) is part of the modern art collection of the Center Pompidou in Paris and is a work that, like many works by female artists, is currently not on public view. This article analyzes Codesido’s work from a feminist and decolonial perspective. At the same time, the re-reading of her work proposes a revision of the iconography represented from the significance of its elements. Codesido was an artist committed to the ideas of the artistic avant-garde of Peru, her adherence to the Indigenist aesthetics allowed her to create works that altered academic canons, exploring new forms of expression. Through these new forms of representation, she restored the presence of women and their ethnic and cultural diversity in the history of Peruvian art.
8
Acevedo, Alejandra. "Repetición, reproducción, imitación y recuerdo. Del arte a la arquitectura del movimiento moderno en el Perú." Arquitextos, no. 33 (February 17, 2019): 21–34. http://dx.doi.org/10.31381/arquitextos.v0i33.1857.
Full textAbstract:
El presente escrito tiene como objetivo discutir las nociones de repetición y reproducción a lolargo de la historia del arte y la arquitectura, estableciendo los elementos básicos para una reflexión acerca de la relación entre estos conceptos y la arquitectura del movimiento modernoen el Perú entre los años de 1945 y 1965.En el Perú, durante el siglo XX, surgió la idea de tener una arquitectura con identidad propiaorientada al rescate de la herencia precolombina e hispánica del país. Esto produjo la aparición de los movimientos neo-colonial, indigenista y el neo-peruano, antes de desarrollarse la arquitectura moderna peruana. Esta etapa dio lugar a la Agrupación Espacio que proponía ideas de cambio para el país, dando paso a la modernidad no solo en la arquitectura sino también en la cultura y el arte. Este movimiento fue difundido por un grupo de artistas y arquitectos liderados por Luis Miró Quesada. En paralelo, Enrique Seoane Ros, que no perteneció al grupo, evolucionó y desarrolló arquitectura moderna desde su propia perspectiva.
9
Valdez Hermida, Ana Rosa, and Guillermo Morán. "El discurso del “país amazónico” en el mural El Descubrimiento del Río Amazonas de Oswaldo Guayasamín." Index, revista de arte contemporáneo, no. 08 (December 31, 2019): 72–80. http://dx.doi.org/10.26807/cav.v0i08.288.
Full textAbstract:
El presente artículo forma parte del segundo capítulo de la investigación “Representaciones de la selva amazónica en el arte ecuatoriano (1930-2018)”, proyecto ganador de la Convocatoria para Proyectos Artísticos y Culturales 2018-2019 del Instituto de Fomento a las Artes, Innovación y Creatividades (IFAIC). El texto examina la representación de la selva en el mural El Descubrimiento del Río Amazonas del artista Oswaldo Guayasamín, emplazado en la sede de la Presidencia de la República del Ecuador. Se aborda el contexto de surgimiento de esta obra en la década de 1940, a raíz de la Guerra con el Perú y la firma del Protocolo de Río de Janeiro. Asimismo, se analiza el imaginario del Ecuador como país amazónico, conformado en aquella época, el cual atraviesa la narración visual del mural. La obra parece negociar una visión hispanista e indigenista de la historia, lo cual suscita una reflexión en torno a su capacidad de contribuir a un discurso de cohesión nacional promovido desde el poder político.
10
Monteiro, Valdênia Brito. "MULHER INDÍGENA: RESISTÊNCIA EM TEMPO DE RETROCESSO DE DIREITOS." Cadernos do CEAS: Revista crítica de humanidades, no. 243 (July 26, 2018): 104. http://dx.doi.org/10.25247/2447-861x.2018.n243.p104-119.
Full textAbstract:
<div><p>Este artigo problematiza a resistência indígena em tempo de retrocessos de direitos, dando ênfase à realidade das mulheres. A carência de dados sobre as condições de vida de mulheres indígenas dificulta o conhecimento dos reais problemas enfrentados. Os dados estatísticos apresentados têm como fontes a Organização das Nações Unidas (ONU), a Comissão Econômica para a América e o Caribe (CEPAL) e o Conselho Indigenista Missionario (CIMI). O estudo está fundamentado na ideia da colonialidade do poder e na necessidade de (re)pensar os direitos humanos de forma descolonial. O texto propõe: 1. Um breve estado da arte sobre a mulher indígena e os efeitos da colonialidade; 2. Uma problematização entre identidade e memória no contexto de luta de resistência indígena; e 3. Caminhos contra hegemônicos para vencer os retrocessos.<strong> </strong></p></div><p class="Corpo"> </p>
Dissertations / Theses on the topic "Arte indigenista"
1
Padilla, Benavente Juan Daniel. "Influencias y etapas en la música indigenista del Cusco." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/656685.
Full textAbstract:
Esta investigación estudia las influencias musicales y las etapas que la Escuela Cusqueña indigenista afrontó a partir de una revisión que indaga en los sucesos que afectaron el desarrollo de la música en Cusco durante los periodos virreinales, decimonónicos y los primeros años del siglo XX. Este enfoque prioriza a los eventos históricos debido a que el indigenismo musical cusqueño se proyectó sobre las expresiones populares consolidadas en un extenso proceso sociocultural. La investigación está estructurada en 3 capítulos. El primero corresponde a la revisión de las raíces indigenistas en el Virreinato del Perú. El segundo estudia la aparición del preindigenismo durante el periodo republicano del siglo XIX. El tercero aborda a la Escuela Cusqueña desde la difusión del movimiento indigenista a comienzos del siglo XX.This research studies the influences and stages faced by the Cusco indigenist school in the first half of the 20th century, based on a review that examines the viceregal period, nineteenth-century and the first years of the twentieth century that impacted the development of music in Cusco. This approach prioritizes the historical events due to the fact that the Cusco musical indigenism was projected on the popular expressions consolidated in an extensive social and cultural process. The investigation is structured in 3 chapters. The first one corresponds to the revision of the indigenist roots in the Viceroyalty of Peru. The second studies the most immediate roots of the preindigenismo in the republican period of the 19th century. The third discusses the music development since the dissemination of the indigenous movement in the early twentieth century.
Tesis
2
Quesada, Luis Roberto Andrade 1990. "Artivismo indígena e indigenista /." São Paulo, 2019. http://hdl.handle.net/11449/190791.
Full textAbstract:
Orientador(a): Rosangela da Silva LeoteBanca: Carminda Mendes André
Banca: Cláudia Fazzolari
Banca: Carlos José Ferreira dos Santos
Banca: Milton Sobage
Resumo: Esta tese realiza uma revisão da construção cultural da imagem do "índio", tanto por meio das Artes Visuais como pelos usos e apropriações das culturas indígenas, desde os processos da colonização portuguesa, passando pelo romantismo indianista e pela antropofagia modernista, que seguem vigentes na era contemporânea. O presente trabalho também trata sobre como os processos de globalização econômica e cultural trouxeram, mediante fenômenos híbridos, novas realidades interculturais que nos permitem repensar a noção de identidade dos povos e das culturas indígenas, imersas hoje em processos de afirmação identitária mediante a presença da chamada Cibercultura. O trabalho em causa, que também contou com duas pesquisas de campo (uma junto aos índios Krahô; outra juntamente aos índios Tupinambás de Olivença) defende que, em razão dos discursos pós-modernos, surge um tipo de arte que pode ser denominado Artivismo (Arte + Ativismo). Ou seja, trata-se de obras de arte que representam um questionamento político-histórico cultural sobre o racismo, o classismo ou o sexismo. Nessas obras, os artistas utilizam-se da liberdade artística para questionar o poder e gerar novos modelos de diálogo; debatem ativismo político e reflexão crítica a favor das culturas marginais. Nesse caso, a ideia de Artivismo Indígena e Indigenista, que serve de título à presente tese, faz referência tanto às obras de arte que se envolvem politicamente com a representação indígena dentro da sociedade hegemônica... (Resumo completo, clicar acesso eletrônico abaixo)
Resumen: Esta tesis realiza una revisión de la construcción cultural de la imagen del "índio", tanto através de las Artes Visuales, como por los usos y apropriaciones de las culturas indígenas, desde los procesos de la colonización portuguesa, pasando por el romanticismo indianista y la antropofagia modernista, que siguen vigentes en la era contemporanea. El presente trabajo también argumenta sobre como los procesos de globalización econômica y cultural trajeron, mediante los fenomenos híbridos, nuevas realidades interculturales que nos permiten repensar la noción de identidad de los pueblos y culturas indígenas, inmersas hoy en procesos de afirmación identitária mediante la presencia de la llamada Cibercultura. La tesis cuenta com dos trabajos de campo, uno con los indígenas Krahô y otro con los indígenas Tupinambá de Olivença. Defiende que con la llegada de los discursos pósmodernos, surge un tipo de arte que puede ser denominado Artivismo (Arte + Activismo), o sea, hace referencia a aquellas obras de arte que representan un questionamento político-histórico cultural sobre el racismo, el clasismo o el sexismo. En esas obras, los artistas utilizan la libertad artística para questionar el poder y generar nuevos modelos de diálogo, debate, activismo político y reflexión crítica en favor de las culturas marginales. En este caso la idea de Artivismo Indigena e Indigenista, que sirve de título a la presente tesis, se refiere tanto a las obras de arte que se involucran politicamente con... (Resumen completo clicar acceso eletrônico abajo)
Doutor
3
MACHADO, Almires Martins. "De direito indigenista a direitos indígenas: desdobramento da arte do enfrentamento." Universidade Federal do Pará, 2009. http://repositorio.ufpa.br/jspui/handle/2011/7289.
Full textAbstract:
Submitted by Edisangela Bastos (edisangela@ufpa.br) on 2017-01-11T17:28:33Z
No. of bitstreams: 2
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Dissertacao_DireitoIndigenistaDireitos.pdf: 2847015 bytes, checksum: 01070cded129b2f80d9099d2e62333af (MD5)Approved for entry into archive by Edisangela Bastos (edisangela@ufpa.br) on 2017-01-11T17:29:33Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_DireitoIndigenistaDireitos.pdf: 2847015 bytes, checksum: 01070cded129b2f80d9099d2e62333af (MD5)
Made available in DSpace on 2017-01-11T17:29:33Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_DireitoIndigenistaDireitos.pdf: 2847015 bytes, checksum: 01070cded129b2f80d9099d2e62333af (MD5) Previous issue date: 2009
CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Este trabalho aborda o direito Guarani, com a sua principiologia, nuances no trato e subsunção das questões comunitárias. Como dirime os conflitos nos mais diversos campos do direito, em uma sociedade Guarani. Aborda a importância que a religião tradicional tem para esse direito nativo, do qual advém o juízo holístico. Discorre sobre os princípios gerais do direito Guarani: a solidariedade, reciprocidade e prevalência do interesse coletivo sobre o individual. Apesar de tratar de direito indígena, o enfoque se detém no direito de propriedade Guarani. Vale-se do aporte teórico sobre o pluralismo jurídico, para sustentá-lo como um sistema jurídico, embora pensado e legislado de forma diferente do Direito nacional. Ao final, adentra-se nos nefastos resultados da intervenção externa, sem os devidos cuidados antropológicos necessários a tais ações, que parte neste caso de quem tem a incumbência jurisdicional de defender o direito e interesse indígena. Explicita a dificuldade que se tem em trabalhar com direito de povos indígenas, devido à escassez de bibliografia tratando do assunto e porque cada povo indígena tem suas formas próprias de pensar e aplicar o direito.
This paper addresses the right Guarani, with its principles, nuances in conversation and subsumption of community issues. How to resolve conflicts in various fields of law, in a society Guarani. Discusses the importance that traditional religion has for the native law, which stems from the holistic mind. Discusses the principles of law Guarani: solidarity, reciprocity and prevalence of the collective interest of the individual. While dealing with indigenous law, the focus is on the right to hold property Guarani. The value is the theoretical framework of legal pluralism, to sustain it as a legal system, although thought and legislated differently than national law. In the end, enters on the adverse outcomes of external intervention, without due care anthropological necessary to such actions, departing in this case who is in charge of defending the legal right and interest indigenous. Explains the difficulty that has to work with right of indigenous peoples, to the limited literature that deals with it and because each indigenous people has its own ways of thinking and applying the law.
4
Villanueva, Ccahuana Philarine. "Jorge Vinatea Reinoso. Una propuesta indigenista en su lenguaje pictórico [Capítulo 1]." Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/625681.
Full textAbstract:
La publicación es una investigación sobre la propuesta indigenista encontrada en el lenguaje pictórico de las obras del reconocido pintor arequipeño Jorge Vinatea Reinoso. La autora del libro, Philarine Villanueva, se enfoca en el análisis del espacio cultural andino de las obras del artista y cómo su visión personal buscó destacar la imagen de hombres y mujeres de la sierra sur del Perú en sus pinturas, por medio de técnicas pictóricas que priorizan la presencia de sus personajes y las acciones de sus vidas cotidianas.
El libro presenta, en una primera parte, un recuento histórico sobre la producción artística de Jorge Vinatea Reinoso y en su contexto social, político y cultural. En la segunda parte, la autora, mediante el análisis de las pinturas A Amancaes, Tantahuasi y Caballitos de totora, deconstruye el estilo pictórico del pintor y cómo las estructuras, trazos y colores responden a su propia cosmovisión andina. Finalmente, se explican los hallazgos de las composiciones dinámicas de las obras analizadas y la manera en que estas logran generar una experiencia sensorial sobre un indigenismo crítico y endógeno.The publication is a research about the indigenist proposal found in the pictorial language of the works by Jorge Vinatea Reinoso, renowned painter from Arequipa. The book's author, Philarine Villanueva, focuses on the analysis of the Andean cultural space in his works and how his personal view sought to spotlight the image of Peru's southern highlands men and women in his paintings using pictorial techniques that feature the characters and their daily activities. In the first part of the book, there is a historical review of Jorge Vinatea Reinoso's artistic production and its social, political, and cultural background. In the second part, through the analysis of the A Amancaes, Tantahuasi and Caballitos de totora paintings, the author deconstructs the painter's pictorial style and how the structures, strokes, and colors respond to his own Andean world view. Finally, the findings about the dynamic compositions of the analyzed paintings are explained, as well as the way they manage to generate a sensory experience regarding critical and endogenous indigenism.
5
Prentice, Tracey. "Visioning Health: Using the Arts to Understand Culture and Gender as Determinants of Health for HIV-Positive Aboriginal Women (PAW)." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32956.
Full textAbstract:
Previous research, mostly on HIV-positive Aboriginal women (PAW) instead of with them, has focused primarily on their HIV-illness experience and the gaps and needs that arise from living with HIV. This has, arguably, allowed us to develop policies and programs to meet these needs; however, it has also contributed to dominant and disempowering representations of Aboriginal women living with HIV as troubled, vulnerable and in need of outside assistance. To counter-balance these negative representations and to co-create new strengths-based, culturally-relevant and gender-specific knowledge that can inform policies, programs and services for PAW, I partnered with PAW and Aboriginal community partners to develop a project that would provide PAW with an opportunity to tell a different kind of story about themselves than has previously been told by others.
Using an Indigenist Intersectional Population Health framework that was underpinned by a strengths-based, arts-informed, culturally-grounded and decolonizing community-based participatory approach to research, we engaged 13 PAW across three sites (Toronto = 5; Montreal = 4; ‘Virtual’ group = 4) in individualized group research processes to better understand PAW’s perceptions of health instead of illness and the intersecting roles that culture and gender can play in supporting the self-defined health of PAW. We also engaged in innovative, culturally-relevant and participatory knowledge translation and exchange (KTE) and developed policy and practice recommendations from our research.
Findings from Visioning Health suggest that PAW have a holistic and relational view of health that is grounded in their individual and collective identity as HIV-positive Aboriginal women. Health for PAW co-researchers has physical, mental, emotional and spiritual dimensions, and is fundamentally about ‘connecting’ and ‘feeling connected’ at multiple levels including self, others, community, culture, environment and Creator. Each of these levels is interrelated and each is grounded in Aboriginal cultures and ways of knowing that see all elements of the world as interconnected. This is consistent with previously published health concepts for Aboriginal peoples; however, this is the first articulation of PAW’s perspectives on health in the literature. PAW co-researchers also identified health-enabling strategies that they use to support their self-defined health, including understanding and resisting the broader context of colonization, reclaiming their voice and identity, creating safe spaces for themselves and their peers, and (re)connecting to Spirit. Given that the vast majority of policies and programs for PAW are based on Western concepts of health as predominantly physical, findings from this study can be used to inform strengths-based, culturally-relevant and gender-specific policies and practices that better fit the needs of PAW.
One of the most significant and unexpected findings of our study, however, is that the process of participating in our research was, in itself, health enabling. Consistent with their perspectives on health, PAW co-researchers reported that participating in Visioning Health helped them feel connected to themselves, to others, to their communities, and to their cultures. PAW co-researchers also referred to their participation in Visioning Health as ‘a healing journey’ and ‘damn good medicine’. While we did not design our project as an ‘intervention’, it is clear that Visioning Health worked as a holistic and integrated action for social change on several levels that are mutually reinforcing.
Policy and practice recommendations that flow from this research include: privileging PAW’s perspectives, grounding policy and practice in local Indigenous knowledges, highlighting PAW’s strengths instead of weaknesses, and incorporating a colonial analysis.
6
Villanueva, Ccahuana Philarine Stefany. "El indigenismo crítico y endógeno de Jorge Vinatea Reinoso: una aproximación a la propuesta plástica e ideológica de su obra pictórica." Master's thesis, Universidad Nacional Mayor de San Marcos, 2018. https://hdl.handle.net/20.500.12672/7816.
Full textAbstract:
Publicación a texto completo no autorizada por el autorSe aproxima a la propuesta plástico - ideológica de Jorge Vinatea Reinoso en relación al indigenismo que deriva de su producción pictórica. Es decir, examina el contexto cultural - ideológico, concretamente, literario y artístico, de la década del 1920 vinculados al «problema del indio», determina el modo en que el pintor asimila las ideas básicas sobre el indio en el campo de la pintura sin perder por eso su independencia de pensamiento, analiza formalmente la obra pictórica de Vinatea Reinoso e identifica la propuesta plástica e ideológica vinculadas al indigenismo que las pinturas revelan en su propia constitución.
Tesis
7
HILL, Mathew J. K. "The Indigenismo of Emilio "El Indio" Fernández: Myth, Mestizaje, and Modern Mexico." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1915.
Full textAbstract:
As one of the major directors of Mexico's Golden Age of Cinema (1936-1956), Emilio “El Indio” Fernández (1904-1986) created films which for many came to express the official vision of Mexican identity. Part of this identity was based on the ideology of indigenismo, which posited that the pre-Columbian past held the basic kernel of Mexico's national essence while advocating the incorporation of modern Indian groups into mainstream society. El Indio's films reflect the paradox of indigenismo: praise for indigenous cultures and a simultaneous effort to make them disappear. The following study examines three of his indigenista films, María Candelaria, Río Escondido, and Maclovia, to see how Fernández created representations of Mexico's indigenous populations that contributed to and deviated from indigenista policies in post-Revolutionary Mexico. This representation relies on the formation of a national myth based on a static, aestheticized Indian which incorporates all Mexicans into official state history.
8
Iturralde, Mantilla Diana. "Between New York and the Andes, Abstraction and Indigenismo: Camilo Egas's Paintings from the 1940s and 1950s." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/506052.
Full textAbstract:
Art HistoryM.A.
Recent studies of Andean Indigenismo and Andean abstraction tend to overlook the intersections between these two artistic trends, as well as schematize the production of artists who experimented with both. The scholarship on Ecuadorian artist Camilo Egas, for example, only focuses on his role as a precursor of Indigenismo without delving into the diverse artistic styles that intertwine in his transnational career. Such selective interest in his Indigenist production, which tends to focus on his early works from the 1910s to the 1930s in Ecuador, Paris, and the first decade in New York, might be related to the fact that his oeuvre from those periods can be clearly connected to documented developments of modern nationalist painting in the Andean region. Yet, this gap in art historical studies ignores the compelling visual experimentations that Egas undertook in the 1940s and 1950s while residing in New York. Particularly interesting is an exhibition of these works organized in Quito in 1956 by the Casa de la Cultura Ecuatoriana, and Egas’s peculiar avant-gardist role in the country’s artistic milieu, at a time when Indigenismo, the country’s dominant aesthetic trend, was being challenged by other alternatives. In this thesis, I examine Egas’s position in-between two different contexts, cultures, and temporalities, which informed artistic experimentations and how these two contexts did not necessarily ascribe to the same ideas of modernism and art’s role in society. This thesis is based in archival research conducted both in Quito, Ecuador, and in New York. From May 2017 to February 2018 I visited several archives in public institutions and private holdings in both countries in search of the exhibited artworks, exhibition ephemera, written reviews of the work, relevant correspondence, Egas’s personal documentation of his work, and other existing academic material, to inform my research and writing.
Temple University--Theses
9
Lindblom, Anne. "Stepping out of the shadows of colonialism to the beat of the drum : The meaning of music for five First Nations children with autism in British Columbia, Canada." Doctoral thesis, University of Eastern Finland, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-48442.
Full textAbstract:
This dissertation set out to examine the meaning of music for First Nations childrenwith autism in BC, Canada. The research questions addressed were: How can thediagnosis of ASD be seen through a First Nations lens? How do the First Nationschildren with ASD use music? In which ways is music used in different domains?In which ways is music used to facilitate inclusion? How is traditional music used?The dissertation is based on four original articles that span over the issues of under-detection of autism among First Nations children in BC, ethnographic fieldwork,and the paradigmatic shift to Indigenist research methodologies, the role of music insocial inclusion and a First Nations lens on autism, the use of Indigenous music withFirst Nations children with autism, put in context with First Nations children’s rights.Material was collected during six week periods in two consecutive years, generatingdata from conversations, follow-up conversations, observations, video-filmed observations,and notes. Post-colonial BC, Canada is the context of the research, and issuesof social inclusion and children’s rights are addressed. During the research process,a journey that began with an ethnographic approach led to an Indigenist paradigm.It was found that colonial residue and effects of historical trauma can influenceFirst Nations children being under-detected for autism. The First Nations childrendiagnosed with autism in this study use music in similar ways to typically developingchildren and non-Indigenous individuals with autism. These uses include for communicationand relaxation, for security and happiness, to soothe oneself and whenstudying. However, music interventions in school settings are not culturally sensitive.Music as a tool for inclusion is overlooked and Indigenous music not utilizedoutside of optional Aboriginal classes. The most important lesson of the study wasthe significance of reciprocal experience, emphasized by the Indigenist paradigm. Itcan be suggested that carefully designed, culturally sensitive music interventions,in collaboration with traditional knowledge holders and Elders, would be beneficialfor the development of First Nations children with autism. Consequently, culturallysensitive music interventions could have potential to ensure that the children’s rightsare respected. For these interventions to be culturally adequate, specific IndigenousKnowledge must be the foundation.
10
Ulysse, Sterlin. "Problématique de l'autre : écriture et peinture haïtiennes en question." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20073.
Full textAbstract:
Les premiers discours sur l’art en Haïti ont été envisagés à partir de la question de l’autre. Il s’agissait de savoir comment la littérature aiderait à définir une identité haïtienne. Ce travail interroge la littérature et la peinture sur la problématique de l’autre, l’autre du dedans, où l’altérité se joue entre les membres d’une même société. Les productions artistiques et culturelles populaires sont analysées à travers le prisme de l’art naïf qui est à la base de la réflexion sur le rapport entre littérature et peinture. Dans un premier temps, les représentations du monde rural par le mouvement indigéniste sont explorées dans les discours littéraires et picturaux, afin de voir si la pratique a su répondre aux objectifs théoriques énoncés par les penseurs du mouvement. Dans un second temps, le dialogue entre la littérature et peinture est traité à partir de plusieurs points de vue : culturel, social, esthétique, en nous appuyant sur les romans suivants, La contrainte de l’inachevé d’Anthony Phelps, L’Énigme du retour de Dany Laferrière et Yanvalou pour Charly de Lyonel Trouillot. Tandis qu’en peinture nos analyses se réfèrent aux toiles de André Normil, Wilson Bigaud, Wilbert Laurent ou Pétion Savain, entre autresThe first writings on art in Haiti were based on the questioning of otherness - the aim was to know how literature could help define a Haitian identity. This dissertation uses literature and painting to explore this issue of otherness – an otherness inside, in which otherness lies between the members of a same society. The popular artistic and cultural productions are analyzed through the perspective of Naïve Art which gives birth to this reflection on the interaction between literature and painting. The representations of the rural world by the indigenous movement are first explored in literary and pictorial works, in order to see if practice could match the theoretical objectives established by the thinkers of the movement. The dialogue between literature and painting is then explored through several perspectives – cultural, social, esthetic ones, while studying the following novels, La contrainte de l’inachevé by Anthony Phelps, L’Énigme du retour by Dany Laferrière and Yanvalou pour Charly by Lyonel Trouillot. In painting, our analyses notably refer to the works of André Normil, Wilson Bigaud, Wilbert Laurent or Pétion Savain among others
Books on the topic "Arte indigenista"
1
Santana, Lázaro. Arte indigenista canario. Las Palmas de Gran Canaria: Viceconsejería de Cultura y Deportes, Gobierno de Canarias, 1998.
Find full text
2
Nuez, Lázaro Santana. Arte indigenista canario. Las Palmas de Gran Canaria: Viceconsejeria de Cultura y Deportes, Gobierno de Canarias, 1998.
Find full text
3
Ponte, Rogelio Romero. Indigenismo o socialrealismo? Lima, Perú: Arteidea Editores, 2004.
Find full text
4
El movimiento indigenista en América Latina. Lima, Perú: Instituto Francés de Estudios Andinos, 2007.
Find full text
5
Favre, Henri. O movimento indigenista na America Latina. Rio de Janerio: UERJ/Nucleas, 2011.
Find full text
6
Walls of empowerment: Chicana(o) indigenist murals of California. Austin: University of Texas Press, 2008.
Find full text
7
El indigenismo en la obra del artista plástico José Roca Zamora. [Anzoátegui, Venezuela]: Fundación Editorial el Perro y la Rana, 2010.
Find full text
8
Beyond national identity: Pictorial indigenism as a modernist strategy in Andean art, 1920-1960. University Park, Pa: Pennsylvania State University Press, 2009.
Find full text
9
Vettones: Indigenismo y Romanizacion En El Occidente de La Meseta (Arte Hispalense). Ediciones Universidad de Salamanca, 2001.
Find full text
10
Bajpai, Rochana, and Carlo Bonura. South Asian and Southeast Asian Ideologies. Edited by Michael Freeden and Marc Stears. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199585977.013.0032.
Full textAbstract:
The chapter examines how transnational currents of political thought and national ideological formations are intertwined, in the context of South and Southeast Asia. Focusing on trajectories of liberalism; communism; nationalism; religious ideologies; and ideologies of race, indigenity, and caste, it suggests that ideology constitutes an important terrain for analysing the dynamics of colonial and postcolonial politics. Rather than provide an exhaustive survey, this chapter seeks to diagnose the broad contours of the principal ideological fields across the regions and establish a basis for further comparative inquiry. The conclusion notes the absence of the theme of ideology in the scholarship on South and Southeast Asian politics, regions which are themselves products of ideology.
Book chapters on the topic "Arte indigenista"
1
Villanueva Ccahuana, Philarine Stefany. "¿Por un arte indigenista? Una aproximación al pensamiento estético de José Sabogal." In Descalzar los atriles: vanguardias literarias en el Perú, 257–72. Editora Nómada, 2021. http://dx.doi.org/10.47377/vangal.13.
Full text
2
Dias, Natally Vieira, and Bruna Nunes de Souza. "A ARTE EM AMÉRICA INDÍGENA: ÓRGANO TRIMESTRAL DEL INSTITUTO INDIGENISTA INTERAMERICANO (1941-1960)." In Pluralidade de Temas e Aportes Teórico-Metodológicos na Pesquisa em História 5, 57–67. Atena Editora, 2021. http://dx.doi.org/10.22533/at.ed.2102126056.
Full text
3
Kral, Michael J. "Resistance and Reclamation." In The Return of the Sun, 101–12. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190269333.003.0004.
Full textAbstract:
After many years, and for some peoples centuries, of colonial/imperial dispossession of their lives and cultures, indigenous peoples are increasingly gaining momentum in self-determination and collective agency. A spirit is moving, however slowly but strongly, through Indigenous country. It is called indigenism, the international human rights movement for indigenous peoples. This chapter examines how indigenous peoples and Inuit are reclaiming their lives after colonialism. Self-determination and human rights are discussed, as are indigenous social movements. These movements are seen in Canada, the United States, Ecuador, the Philippines, South America, Australia, New Zealand, Norway, Sweden, and other countries. The chapter concludes with a focus on Inuit self-determination, including land claims and self-government.
4
"Cousin that’s not what you told me." In Stirring the Pot of Haitian History, edited by Mariana Past and Benjamin Hebblethwaite, 119–70. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859678.003.0007.
Full textAbstract:
This final chapter opens with Toussaint Louverture in Santo Domingo in 1802, preoccupied with the possibility of a new French invasion. In February, General Leclerc invaded Cape Haitian in the north; Toussaint was captured by French troops and taken to France as prisoner. Although his demise occurred for various reasons, most problematic are the tactics he embraced during the period of 1793-1799, wherein he neglected the interests of the former enslaved people and instead allied himself with the upper class and military interests. The rallying cry of “freedom for all” for the population of the former French colony did not imply that formerly enslaved masses could enjoy autonomy or freely cultivate edible crops on their own properties. While not all rebel leaders fit into the same social category, they did have different interests than the former slaves. Trouillot reminds readers that a true revolution produces profound social changes, inverting the old social order; and thus formerly-enslaved people should have all become property owners. However, the competing revolutionary leaders (including Rigaud, Beauvais, and Toussaint) stunted this possibility, neglecting the needs of the poor majority. It was chiefly the economic aspect of independence that divided Toussaint from the masses. After taking control of the former colony, Toussaint imposed import and export taxes that benefited European countries and the United States instead of Haitians; U.S.-built warehouses popped up on the capital’s wharf, and Saint-Domingue remained economically dependent. The former slaves benefited in no way from growing the sugar, coffee or cotton that they were required to produce during Toussaint’s reign; they were punished for planting food crops. Worse still, Toussaint required that the ex-slaves “respect” the integrity of former plantations by staying and working on them, while he distributed free land to rebel officers. The idea of “freedom” thus lost its resonance amongst the masses. Although members of the State of Saint-Domingue and the ruling class gained economically, it was at the expense of the former enslaved workers. From this point, the behavior of the Haitian State was that of sitting heavily upon the new nation, since their economic and political interests were at odds with one another. A host of contradictions emerged: Dependence/ Independence, Plantations/Small Farms, Commodity/Food crops, White/Black, Mulatto/Black, Mulatto/White, Catholic/Vodou, and French/Creole. Although the Constitution of 1801 abolished slavery and supposedly “guaranteed freedom” to all, it reinforced these fundamental contradictions. The “Moyse Affair” in late 1801 illustrates Trouillot’s understanding of Toussaint’s betrayal of the Haitian people. Moyse, Toussaint’s adopted nephew, had populist political ideas that attracted the black masses. Fearing his potentially subversive ambitions, Toussaint had Moyse judged by a military commission that included Christophe, Vernet, and Pageaux. Moyse was condemned to death and executed, effectively crushing the interests of the masses. Throughout the Revolution Toussaint maintained power by crafting coalitions amongst a wide variety of social classes and competing interests. The dominance of the new military class was a social contradiction that had to be masked, and Toussaint’s actions showed a will to conceal it. Aspects of this problematic behavior and ideology have reappeared in Haiti under Dessalines, Christophe, Salomon, Estimé, Duvalier and others. Official discourse is grounded in several central notions that are easily manipulated by Haitian leaders: first, the notion of “family,” allowing the concealed dominance of one group and the privileging the organized Catholic religion; second, the idea that Haitians should “respect property”; and, the myth of nèg kapab (“capable people”) who possess an inherent right to govern and oppress the people. The political concept of “family,” common throughout Africa and countries with African descendants, was employed by Toussaint as a form of social control: throughout the revolution Toussaint refers to the new Haitian society as a family in order to advance his own “paternal” political objectives and conceal its many contradictions. The state—which his ideology came to epitomize—began to take advantage of the people; it was akin to a vèvè, a matrix holding society together, and a Gordian knot, where complex and twisted socio-economic contradictions favoring a certain class were inscribed. Although Toussaint was kidnapped by the invasion of Leclerc in 1802, this motivated the Haitian masses to stand up and fight for independence from France, which ultimately led to freedom. Thus, living up to the surname of “Louverture” that was given him, Toussaint indeed opened the barrier to independence and warrants appreciation for that. When one revisits the ideology of Toussaint Louverture, and concurrently that of the state of Saint-Domingue, one must not forget that, in spite of all its weaknesses, libèté jénéral (“freedom for all”, or “universal freedom” in today’s terms) was originally a powerful unifying factor, which merits recognition: it helped Toussaint’s troops defeat the British, crush Hédouville, etc. Toussaint was betrayed by plantation owners and French and American commissioners alike, and he always maintained some faith in France, even if the masses did not. Trouillot implies that Toussaint understood the direction in which he wanted to go, but he got lost on the way. To his credit, Toussaint’s experience demonstrated that liberty without political independence was a senseless notion, and others (such as Dessalines) were able to break with his approach and capitalize on this lesson. The book closes with Grinn Prominnin declaring that he is exhausted and that everyone must return to discuss the situation tomorrow to reach a conclusion. The scene remains peaceful, the people complacent. Trouillot suggests that, more than 170 years after the revolution, the task of bringing about real social change in Haiti—and seeing the ambitions of the Revolution fulfilled—remains starkly inert. Readers easily infer that Haiti’s stagnant socio-economic and political situation (in 1977) is due not only to the as yet unfulfilled promises of the Revolution and War for Independence, but also to the escalating damages wreaked upon the Haitian nation by the Duvalier regime and its manipulative cronyism coupled with its totalitarian indigenist ideology.
Conference papers on the topic "Arte indigenista"
1
Roy, Hardik, S. Esakki Muthu, P. Udayanan, Girish K. Degaonkar, and Selwyn Anbarasan. "Validation of LCF Life of Turbine Rotor Assembly of a Turbo-Shaft Engine Through Cyclic Spin Test." In ASME 2014 Gas Turbine India Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/gtindia2014-8245.
Full textAbstract:
Gas turbine rotors are high speed rotating components which operate under high temperatures. These turbine rotors undergo repeated cycles of low speeds to high speeds and therefore low stresses to high stresses which lead to low cycle fatigue failure. This low cycle fatigue leads to initiation of cracks at high stress areas like bolt holes, blade slots or disc bore. During design the life obtained through numerical methods is verified by cyclic spin tests. This particular paper talks about the spin testing of turbine rotor assembly of a turbo-shaft engine to validate its low cycle fatigue life obtained through analysis. These three stage turbine rotors were indigenised for cost savings. The life of the indigenously designed rotors were required to be the same as the turbine rotors being supplied by the engine OEM’s. Since the test rig which was used to validate the life of the rotors had a limitation of applying uniform temperatures, there was a need to develop a test schedule that simulates the operating conditions of the actual engine rotors. The work was carried out in two phases. In the first phase FEA tools were utilised to find out stress and strain levels of the turbine rotors by applying actual engine load conditions. Since rotor assembly was tested under uniform temperature in the test rig a combination of centrifugal load and temperature that would result in the same factor of safety levels of the rotors as in the actual engine conditions was arrived at in an iterative manner. Once the right combination was achieved the life of the engine rotors under test conditions was estimated numerically. In the second phase cyclic spin test was carried out on the turbine rotor assembly at equivalent load conditions. At regular intervals dimensional and NDT checks were carried out on the rotor assembly to find out crack initiation. The life of the rotor assembly which was estimated with the help of FE tool was validated through spin test.