Abstract

In the context of the multicultural and postmodern rhetoric of contemporary art festivals, we examine a case study in which the Hungarian choreographer Eszter Salamon appropriates Mapuche practices—the kawell tayil and the choike purrún—in her piece Monument 0.6: Landing (A Ritual of Empathy) (2017). We analyze the discursive and embodied dimensions of this borrowing and its harmful consequences for indigenous communities. We show how the postmodern values of secular art institutions and the legal limitations to protect indigenous ritual expressions contribute to these dynamics. Adopting an optimistic stance, we outline criteria for curatorial practices that could prevent further misuses of indigenous culture.

摘要

在当代艺术节的多元文化和后现代修辞的背景下，我们研究了一个案例研究，其中匈牙利编舞Eszter Salamon在她的作品《纪念碑 0.6：着陆（移情仪式）（2017 年）。我们分析了这种借用的话语和具体维度及其对土著社区的有害后果。我们展示了世俗艺术机构的后现代价值观以及保护本土仪式表达的法律限制如何促成这些动态。我们采取乐观的态度，概述了可以防止进一步滥用土著文化的策展实践标准。