Anthropologica. Vol. 41 Núm. 51 (2023)

URI permanente para esta colecciónhttp://54.81.141.168/handle/123456789/196658

Tabla de Contenido

Historia, vigencia y materialidad del Estado de Emergencia en el Perú

Cómo se construye al enemigo Gavilán Sánchez, Lurgio; 5-38

Actores silenciosos y estados de excepción: Ayacucho durante el conflicto armado interno en Perú (1980-2000) Gamarra Carrillo, Jefrey antonio; 39-61

Guerra, Estado y derecho en Huanta (Ayacucho, Perú) en la Independencia y formación del Estado peruano, 1814-1850 Pereyra Chávez, Nelson Ernesto; 62-86

Transmisión cultural, ecología y representación

«Esa foto es la que más me ha gustado de él»1. Historias fotográficas familiares contadas por videollamadas Figueroa Espejo, Mercedes; 87-111

Representaciones sociales del insulto entre estudiantes de la Institución Educativa Mariscal Cáceres en Ayacucho, Perú Gutiérrez Martínez, Juan Benigno; Zaga Llantoy, Violeta; 112-136

Cultura: ¿un derecho para todxs? Propuesta de investigación-acción en derechos culturales Pacheco Mariselli, Martha; Díaz, Germán Díaz; Rodríguez, Samanta Romero; Reynel Joyja, Allisson Rita; Lau Barba, Milos; Basilio Saldaña, Cristian; 137-174

Ganaderos, colonos y la deforestación de bosques primarios en Morona, Ecuador Bedoya Garland, Eduardo; Gómez de la Torre, Sara; Anda Basabe, Susana; 175-212

Autorregulación y protagonismo en la crianza. La agencia en el modelo de crianza respetuosa en Argentina Mantilla, María Jimena; 213-228

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Cultura: ¿un derecho para todxs? Propuesta de investigación-acción en derechos culturales
(Pontificia Universidad Católica del Perú, 2023-12-21) Pacheco Mariselli, Martha; Díaz, Germán Díaz; Rodríguez, Samanta Romero; Reynel Joyja, Allisson Rita; Lau Barba, Milos; Basilio Saldaña, Cristian
This article aims to reflect on a challenging process of artistic creation of collective writing from an anthropological perspective, arising from academic research, around which a clown performance event was built. This scenic event, in turn, proceeded to be transferred from its original live performance format to an audiovisual recording format of that same performance. The transition from a situation of simultaneous presence of the clown and his audience, to another where the corporeal, sensory, emotional participation of the audiences is “mediated” by the production decisions that “compose” a “gaze” expressed by the camera that, as deferred “narrator,” assumes the leadership of an expressive communication process about the human values and emotions defined by a culture, in front of an anonymous audience. Confronting the initial challenge of finding significant expressive ways to “translate” the legal discourse (abstract, with a bias of supposed universality assumed to be homogeneous) on human rights and citizenship, a proposal was progressively developed, one that intuitively combined within a general logic of action research, strategies of collective creation, artistic performance research, specificallyclown, as well as the design of a technical proposal for audiovisual media that suggests an explanation of cultural rights (core part of the human rights set) as basis for the full exercise of an also expanded definition of citizenship; one based on cultural diversity, and its mark in the identity generation processes.