ABSTRACT

Among the most outstanding repertoires of collective action in the ‘revolt’ that took place in the spring of 2019 in Chile, were the exercises of dismantlement and the demand for indigenous presence. And this is curious because the official history of Chile has sought, in many ways, to deny ‘the Indian’ of the total story. The ‘other’ emerges only as a past fragment, while the bodies and biographies of the elite flood books and cities with their monumental presence.

So, what does the dismantlement of this elite history and the vindication of the denied indigenous presence indicate to us? Are we perhaps facing a popular revolt with decolonizing overtones? What initial conclusions about the evolution of national identities can be drawn from these political and aesthetic repertoires? We believe that, after the actions of discarding, scratching or saturating the public monumentality, a deep criticism is projected towards the homogenizing narratives of the nineteenth century nation. Today, ‘whiteness’, as a cultural script of the nation, is put under tension.

Finally, we believe that, along with the criticism of the continuities of a racist story of the nation, there emerges a search for the elaboration of new identitarian and cultural scripts. It emerges, imagined from that erased indigenous condition, as a variegated construction of the political community emerging from silencing of five centuries. This is where the decoloniality of the social outbreak is incubated.

摘要

在 2019 年春季在智利发生的“起义”中，最杰出的集体行动包括拆除演习和对土著存在的要求。这很奇怪，因为智利的官方历史在很多方面都试图否认整个故事中的“印第安人”。“他者”只是作为过去的片段出现，而精英们的身体和传记则以其不朽的存在充斥着书籍和城市。

那么，这种精英历史的瓦解和被否认的土著存在的证明对我们意味着什么？我们是否正面临一场带有非殖民化色彩的民众反抗？从这些政治和审美的剧目中可以得出什么关于民族认同演变的初步结论？我们认为，在对公共纪念性的丢弃、刮擦或饱和行为之后，对 19 世纪民族的同质化叙事提出了深刻的批评。今天，“白人”作为一个民族的文化脚本，受到了压力。

最后，我们相信，随着对民族种族主义故事连续性的批评，出现了对新的身份认同和文化脚本的阐述。它从被抹去的土著条件中想象出来，作为一个从五个世纪的沉默中出现的政治共同体的多样化结构而出现。这就是社会爆发的非殖民化孵化的地方。