Decolonial Possibilities of Reintroducing the Devil in the Public Space of Afro‐Ecuadorian Territories
Autor(a) principal: | |
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Data de Publicação: | 2021 |
Outros Autores: | |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://doi.org/10.17645/si.v9i4.4369 |
Resumo: | The article discusses the decolonial possibilities of the collective design of a sound artwork in reimagining the role of two Afro‐Ecuadorian music and dance‐based events in the Afro‐Ecuadorian ancestral territories of North Esmeraldas and Chota‐Mira. The two events, Bomba del Chota and Marimba Esmeraldeña, emerged in the context of slavery and colonialism as a response of Afro‐Ecuadorians to the oppression and violence they endured. These two music and dance‐based events sustain a counter‐narrative of power and resistance for Afrodescendant peoples in Ecuador, weaving meaningful connections among them and other entities populating their territories, such as the “devil,” whose cohabitation with Afro‐Ecuadorians will be at the spotlight of our analysis. Based on the audio‐recorded testimonies of these connections that strongly existed until the 1970s, and of a sonic composition that was created from them, we propose a collaborative design of a sound artwork in the public spaces of the jungle in Esmeraldas and the mountain in Chota‐Mira. We discuss how a decolonial approach to the design of the artwork can serve as a dialogical space to engage inhabitants in their re‐connection to the possibilities of resistance that their ancestors nurtured in their territories through the practice of the two music and dance‐based events. Through a political reading of soundscapes, an argument is developed to show how sound constructs the public spaces that root people in their territories, connecting them with meaningful stories and practices that keep being forgotten due to the on‐going consequences of slavery and colonialism. The article contributes to the discussion about political ecologies and the collective production of public spaces as a joyful response to exclusion and oppression. |
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Decolonial Possibilities of Reintroducing the Devil in the Public Space of Afro‐Ecuadorian TerritoriesAfro‐Ecuadorians; ancestral practices; Bomba; decoloniality; Marimba; representations of the devil; sound artwork; soundscapesThe article discusses the decolonial possibilities of the collective design of a sound artwork in reimagining the role of two Afro‐Ecuadorian music and dance‐based events in the Afro‐Ecuadorian ancestral territories of North Esmeraldas and Chota‐Mira. The two events, Bomba del Chota and Marimba Esmeraldeña, emerged in the context of slavery and colonialism as a response of Afro‐Ecuadorians to the oppression and violence they endured. These two music and dance‐based events sustain a counter‐narrative of power and resistance for Afrodescendant peoples in Ecuador, weaving meaningful connections among them and other entities populating their territories, such as the “devil,” whose cohabitation with Afro‐Ecuadorians will be at the spotlight of our analysis. Based on the audio‐recorded testimonies of these connections that strongly existed until the 1970s, and of a sonic composition that was created from them, we propose a collaborative design of a sound artwork in the public spaces of the jungle in Esmeraldas and the mountain in Chota‐Mira. We discuss how a decolonial approach to the design of the artwork can serve as a dialogical space to engage inhabitants in their re‐connection to the possibilities of resistance that their ancestors nurtured in their territories through the practice of the two music and dance‐based events. Through a political reading of soundscapes, an argument is developed to show how sound constructs the public spaces that root people in their territories, connecting them with meaningful stories and practices that keep being forgotten due to the on‐going consequences of slavery and colonialism. The article contributes to the discussion about political ecologies and the collective production of public spaces as a joyful response to exclusion and oppression.Cogitatio2021-11-30info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.17645/si.v9i4.4369oai:ojs.cogitatiopress.com:article/4369Social Inclusion; Vol 9, No 4 (2021): Art and Design for Social Inclusion in the Public Sphere; 191-2022183-2803reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttps://www.cogitatiopress.com/socialinclusion/article/view/4369https://doi.org/10.17645/si.v9i4.4369https://www.cogitatiopress.com/socialinclusion/article/view/4369/4369Copyright (c) 2021 María Gabriela López‐Yánez, María Paz Saavedra Calderónhttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessLópez‐Yánez, María GabrielaSaavedra Calderón, María Paz2022-12-20T11:00:01Zoai:ojs.cogitatiopress.com:article/4369Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T16:21:32.452598Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Decolonial Possibilities of Reintroducing the Devil in the Public Space of Afro‐Ecuadorian Territories |
title |
Decolonial Possibilities of Reintroducing the Devil in the Public Space of Afro‐Ecuadorian Territories |
spellingShingle |
Decolonial Possibilities of Reintroducing the Devil in the Public Space of Afro‐Ecuadorian Territories López‐Yánez, María Gabriela Afro‐Ecuadorians; ancestral practices; Bomba; decoloniality; Marimba; representations of the devil; sound artwork; soundscapes |
title_short |
Decolonial Possibilities of Reintroducing the Devil in the Public Space of Afro‐Ecuadorian Territories |
title_full |
Decolonial Possibilities of Reintroducing the Devil in the Public Space of Afro‐Ecuadorian Territories |
title_fullStr |
Decolonial Possibilities of Reintroducing the Devil in the Public Space of Afro‐Ecuadorian Territories |
title_full_unstemmed |
Decolonial Possibilities of Reintroducing the Devil in the Public Space of Afro‐Ecuadorian Territories |
title_sort |
Decolonial Possibilities of Reintroducing the Devil in the Public Space of Afro‐Ecuadorian Territories |
author |
López‐Yánez, María Gabriela |
author_facet |
López‐Yánez, María Gabriela Saavedra Calderón, María Paz |
author_role |
author |
author2 |
Saavedra Calderón, María Paz |
author2_role |
author |
dc.contributor.author.fl_str_mv |
López‐Yánez, María Gabriela Saavedra Calderón, María Paz |
dc.subject.por.fl_str_mv |
Afro‐Ecuadorians; ancestral practices; Bomba; decoloniality; Marimba; representations of the devil; sound artwork; soundscapes |
topic |
Afro‐Ecuadorians; ancestral practices; Bomba; decoloniality; Marimba; representations of the devil; sound artwork; soundscapes |
description |
The article discusses the decolonial possibilities of the collective design of a sound artwork in reimagining the role of two Afro‐Ecuadorian music and dance‐based events in the Afro‐Ecuadorian ancestral territories of North Esmeraldas and Chota‐Mira. The two events, Bomba del Chota and Marimba Esmeraldeña, emerged in the context of slavery and colonialism as a response of Afro‐Ecuadorians to the oppression and violence they endured. These two music and dance‐based events sustain a counter‐narrative of power and resistance for Afrodescendant peoples in Ecuador, weaving meaningful connections among them and other entities populating their territories, such as the “devil,” whose cohabitation with Afro‐Ecuadorians will be at the spotlight of our analysis. Based on the audio‐recorded testimonies of these connections that strongly existed until the 1970s, and of a sonic composition that was created from them, we propose a collaborative design of a sound artwork in the public spaces of the jungle in Esmeraldas and the mountain in Chota‐Mira. We discuss how a decolonial approach to the design of the artwork can serve as a dialogical space to engage inhabitants in their re‐connection to the possibilities of resistance that their ancestors nurtured in their territories through the practice of the two music and dance‐based events. Through a political reading of soundscapes, an argument is developed to show how sound constructs the public spaces that root people in their territories, connecting them with meaningful stories and practices that keep being forgotten due to the on‐going consequences of slavery and colonialism. The article contributes to the discussion about political ecologies and the collective production of public spaces as a joyful response to exclusion and oppression. |
publishDate |
2021 |
dc.date.none.fl_str_mv |
2021-11-30 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://doi.org/10.17645/si.v9i4.4369 oai:ojs.cogitatiopress.com:article/4369 |
url |
https://doi.org/10.17645/si.v9i4.4369 |
identifier_str_mv |
oai:ojs.cogitatiopress.com:article/4369 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
https://www.cogitatiopress.com/socialinclusion/article/view/4369 https://doi.org/10.17645/si.v9i4.4369 https://www.cogitatiopress.com/socialinclusion/article/view/4369/4369 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2021 María Gabriela López‐Yánez, María Paz Saavedra Calderón http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2021 María Gabriela López‐Yánez, María Paz Saavedra Calderón http://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Cogitatio |
publisher.none.fl_str_mv |
Cogitatio |
dc.source.none.fl_str_mv |
Social Inclusion; Vol 9, No 4 (2021): Art and Design for Social Inclusion in the Public Sphere; 191-202 2183-2803 reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
instname_str |
Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
institution |
RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
collection |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository.name.fl_str_mv |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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1799130662040502272 |