Abstract:

During the last five years, new creations by Mapuche artists with a clear political imprint have renewed Chile’s national artistic scene. Among these works are Malen by choreographer Ricardo Curaqueo Curiche, premiered in October 2017, and Trewa. Estado-Nación o espectro de la traición by playwright Paula González Seguel, premiered in March 2019. Both creators construct universes and stories that explicitly expose the violence to which the Mapuche have been subjected. Although each piece pertains to a different genre—contemporary dance and documentary theater—they share common elements: gender violence in the Wallmapu, the murder of members of the Mapuche community, the absence of investigation, and the lack of justice. This article reflects on Mapuche authorship in the context of the national art scene, understanding their works as an exercise of activist art capable of staging the cultural, social, and political demands of the Mapuche people. The concept of “bodies without mourning” suggested by Ileana Diéguez leads to a rethinking of the role of art and its creators in contexts marked by violence and the disappearance of marginalized collectivities in Latin America.

摘要：

在过去的五年里，带有明显政治印记的马普切艺术家的新创作使智利的国家艺术舞台焕然一新。其中包括编舞家 Ricardo Curaqueo Curiche 于 2017 年 10 月首演的《Malen》和 Trewa 。Estado-Nación o espectro de la traición剧作家保拉·冈萨雷斯·塞格尔 (Paula González Seguel) 于 2019 年 3 月首映。两位创作者都构建了明确揭露马普切人遭受暴力的宇宙和故事。尽管每件作品都属于不同的流派——当代舞蹈和纪录片剧院——但它们有共同的元素：瓦尔马普的性别暴力、马普切社区成员被谋杀、缺乏调查和缺乏正义。本文在民族艺术场景的背景下反思马普切的作者身份，将他们的作品理解为一种能够表达马普切人文化、社会和政治需求的激进艺术的实践。