Anne Lambright
- Published in print:
- 2016
- Published Online:
- January 2019
- ISBN:
- 9781781382516
- eISBN:
- 9781786945471
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781382516.003.0001
- Subject:
- History, Latin American History
The introduction analyzes the activities of the Truth and Reconciliation Committee (CVR), its public fact-gathering tribunals, 2003 final report, and sponsored photography exhibition (Yuyanapaq: Para ...
More
The introduction analyzes the activities of the Truth and Reconciliation Committee (CVR), its public fact-gathering tribunals, 2003 final report, and sponsored photography exhibition (Yuyanapaq: Para recordar). Both the thorough final report and internationally acclaimed Yuyanapaq exhibit contain many images of indigenous and mestizo peasants and victims, but ambivalent references to ethnicity, indigeneity, the Quechua language, or Andean values and cultures. Furthermore, there was insufficient effort to involve Andean victims in the process of creating the CVR, determining its focus and procedures, processing the information gathered, or proposing future directions (none of the commissioners were indigenous, and only one spoke Quechua). In the end, the indigenous and mestizo victims are objects of examination rather than empowered actors in the reconciliation efforts. This introductory chapter suggests that creative cultural products may fill in the gaps created by official narratives, challenge the role of Andean cultures in dominant views of the nations, and suggest alternative directions for transitional justice efforts.Less
The introduction analyzes the activities of the Truth and Reconciliation Committee (CVR), its public fact-gathering tribunals, 2003 final report, and sponsored photography exhibition (Yuyanapaq: Para recordar). Both the thorough final report and internationally acclaimed Yuyanapaq exhibit contain many images of indigenous and mestizo peasants and victims, but ambivalent references to ethnicity, indigeneity, the Quechua language, or Andean values and cultures. Furthermore, there was insufficient effort to involve Andean victims in the process of creating the CVR, determining its focus and procedures, processing the information gathered, or proposing future directions (none of the commissioners were indigenous, and only one spoke Quechua). In the end, the indigenous and mestizo victims are objects of examination rather than empowered actors in the reconciliation efforts. This introductory chapter suggests that creative cultural products may fill in the gaps created by official narratives, challenge the role of Andean cultures in dominant views of the nations, and suggest alternative directions for transitional justice efforts.
Anne Lambright
- Published in print:
- 2016
- Published Online:
- January 2019
- ISBN:
- 9781781382516
- eISBN:
- 9781786945471
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781382516.003.0004
- Subject:
- History, Latin American History
This chapter examines the theatrical interventions by Grupo Cultural Yuyachkani, Peru’s premier popular theater collective, at the CVR’s public hearings in Huanta and Huamanga. From an established ...
More
This chapter examines the theatrical interventions by Grupo Cultural Yuyachkani, Peru’s premier popular theater collective, at the CVR’s public hearings in Huanta and Huamanga. From an established repertoire on Peruvian cultural heterogeneity, ethnic and gendered violence, and the war, Yuyachkani presented two plays whose protagonists are dead (one indigenous male, one mythic female) and called upon more (indigenous) dead when creating new pieces to accompany the endeavor, suggesting that after years of sustained—real and symbolic—violence, only the dead can embody the national situation, serve as the nation’s memory, and bridge individual and collective trauma. Challenging the therapeutic efforts of the CVR, dead bodies of marginalized subjects, and their ghosts, serve to explore collective and individual trauma, and mediate between the people and the state.Less
This chapter examines the theatrical interventions by Grupo Cultural Yuyachkani, Peru’s premier popular theater collective, at the CVR’s public hearings in Huanta and Huamanga. From an established repertoire on Peruvian cultural heterogeneity, ethnic and gendered violence, and the war, Yuyachkani presented two plays whose protagonists are dead (one indigenous male, one mythic female) and called upon more (indigenous) dead when creating new pieces to accompany the endeavor, suggesting that after years of sustained—real and symbolic—violence, only the dead can embody the national situation, serve as the nation’s memory, and bridge individual and collective trauma. Challenging the therapeutic efforts of the CVR, dead bodies of marginalized subjects, and their ghosts, serve to explore collective and individual trauma, and mediate between the people and the state.