This article shares the experience of a creative research residency in collaborative audiovisual anthropology, designed to address the challenges posed by limited time and resources within neoliberal academia for engaging in collaborative audiovisual practices. Conceived as a form of mutual support through anthropological and audiovisual experimentation, this field device aimed to sustain long-term collaborations with communities in meaningful ways. We begin by describing the emergence of the residency idea in our specific context, followed by an account of its first edition, titled Land, Women, and Memory, which took place in 2024 in Arica, Chile, with women from the Aymara Association Chacha Warmi. Together, we produced audiovisual life stories—or portraits—of three women. We reflect on what this experience offers in terms of knowledge production and ways of conducting (audiovisual) research by presenting three challenges we encountered. These challenges concern how places, bodies, and time can become protagonists in an audiovisual life story that seeks to speak nearby its subject. The conditions imposed by the residency as a field device challenged our creativity and ethnographic skills, highlighting the sympoietic nature of life, fieldwork, and audiovisual creation. We believe the residency achieved what Suely Rolnik (
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[0:10]
This visual article shares the experience of a creative research residency in collaborative audiovisual anthropology, conceived as a relational and situated research practice oriented toward audiovisual creation.
As anthropologists and audiovisual practitioners working at opposite territorial margins of Chilean academia, we understand the residency as a practice-based research process that unfolds through co-presence, collaboration, and audiovisual experimentation (see also
The residency emerges from our long-standing engagement—developed separately over nearly two decades—with collaborative audiovisual practices alongside Indigenous and other grassroots organizations (
The residency is conceived as a space of mutual support between us, and as a device for producing knowledge in formats and rhythms that attend to the interests and concerns of our research counterparts. It deliberately privileges forms of meaning- making that may not align with the priorities of academic managerialism (
Conceptually, it operates as a field device (
Rather than analyzing, dissecting, or presenting the residency as a novelty, this visual article shares an experience that talks with many others—some known, others unknown to us—seeking affective resonance across diverse contexts and embodied viewing situations.
This video-article draws on footage recorded during the first edition of the residency in 2024 by Andrea Chamorro Pérez, Juan Pablo Donoso, Cristóbal García Toledo, and Natalia Picaroni Sobrado, including excerpts from the two short films produced, as well as original material recorded by the authors.
Edited by the authors.
Universidad de Tarapacá
and
ULAGOS (until 2025)
Universidad Católica de Temuco
[Voiceover]
Como en otros lugares de América Latina, en Chile, la incorporación de mujeres en la academia ha sido el fruto de largos procesos de luchas democráticas que buscaron recomponer las ciencias sociales y humanidades frente el eclipse provocado por las dictaduras y regímenes autoritarios conservadores y neoliberales.
Nuestras voces aún resultan opacadas por violencias institucionales que se han anclado en cuerpos, discursividades y aularios como hábitos, al punto de que nuestras críticas, solidaridades y diálogos son oídos como quejas. Frente a ello nos parece que abrir colaboraciones interculturales es crear otras formas de escucha y corporalidades cuyas resonancias afectivas pueden fracturar la peligrosa temporalidad de una máquina de producción de índices que extrae nuestras pulsiones y deseos.
[Subtitles]
In Chile, as elsewhere in Latin America, the inclusion of women in academia has resulted from long democratic struggles to rebuild the social sciences and humanities after the eclipse brought about by dictatorships and conservative neoliberal authoritarian regimes.
Our voices remain overshadowed by institutional violence ingrained in bodies, discourses, and classrooms. As a result, our critiques, solidarities, and dialogues are heard as complaints. In response, we view intercultural collaborations as a means of fostering other forms of listening and embodiment. Forms that carry affective resonances and can fracture the dangerous temporality of an index-driven production machine that extracts our impulses and desires.
See
Ahmed (
See Despret (
[03:01]
We have to learn, as the witches did, how to cast circles that protect us from our insalubrious, infectious milieu without isolating us from the work to be done […] Our pragmatic and empirical concern would then require cultivating, together with those we trust, an informed art of disloyalty, the art of discreetly dismantling academic habits, […] of regenerating ways of honouring whatever it is that makes us think and feel and imagine.
Isabelle Stengers
[Voiceover]
Habitando un lugar tan frío, tan patriarcal
Me había sentido perdida, ajena, encerrada
Un día alguien puso un reja, una reja e mi puerta
Y entendí que era urgente escapar
Dame la mano, Sister Outsider
Hagamos juntas nuestro espacio, un puente de 3.000 km
No para hablar sobre ni de nadie, sino tan solo cerca de,
Cerca de quienes nos ensenan qué es investigar
Cada vez que logramos estar ahí y escuchar
[Subtitles]
Working in a place so cold and patriarchal
I felt lost, alien, confined
One day, someone put
a gate at my door
and I understood it
was urgent to escape
Take my hand, Sister Outsider
Let’s make our shared space a
bridge stretching 3,000 km
not to speak about, or for anyone,
but simply nearby,
those who teach us
what research is
each time we manage
to be there and listen
Audiovisual Lab ULAGOS
Office of Natalia Picaroni Sobrado (2022–2025)
Lorde (
Map of South America oriented with east (sunrise) at the top, following Indigenous cartographic conventions
Arica
Chiloé
3000 km
Chile, latitude 41° south
Chile, latitude 17° north
[Voiceover]
En territorios tan diversos y distantes así como conectados al sistema colonial-patriarcal extractivista global, desarrollamos una residencia de investigación y creación influenciadas por las tradiciones latinoamericanas de educación popular, cine compartido e investigación participativa.
Junto a colectivos sociales nos propusimos trabajar con una frecuencia bianual, un año en el norte y otro en el sur, en la creación de una pieza audiovisual que recogiere sus intereses y trayectorias sociales y culturales.
En la práctica, conformamos dos equipos para trabajar durante un periodo intensivo de unos 15 días. De esta manera, buscamos crear un espacio protegido de creación que se ajuste a los acotado presupuestos y agendas múltiples de quienes nos involucramos en estos encuentros.
[Subtitles]
In diverse, distant territories connected to the global extractivist system we developed a research-creation residency influenced by Latin American traditions of popular education, shared filmmaking, and participatory research.
We proposed working on a biannual basis with a social collective once in the north and once in the south to create an audiovisual piece grounded in their interests and social and cultural trajectories
We formed two teams to work intensively for about fifteen days to create a protected creative space that accommodates our limited budgets and tight schedules.
Among others, see
Sandoval (
What kind of knowledge emerges from researching through this field device?
[Voiceover]
En este artículo, reflexionamos en torno al tipo de conocimiento producido a partir de este dispositivo de campo cuya primera edición se tituló: residencia de investigación-creación “Tierra, mujeres y memoria”, que desarrollamos junto con la Asociación Aymara Chacha Warmi en marzo de año 2024, en Arica.
[Subtitles]
In this article, we reflect on the kind of knowledge produced through this field device during its first edition entitled creative-research residency “Land, Women, and Memory” developed with the Aymara Association Chacha Warmi in March 2024 in Arica
Arica is a Chilean province bordering Peru and Bolivia, part of Aymara territory and the Atacama Desert
latitude 41° south
latitude 17° south
Calbuco Volcano, latitude 41° south
Tacora Volcano, latitude 17° south
[05:58]
Its first edition took place in March 2024 in Arica, northern Chile, in collaboration with the Aymara Association Chacha Warmi, Imillas y Yuqallas de Precordillera Marka. It was coordinated with Doris Aguilera Santos, president of the association, with whom Andrea had collaborated for over eight years.
Initial encounters between the authors and members of Chacha Warmi to discuss the possibility of hosting the residency took place in September 2023 in Arica and in the precordillera mountains. During these meetings, the approach to the residency was gradually shaped.
Members of Chacha Warmi framed the residency as an opportunity to explore the lives of Aymara women. The project was articulated both as a tribute to Andean women—who have long faced discrimination, limited opportunities, and demanding living and working conditions (
During the residency, we produced two short films, each emerging from a distinct but interconnected collaborative process. One film was developed by Andrea and her long-time collaborator, audiovisual anthropologist Juan Pablo Donoso, with Eva Marca Gutiérrez, a vendor of agricultural products at the Mercado Agrícola. The other was developed by Natalia and her long-time collaborator, independent filmmaker Cristóbal García Toledo, with Doris Aguilera Santos and Nancy Quispe Quispe, both independent textile workers at a commercial gallery. These audiovisual encounters were shaped by proximity, trust, and the embodied rhythms of everyday work.
The residency incorporates collective viewing as part of the research process. First cuts of the films were screened and discussed on the final day with the protagonists and other members of Chacha Warmi. This feedback informed the final edits, developed through ongoing communication via WhatsApp and telephone.
The films were first publicly screened in December 2024 in Arica and Vienna, extending their circulation across local and transnational contexts.
Since 2007, Chacha Warmi carries out activities with artists, professionals, and cultural practitioners, aimed at recognizing their territories and cultural legacies
Doris Aguilera Santos
President of Chacha Warmi, co-coordinator
of the residency, and protagonist
[Doris Aguilera Santos]
La Asociación Chacha Warmi, Imillas y Yuqallas de Precordillera Marka significa Hombres, Mujeres, Niñas y Niños de la Comuna de Putre.
Hmeos logrado mantener un grupo, de muejeres, mayoritariamenet son mujeres y ellas se sientes orgullosas, dicen que haber pintado, los trabajos de psicología comunitaria, los trabajos de escritura, la oralitura. Ellas se sienten grandes, dicen: “hemos crecido”.
[Subtitles]
Chacha Warmi, Imillas y Yuqallas de Precordillera Marka means Men, Women and Children from Putre’s precordillera communities.
We have managed to sustain a predominantly women’s group, fostering a sense of pride. Painting, community psychology workshops, writing, and oralitura (oral–written creation) workshops have helped them grow.
In September 2023, the authors and members of Chacha Warmi gathered to frame the residency. It was envisioned as a tribute to Andean women.
[Doris Aguilera Santos]
No solamente lo bonito, no hay que ver solamente la belleza, la abundancia, mujeres que tienen buena posición, buenos trabajos, buenos sueldos. No, aquí hay que ver a aquellas mujeres indígenas que en su simpleza tienen mucha memoria, mucha memoria y esa memoria solamente se da a conocer cuando hay confianza. Y yo creo que el trabajo que hicimos con ustedes fue el de confianza, de confiar y cuesta confiar.
[Subtitles]
We shouldn’t look only at what is beautiful, at abundance,
at women with status, good jobs, good salaries.
We need to look at those Indigenous women
who have a deep memory in their simplicity.
That memory appears only when there is trust.
I believe the work we did with you was about trust
And trusting is hard.
eleven days
between Arica and the mountains
two teams
direction - production - sound - camera – edition
two short films
with/about/from Andean women
Andrea Chamorro Pérez
production - sound – edition
Juan Pablo Donoso
camera - edition
[Voiceover]
Uno es anfitrión
conoce el territorio
a las protagonistas
guía le proceso
confía
[Subtitles]
One team is the host team
knows the territory
the protagonists
leads the process
and trusts
Cristóbal García Toledo
camera - sound - edition
Natalia Picaroni Sobrado
production - camera - edition
[Voiceoer]
El otro, llega desde lejos
mira con asombro
se entrega
confía
[Subtitles]
The other team arrives from afar
looks on in wonder
lets go
and trusts
Eva Marca Gutiérrez
Doris Aguilera Santos
Nancy Quispe Quispe
[Voiceover]
Las protagonistas
disponen sus tiempos
construyen sus historias
confían
[Subtitles]
English subtitles:
The protagonists
set their own pace
build their stories
and trust
[Voiceover]
En los encuentros iniciales habíamos acordado trabajar con mujeres andinas por lo que la residencia tuvo como premisa explorar las historias de vida de integrantes de Chacha Warmi siendo tres mujeres adultas quienes se constituyeron, por decisión e interés propio, en las protagonistas de las obras.
Durante la residencia combinamos períodos colectivos de trabajo en la precordillera con momentos reservados para los equipos independientes. Así quisimos propiciar la intimidad y el cuidado del proceso junto a las protagonistas aproximándonos desde sus espacios cotidianos a los territorios-cuerpo que las constituyen.
A su vez, queríamos explorar diferencias y similitudes en las miradas de quienes se acercaban audiovisualmente por primera vez al territorio, y de quienes llevan años trabajando allí.
Construimos dos cortometrajes documentales.
“Eva” es el retrato de una mujer Aymara en la ciudad de Arica dedicada al comercio de orégano, papas y frutas de la cordillera. Como hija de pastores y agricultores aymara que residen en la cordillera, ella quiso compartir sus memorias familiares y nosotros resonamos con ello dando cuenta de sus tránsitos urbano-rurales, así como de su enorme agudeza y sensibilidad respecto del cuidado de la tierra.
“Qhapaq Ñan”, en tanto, relata las historias de vida de dos mujeres que van transcurriendo en paralelo hasta que se encuentran. Quiere hablar más del encuentro entre ellas que de las vidas particulares de cada una. Para ello recurrimos a mostrar sus manos y pies en el trabajo de costura y solo al final sus rostros en pantallas paralelas y en lugares significativos para cada una.
[Subtitles]
In the initial meetings we agreed to work with Andean women. The residency was therefore conceived to explore life stories of members of Chacha Warmi. Three adult women, by their own decision and interest, became the protagonists of the works.
During the residency we combined periods of shared recording in the precordillera with moments of independent work with the protagonists. We sought to provide the intimacy and care needed to explore, from their everyday spaces, the body–territories that shape them.
At the same time, we wanted to explore differences and similarities between those approaching the territory audiovisually for the first time and those who have worked there for years.
We thus made two documentary short films
“Eva” is a portrait of an Aymara woman in the city of Arica who trades oregano, potatoes, and fruits from the highlands. As the daughter of Aymara herders and farmers living in the mountains she chose to share her family memories and we resonated with this interest tracing her urban–rural movements and her sharp sensitivity to caring for the land
“Qhapaq Ñan” tells the life stories of two women who move in parallel until they meet. It seeks to stress their meeting more than their individual trajectories
To do so, we show their hands and feet sewing and only at the end their faces on parallel screens and in places meaningful to each of them.
Photographs documenting the residency, 1–11 March 2024, Arica
Early work with biographical methods in anthropology and cinema significant to us includes Gómez (
For the growing presence of artistic residencies in anthropology, see Schneider and Wright (
For the concept of territorio-cuerpo-tierra (territory–body–land), see Cabnal (
Qhapaq Ñan refers to the extensive Andean road network that once connected much of South America
[11:40]
[Voiceover]
En el proceso de creación nos enfrentamos a tres preguntas relacionadas a los tres aspectos que conforman el título de la residencia y de este artículo. Cada equipo las resolvió en la propia obra que entendemos como sitios de producción de conocimiento.
[Subtitles]
During the creative process, three key questions emerged linked to the elements that give the residency and this article their title. Each team addressed these questions within their film which we understand as a site of knowledge production.
[Voiceover]
¿Cómo lograr que los lugares en los que transcurre una vida y los seres que los habitan sean protagonistas de una historia de vida audiovisual?
[Subtitles]
How can the places where a life unfolds and the beings who inhabit them become protagonists of an audiovisual life story?
Tacora Volcano, latitude 17° south
[Voiceover]
En ese tiempo, en nuestro pueblo, Belén, llovía mucho sentíamos el ruidos del relámpago, del rayo. Sabíamos muy bien cuando se acercaba la lluvia siendo muy niños. Entonces nosotros teníamos que salir corriendo, preparar todas nuestras y bajar corriendo la montaña hacia el pueblo, porque si no bajaba el río y no nos dejaba pasar al pueblo.
[Subtitles]
At that time, our town, Belén, had heavy rains
We would hear thunder and see lightning
Even as children, we could
tell when rain was coming
we prepared quickly and
ran down the mountain
toward the town, before
the rising river blocked our way
[Voiceover]
¿Cómo mostrar la inscripción de los múltiples labores asumidas por las mujeres a lo largo de su vida en sus cuerpos?
[Subtitles]
How can the multiple labors that women take on throughout their lives be shown as inscribed in their bodies?
[Voiceover]
Tenía nueve años, emigramos a Azapa y ahí empecé a ir a la escuela, iba a primero básicos, me constó, me costó, me costó, nueve años imagínese y no tenía ni idea qué es lo que eran las letras y todo eso
[Subtitles]
I was nine when we moved to Azapa
There I started school
I was nine, in first grade—it was hard
I had no idea about letters.
[Voiceover]
Por los estudios mi papi nos trajo. Mi papi decía “no van a ser cómo yo, o tu mamá, poco estudiamos, nada casi”. Entonces, nos dejó acá para ir al colegio.
[Subtitles]
My father brought us to the city for school. He used to say, “You won’t be like me and your mom, we didn’t go to school.”
He left us here to go to school.
[Voiceover]
Entré al programa del Plan del Empelo Mínimo, peor la gente que dirigía todo esto porque eran puros militares, eran discriminadores, eran abusivos, a uno la humillaban.
[Subtitles]
I joined the Minimum Employment Plan. The people running it were all military
They were discriminatory and abusive, they humiliated us.
[Voiceover]
¿Cómo mostrar el tiempo infinito (pasado, presente y futuro) inscrito en los cuerpos y en los paisajes?
[Subtitles]
How can infinite time, past, present and future, be shown as inscribed in bodies and landscapes?
[Voiceover]
Entonces yo me quiero imaginar precordillera lleno de niños y de gente que está cultivando lo que más pueda.
[Subtitles]
I like to imagine the Precordillera Mountains
full of children and people cultivating as much as they can.
[Voiceover]
Antiguamente los abuelos tenían sus armas, sus escopetas, pero no, le quitaron todo. Igual ellos pilchaban la coca y me acuerdo que mi abuelito tenía harto él para que no le falte. Mi mami tuvo que ir a enterrarlo porque si no se la llevaban presa.
[Subtitles]
Back then, the grandparents, used to have their weapons, their shotguns
They took everything away from them. They also used to chew coca leaves
I remember my grandpa had plenty so that he wouldn’t run out,
and my mom had to bury it or they would’ve taken her to jail
[Voiceover]
Muchas personas ya se habían ido de los pueblos y volvieron y cuando volvieron s reencontraron con ellos mismos. Como que habían olvidado y al recordar, volvieron a nacer.
[Subtitles]
Many people had left the villages and returned
and in returning, they reconnected with themselves
It was as if they had forgotten, and
in remembering, were reborn.
The stories shared in the films address experiences of gender-based, political, and structural violence; forms of resilience grounded in dignity and sorority; and deep relations with more-than-human worlds.
The films invite viewers into an embodied engagement that exceeds explanatory narration. In this sense, they operate not as illustrations of analysis but as sites of knowledge in their own right.
The constraints and intensities of the residency as a field device challenge ethnographic and creative habits, requiring a suspension of authorial egos and foregrounding the
sympoietic (
We understand this first residency as reaching what Suely Rolnik (
[Natalia Picaroni Sobrado]
Más allá de las diferencias de estilo y en la construcción de la narración, me parece interesante señalar las convergencias. Las dos obras combinan imágenes y sonidos de las mujeres trabajando con imágenes de los lugares y los seres que constituyen sus memorias y sus vivencias. Las voces de las protagonistas guían el relato atravesadas por el sonido intenso del viento, pájaros, el bullicio del mercado, de las calles, el fluir del río y del mar. Me parece que ambos equipos procuramos respetar el ritmo y el fluir de los sentipensares de las protagonistas en la construcción del relato visual y oral.
[Subtitles]
Beyond differences in style and narrative construction we are interested in the convergences. Both works combine images and sounds of women at work with images of the spaces and beings that shape their memories and experiences. Their voices guide the narrative crossed by the strong mountain winds, birds, the bustle of the market, of the streets the flow of the river and the sea. I believe both teams sought to respect the rhythms and flows of the protagonists’ sentipensares (thinking–feeling) in the visual–oral narrative.
[Andrea Chamorro Pérez]
Si bien el formato temporal de la residencia limitó las posibilidades narrativas y expresivas de las obras. Por ejemplo, la generación de planos inmersivos en ciertos contextos, recreaciones u otros tipo de evocación que habrían requerido mayor tiempo de rodaje. Nos parece que la potencia de una residencia de estas características fue favorecer la cocreación de un espacio de encuentro antropológico basado en la experiencia. Con ello ponemos acento en la posibilidad de establecer conversaciones y entrelazamientos que nacidos de la convivencia contribuyen a la generación y propagación de conocimientos situados en torno a una preocupación compartida por el bienestar de la tierra y de los seres vivientes.
[Subtitles]
The timeframe of the residency did constrain expressive and narrative possibilities. For example, it limited the generation of immersive shots in certain contexts, recreations or other forms of evocation that require longer filming periods. Yet the strength of a residency like this lies in fostering the co-creation of an anthropological encounter grounded in lived experience. We emphasize the possibility of weaving conversations and entanglements born from co-presence, that contribute to the generation and circulation of situated knowledges around a shared concern for the well-being of the land and all living beings.
Participan:
Asociación Indígena Chacha Warmi
Universidad de Tarapacá
Universidad de Los lagos
Tierra, Mujeres y memoria
Lunes 11 de marzo de 2024
Sala Multiuso Centro Cultural Junta de Adelanto (Ex-Casino)
A las 18hs
First-cut screening, 11 March 2024, Arica, Chile
[Voiceover in tandem]
Ofrecimos una obra llena de amor
de imperfecciones
tan mía y tan tuya
ni mía, ni tuya.
Y esperar tu reacción
Y multiplicar las reacciones
a tres mujeres en los Andes
tres historias de dignidad y de violencia
que son una
y son menos y más que una
[Subtitles]
We offer a work full of love
of imperfections
So mine and yours
Neither mine nor yours
And then wait for your reaction
And multiply the reaction
To three women in the Andes,
Three stories of dignity and violence
That are one
And are more and less than one
major revisions
minor revisions
approved
Public screening, 11 December 2024, Vienna, Austria
[18:01]
[Doris Aguilera Santos]
Yo creo que esta experiencia para mi en un comienzo fue como con miedo, ¿no? Mostrarme, porque yo siempre he estado como oculta, haciendo cosas pero, me cuesta mostrarme, me cuesta. Pero esta vez no, porque bueno, yo al conocerlos a ustedes tanto tiempo confío, ustedes son profesionales, y mostrar esta realidad era, era como difícil. Porque es un tema que a nosotros nos afectó mucho hasta el día de hoy. La sociedad no comprendo lo que uno vivió, pero nosotros en carne propia vivimos todos estos eventos dolorosos hasta el día de hoy. Entonces, verlo plasmado en un documental me parece muy interesante, sobre todo de mujeres, testimonios de mujeres, que son las mujeres las que han llevado una carga el doble de pesada que los varones, porque s eles ha discriminado, y el sistema patriarcal que viene imponiéndose siempre, porque hasta el día de hoy hace que las mujeres no crean en su potencialidades.
[Subtitles]
At first, this experience felt frightening to me because I’ve always stayed in the background. I’m always doing things, but showing myself is difficult. This time was different, though. Since I’ve known you for a long time, I trust you; you are professionals and… Showing this reality was still hard. It’s something that has affected us deeply, and still does. Society doesn’t understand what we went through in our own bodies We still live with all these pains. So seeing it expressed in a documentary feels very interesting to me, especially women’s stories, women’s testimonies. Because women have carried a burden twice as heavy as men’s. They have faced discrimination and the patriarchal system long imposed still makes women doubt their own potential
For ethnographic accounts of Aymara territory, see
[Voiceover]
Para cerrar, las resonancias afectivas activadas en el encuentro y ancladas en las historias largas de relación y colaboración permitieron que la residencia como dispositivo de campo lograra…
[Subtitles]
To close, the affective resonances
activated in the encounter,
grounded in long histories
of relationships and collaborations,
allowed the residency,
as a field device to…
create togetherness
without capturing each other
in our condition as living beings
out of our body-knowing
Rolnik (
[Voiceover]
El tipo de conocimiento que emergió es ante todo un conocimiento situado, encarnado y eminentemente colectivo. Pensar y crear desde nuestra corporalidad, supone ponerse en cuerpo presente respecto de una arena académica que tiende a excluir nuestras voces, así como nuestros compromisos con la tierra y sus habitantes.
[Subtitles]
The knowledge that emerged is above all situated, embodied, and deeply collective. Thinking and creating from our bodies means being fully body-present within an academic arena that tends to exclude our voices and our sensitive resonances with the land and its inhabitants.
[Voiceover in tandem]
Con muchas otras y otros, comprendemos el cuerpo como el lugar existencial, donde nuestra propia fragilidad y afectaciones constituyen el vehículo de expresión e interdependencias que crecen como hierba a contrapelo del cercamiento de nuestros mundos.
[Subtitles]
Alongside many others
we understand the body as an existential site
where our fragility and affections
become vehicles of expression
and interdependences
growing like grass against the enclosure
of our worlds
20:35
Eva Marca Gutiérrez
Doris Aguilera Santos
Nancy Quispe Quispe
Juan Pablo Donoso
Cristóbal García Toledo
Asociación Indígena Aymara Chacha Warmi, Imillas y Yuqallas de Precordillera Marka
Aricadoc
Laboratorio Audiovisual, Universidad de Los Lagos
Magíster en Antropología Universidad de Tarapacá
Reference list spans five pages.
Please pause to review at your own pace
Page 1
Ahmed, Sara. 2021. Complaint! Durham London: Duke University Press.
Benacerraf Margot, dir. 1959. Araya.
Cabnal, Lorena. 2019. “El Relato de Las Violencias Desde Mi Territorio Cuerpo-Tierra.” In En Tiempos de Muerte: Cuerpos, Rebeldias, Resistencias, edited by Rosalba Icaza Garza and Xochitl Leyva Solano. Cooperativa Editorial Retos.
Carreño Calderón, Alejandra. 2021. Almas andariegas: etnografías del poder, la memoria y la salud entre los aymaras del norte de Chile. Primera edición. Colección Antropología. Uah/Ediciones - Universidad Alberto Hurtado.
Chamorro, Andrea. 2022. “Performance y Ciudadanía: El Danzar Andino Como Acto de Reconocimiento.” Estudios Atacameños 68 (November): e5022.
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Funding for the residency covered travel and food expenses. No participant received payment.
Natalia Picaroni Sobrado declares funding from Proyecto ANID CONVOCATORIA NACIONAL SUBVENCIÓN A INSTALACIÓN EN LA ACADEMIA, CONVOCATORIA AÑO 2021, Folio SA77210035
Andrea Chamorro Pérez declares funding from Núcleo Milenio en Culturas Musicales y Sonoras (CMUS), código NCS2025_65, de la Agencia Nacional de Investigación y Desarrollo (ANID)
Eva Marca Gutiérrez, Doris Aguilera Santos, and Nancy Quispe Quispe are aware of the submission of this article, are familiar with its argument and the images used, reviewed this version, and approve it. They contributed valuable reflections and are aware of their contributions; however, none of them considers herself an author of this article nor wishes to be listed as such.
Juan Pablo Donoso and Cristóbal García Toledo are aware that footage they previously produced is used in this article and have granted permission for its use.
ChatGPT (OpenAI) was used to assist with English language editing and proofreading.
The authors are fully responsible for the final content.