Not only to create the memory of ourselves as indigenous peoples, but also to teach how to see that memory
Marisol Calambás Soscué tells us about her creative quest for new techniques and plastic form aiming to express the ancestral memory of the Nasa People to whom she belongs. One should escape from the artificial stagnancy imposed by the touristic market sticking the ‘handicraft’ label upon indigenous...
- Autores:
-
Calambás, Marisol
- Tipo de recurso:
- Article of journal
- Fecha de publicación:
- 2014
- Institución:
- Universidad Nacional de Colombia
- Repositorio:
- Universidad Nacional de Colombia
- Idioma:
- spa
- OAI Identifier:
- oai:repositorio.unal.edu.co:unal/51133
- Acceso en línea:
- https://repositorio.unal.edu.co/handle/unal/51133
http://bdigital.unal.edu.co/45205/
- Palabra clave:
- pueblo nasa
arte contemporáneo indígena
fotografía
pintura
Colombia
Nasa people
indigenous contemporary art
photography
painting
Colombia
- Rights
- openAccess
- License
- Atribución-NoComercial 4.0 Internacional
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Atribución-NoComercial 4.0 InternacionalDerechos reservados - Universidad Nacional de Colombiahttp://creativecommons.org/licenses/by-nc/4.0/info:eu-repo/semantics/openAccesshttp://purl.org/coar/access_right/c_abf2Calambás, Marisoldf9ecaa0-f379-430e-b31e-b671d47dbf413002019-06-29T11:26:47Z2019-06-29T11:26:47Z2014-09-30https://repositorio.unal.edu.co/handle/unal/51133http://bdigital.unal.edu.co/45205/Marisol Calambás Soscué tells us about her creative quest for new techniques and plastic form aiming to express the ancestral memory of the Nasa People to whom she belongs. One should escape from the artificial stagnancy imposed by the touristic market sticking the ‘handicraft’ label upon indigenous crafts and demanding the repetition of so-called ancestral patterns. Marisol tells us that Indigenous creativity is fluid and is constantly transforming the channels for memory communication. It is therefore necessary to educate the public so as they may learn to see their transformations.Marisol Calambás Soscué presenta su recorrido creativo como una búsqueda de nuevas técnicas y formas plásticas para expresar la memoria ancestral del pueblo Nasa al que pertenece. Es necesario escapar del estancamiento artificial impuesto por el mercado turístico que etiqueta las obras indígenas como ‘artesanías’ y exige la repetición de patrones supuestamente ancestrales. La creatividad de los artistas contemporáneos indígenas, muestra Marisol, fluye transformando constantemente los canales de comunicación de la memoria. Es necesario, por tanto, educar la mirada del público para que aprenda a ver dichas transformaciones.application/pdfspaUniversidad Nacional de Colombiahttp://revistas.unal.edu.co/index.php/imanimundo/article/view/45789Universidad Nacional de Colombia Revistas electrónicas UN Mundo AmazonicoMundo AmazonicoMundo Amazonico; Vol. 5 (2014); 189-195 Mundo Amazónico; Vol. 5 (2014); 189-195 Mundo Amazónico; Vol. 5 (2014); 189-195 2145-5082 2145-5074Calambás, Marisol (2014) Not only to create the memory of ourselves as indigenous peoples, but also to teach how to see that memory. Mundo Amazonico; Vol. 5 (2014); 189-195 Mundo Amazónico; Vol. 5 (2014); 189-195 Mundo Amazónico; Vol. 5 (2014); 189-195 2145-5082 2145-5074 .Not only to create the memory of ourselves as indigenous peoples, but also to teach how to see that memoryArtículo de revistainfo:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_6501http://purl.org/coar/resource_type/c_2df8fbb1http://purl.org/coar/version/c_970fb48d4fbd8a85Texthttp://purl.org/redcol/resource_type/ARTpueblo nasaarte contemporáneo indígenafotografíapinturaColombiaNasa peopleindigenous contemporary artphotographypaintingColombiaORIGINAL45789-228481-1-PB.pdfapplication/pdf233451https://repositorio.unal.edu.co/bitstream/unal/51133/1/45789-228481-1-PB.pdfe3d8d456a50ebae887f177c9b996d489MD51THUMBNAIL45789-228481-1-PB.pdf.jpg45789-228481-1-PB.pdf.jpgGenerated Thumbnailimage/jpeg5624https://repositorio.unal.edu.co/bitstream/unal/51133/2/45789-228481-1-PB.pdf.jpgaa44fe22582bb4faea06b69105dc341aMD52unal/51133oai:repositorio.unal.edu.co:unal/511332023-12-18 23:05:44.555Repositorio Institucional Universidad Nacional de Colombiarepositorio_nal@unal.edu.co |
| dc.title.spa.fl_str_mv |
Not only to create the memory of ourselves as indigenous peoples, but also to teach how to see that memory |
| title |
Not only to create the memory of ourselves as indigenous peoples, but also to teach how to see that memory |
| spellingShingle |
Not only to create the memory of ourselves as indigenous peoples, but also to teach how to see that memory pueblo nasa arte contemporáneo indígena fotografía pintura Colombia Nasa people indigenous contemporary art photography painting Colombia |
| title_short |
Not only to create the memory of ourselves as indigenous peoples, but also to teach how to see that memory |
| title_full |
Not only to create the memory of ourselves as indigenous peoples, but also to teach how to see that memory |
| title_fullStr |
Not only to create the memory of ourselves as indigenous peoples, but also to teach how to see that memory |
| title_full_unstemmed |
Not only to create the memory of ourselves as indigenous peoples, but also to teach how to see that memory |
| title_sort |
Not only to create the memory of ourselves as indigenous peoples, but also to teach how to see that memory |
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Calambás, Marisol |
| dc.contributor.author.spa.fl_str_mv |
Calambás, Marisol |
| dc.subject.proposal.spa.fl_str_mv |
pueblo nasa arte contemporáneo indígena fotografía pintura Colombia Nasa people indigenous contemporary art photography painting Colombia |
| topic |
pueblo nasa arte contemporáneo indígena fotografía pintura Colombia Nasa people indigenous contemporary art photography painting Colombia |
| description |
Marisol Calambás Soscué tells us about her creative quest for new techniques and plastic form aiming to express the ancestral memory of the Nasa People to whom she belongs. One should escape from the artificial stagnancy imposed by the touristic market sticking the ‘handicraft’ label upon indigenous crafts and demanding the repetition of so-called ancestral patterns. Marisol tells us that Indigenous creativity is fluid and is constantly transforming the channels for memory communication. It is therefore necessary to educate the public so as they may learn to see their transformations. |
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2014 |
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2014-09-30 |
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2019-06-29T11:26:47Z |
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2019-06-29T11:26:47Z |
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Artículo de revista |
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http://purl.org/coar/resource_type/c_2df8fbb1 |
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http://bdigital.unal.edu.co/45205/ |
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spa |
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spa |
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http://revistas.unal.edu.co/index.php/imanimundo/article/view/45789 |
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Universidad Nacional de Colombia Revistas electrónicas UN Mundo Amazonico Mundo Amazonico |
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Mundo Amazonico; Vol. 5 (2014); 189-195 Mundo Amazónico; Vol. 5 (2014); 189-195 Mundo Amazónico; Vol. 5 (2014); 189-195 2145-5082 2145-5074 |
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Calambás, Marisol (2014) Not only to create the memory of ourselves as indigenous peoples, but also to teach how to see that memory. Mundo Amazonico; Vol. 5 (2014); 189-195 Mundo Amazónico; Vol. 5 (2014); 189-195 Mundo Amazónico; Vol. 5 (2014); 189-195 2145-5082 2145-5074 . |
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