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Desfigurando la memoria: (des)atando los nudos de la memoria peruana
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2015-07-02) Milton, Cynthia E.
This article examines opposing currents in Peru’s collective memory of their bloody internal war (1980-2000) through an analysis of acts of vandalism perpetrated against one of the country’s few sites of memory, El ojo que llora, in Lima. ‘Vandalism’ in this article is understood as a form of writing (though a violent one) of an alternative vision of the past. Originally intended as a space for remembering and paying homage to the victims of the armed conflict, the site has become a space for contesting memories. As a site of performance of memory and human rights claims, and especially as the target of continued defacement, El ojo que llora has become a stage on which the presence of the past —in its still-conflictual strains— is made visible for national and international publics. It thus refuses the very closure that government narratives would impose, and thereby keeps open public engagement with the past. The ongoing conflicts over the past made visible at this site point to the struggles to define an overarching memory, and in the processthe very meaning of ‘victim’ is constrained.
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Testimonio y secretos de un pasado traumático: los ‘tiempos del peligro’ en el arte visual de Sarhua
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2015-07-02) González, Olga
This article discusses the fate of dangerous memories of war associated with the “internal armed conflict” in Peru. It focuses on the Andean community of Sarhua in Ayacucho and their experiences with political violence as depicted in a collection of paintings, Piraq Causa (Who Is Still to Blame?). A close examination of this visual testimonio reveals that some dangerous memories have been denied representation. I suggest that these become silences and absences that give expression to a “traumatic gap”, which includes memories of fratricidal violence and the community’s initial endorsement of the Maoist Shining Path. I argue that Piraq Causa reflects the magnified secrecy around events that the community agreed to deliberately “remember to forget”. In so doing, I also propose that the perceived gaps in the pictorial narrative provoke the unmasking of what is “secretly familiar” in Sarhua. To that extent, Piraq Causa exposes as much as it affirms the secrecy around traumatic memories of war.
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Memorias oficiales, memorias silenciadas en Ocros (Ayacucho, Perú). Reflexiones a partir de la conmemoración de una masacre senderista
(Pontificia Universidad Católica del Perú. Fondo Editorial, 2015-07-02) Robin Azevedo, Valérie
The gathering of testimonials by the Truth and Reconciliation Commission in the aftermath of the armed conflict opposing the Sendero Luminoso guerrilla and the Peruvian state has led to original socio-cultural dynamics around the local histories of the war. This article will focus on a carnival performance carried out in the Andean district of Ocros (Prov. of Huamanga), staging the massacres committed by the Sendero Luminoso and the struggle of the peasant militias. Beyond the commemoration of this episode, what are the issues and the objectives that underlie the performance? What view is given and what is left in silence, unsaid, by the actors in this type of unavoidably fragmentary ‘writing’ of the history of violence? Analyzing both the choreographic and the narrative production concerning the war, we will address the strategic uses they give rise to. Finally, we will focus on the way in which different memories compete and articulate to one another, so as to determine the mechanisms of legitimation and the competitive logics at playin these public projections of recent history.

Anthropologica. Vol. 33 Núm. 34 (2015)

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