Browsing by Autor "Elvira Espejo"

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<i>Yuyarinchik ninchik</i>: un diálogo colectivo sobre arte indígena e indigenismos
(Routledge, 2022) Angélica Alomoto; María Elena Bedoya Hidalgo; Elvira Espejo; José Luis Macas; Alberto Muenala
Artists Angélica Alomoto, Elvira Espejo and Alberto Muenala shared with María Elena Bedoya and José Luis Macas their artistic experiences and the complexities of their artistic practices in the field of art and in cultural institutions in Ecuador and Bolivia. This is only a fragment of a long collective conversation we had in the context of the pandemic of COVID 19. We would like to clarify that by saying yuyarinchik ninchik, which we could translate as ‘thinking and saying together,’ we exalt the process of collective dialogue that is often invisible: work meetings, readings, shared experiences and interests, etc.
Tejiendo entre diversos territorios
(Universidad San Francisco de Quito, 2020) Elvira Espejo; Juan Fabbri
Elvira Espejo es una destacada artista, gestora cultural e investigadora indígena. Nacida en el ayllu Qaqachaka (provincia Abaroa, Oruro, Bolivia), su práctica se encuentra vinculada al textil, la tradición oral y la poesía. Fue directora del Museo Nacional de Etnografía y Folklore (MUSEF), en La Paz, durante los años 2013 al 2020. Recibió la medalla Goethe 2020, condecoración oficial de la República Federal de Alemania por su labor y compromiso con el intercambio cultural. La importancia de su labor se vincula al diálogo entre la práctica y el conocimiento de las comunidades indígenas y el cruce con la academia, la gestión cultural y los museos. Su trabajo reivindica las epistemologías y prácticas de los pueblos originarios y campesinos. En este diálogo con Juan Fabbri comparte sus experiencias de formación y trabajo.
The intrusive<i>k'isa</i>: Bolivian struggles over colour patterns and their social implications
(Taylor & Francis, 2012) Denise Y. Arnold; Elvira Espejo
This essay explores the relationships between technical practices, philosophical ideas and cultures, from the perspective of ideas about colour use in Andean textiles. It proposes that Andean theories of colour, as in Europe, are closely bound to developments in the production of colour. This implies that culturally held colour theories change with the movement of ideas across geographical and political frontiers, as part of the cultural reflections that accompany the interchange and commerce of artifacts (woven and others). We examine the current insistence in the region of ignoring the impact of global influences on local productive practices, and the paradoxical situations that result, when the origins of new productive tendencies become confused with regional phenomena. We also consider the attempts to integrate these external influences into political posture that seek to reinvent regional traditions, arguing that this disguises the possible negative effects of a greater integration of populations into wider economic networks, while effacing the role of regional social actors in technological developments. As a case study we take the k'isa, a pattern of colouring whose use has come to express visually and politically the power of the indigenous movement, above all of Aymara-speaking peoples, in spite of its origins elsewhere.