Aproximaciones al Teatro indigenista en la escena contemporánea
The question of whether or not pre-Columbian theatre existed is very important for the current state of Colombian theatre and society. Although there was no theatre in our territories similar to the western one we know, born from the Dionysian festivals or their Roman or medieval forms, we must reco...
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Universidad Antonio Nariño
2024
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| author | Quiroz Sánchez, William Fernando |
| author_facet | Quiroz Sánchez, William Fernando |
| author_sort | Quiroz Sánchez, William Fernando |
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| description | The question of whether or not pre-Columbian theatre existed is very important for the current state of Colombian theatre and society. Although there was no theatre in our territories similar to the western one we know, born from the Dionysian festivals or their Roman or medieval forms, we must recognize that thanks to the studies of Fernando González Cajiao, Rosario Jaramillo, Carlos José Reyes, and Marina Lemus, Liliana Alzate, Carlos Araque, Zapata Olivella, Floresmiro Masabel, among others, together with the multiple chronicles of Indians, archaeological, anthropological, linguistic and cultural discoveries as well as the relationship with Indigenous communities and their orality, that there did exist in pre-Columbian times multiple Indigenous communities that held festivals, celebrations, sacrifices, offerings, processions and ritual acts whose elements and intentionality resemble both the origin and the development of what we know today as theatre. The similarities and parallels found between the rituals to the god Dionysus and the dances, songs, and sacrifices of the Muisca God Fu, Fo, or Nemcatacoa are evidence of this. The festive, sacred, and community character of the theatre was revived in different ways in both territories.
The pre-Columbian stage performances and their proximity to ritual, magic, medicine, orality, myth, anthropomorphism, and currently with a series of political and social demands in favor of inclusion, equality, and identity make the relationship between theatre – indigenous communities – education of fundamental importance in modern theatre and our present stage.Beyond making an exhaustive study of the aforementioned authors and their works that are available for public consultation, our interest is to recognize the importance of their works by revealing some resonances for the contemporary theater scene, by disseminating part of the scenic exploration of the Inti Amaru Artistic and Cultural Foundation, asking ourselves: What could be the role of professionals in the performing arts in the face of the current situation of ethnic communities?
An inquiry that since 2019 led us to contemplate the creation of the concept of Indigenist Theater and with which we began a theatrical movement with actions such as virtual conversations, training laboratories, circulation seasons, publications, and the creation of the Indigenous and Afro-Colombian Theater Festival that celebrates its fourth version this year and to which you are cordially invited in Bogotá. |
| format | Digital |
| id | revistas.uan.edu.co-article-2082 |
| institution | Revista VOZ A VOS |
| language | spa |
| publishDate | 2024 |
| publisher | Universidad Antonio Nariño |
| record_format | ojs |
| spelling | revistas.uan.edu.co-article-20822024-12-23T16:17:22Z Approaches to indigenous theatre in the contemporary scene Aproximaciones al Teatro indigenista en la escena contemporánea Quiroz Sánchez, William Fernando Ritual Indigenismo y educación Teatro Dramaturgia Ritual Indigenism and education Theatre Dramaturgy The question of whether or not pre-Columbian theatre existed is very important for the current state of Colombian theatre and society. Although there was no theatre in our territories similar to the western one we know, born from the Dionysian festivals or their Roman or medieval forms, we must recognize that thanks to the studies of Fernando González Cajiao, Rosario Jaramillo, Carlos José Reyes, and Marina Lemus, Liliana Alzate, Carlos Araque, Zapata Olivella, Floresmiro Masabel, among others, together with the multiple chronicles of Indians, archaeological, anthropological, linguistic and cultural discoveries as well as the relationship with Indigenous communities and their orality, that there did exist in pre-Columbian times multiple Indigenous communities that held festivals, celebrations, sacrifices, offerings, processions and ritual acts whose elements and intentionality resemble both the origin and the development of what we know today as theatre. The similarities and parallels found between the rituals to the god Dionysus and the dances, songs, and sacrifices of the Muisca God Fu, Fo, or Nemcatacoa are evidence of this. The festive, sacred, and community character of the theatre was revived in different ways in both territories. The pre-Columbian stage performances and their proximity to ritual, magic, medicine, orality, myth, anthropomorphism, and currently with a series of political and social demands in favor of inclusion, equality, and identity make the relationship between theatre – indigenous communities – education of fundamental importance in modern theatre and our present stage.Beyond making an exhaustive study of the aforementioned authors and their works that are available for public consultation, our interest is to recognize the importance of their works by revealing some resonances for the contemporary theater scene, by disseminating part of the scenic exploration of the Inti Amaru Artistic and Cultural Foundation, asking ourselves: What could be the role of professionals in the performing arts in the face of the current situation of ethnic communities? An inquiry that since 2019 led us to contemplate the creation of the concept of Indigenist Theater and with which we began a theatrical movement with actions such as virtual conversations, training laboratories, circulation seasons, publications, and the creation of the Indigenous and Afro-Colombian Theater Festival that celebrates its fourth version this year and to which you are cordially invited in Bogotá. La pregunta de si existió o no el teatro precolombino es muy importante para la actualidad del teatro y la sociedad colombiana. Si bien no existió en nuestros territorios un teatro similar al occidental que conocemos nacido de las fiestas dionisiacas o sus formas romanas o medievales, si debemos reconocer que gracias a los estudios de Fernando González Cajiao, Rosario Jaramillo, Carlos José Reyes y Marina Lemus, Liliana Alzate, Carlos Araque, Zapata Olivella, Floresmiro Masabel, entre otros, junto a las múltiples crónicas de indias, descubrimientos arqueológicos, antropológicos, lingüísticos y culturales así como a la relación con las comunidades indígenas y su oralidad, que sí existieron en tiempos precolombinos múltiples comunidades indígenas que realizaban fiestas, celebraciones, sacrificios, ofrendas, procesiones y actos rituales cuyos elementos e intencionalidad se asemejan tanto al origen como al desarrollo de lo que conocemos hoy como teatro. Las similitudes y paralelismos encontrados entre los rituales al dios Dionisos y las danzas, cantos y sacrificios del Dios Muiscas Fu, Fo o Nemcatacoa son una evidencia de ello. El carácter festivo, sagrado y comunitario del teatro se avivo de diferentes formas en ambos territorios. Las manifestaciones escénicas precolombinas y su cercanía con la ritualidad, la magia, la medicina, la oralidad, el mito, lo antropomorfo y actualmente con una serie de reivindicaciones políticas, sociales en pro de la inclusión, la igualdad y la identidad hacen que la relación Teatro – comunidades indígenas – educación cobre fundamental importancia en el teatro moderno y nuestro presente escénico. Más allá de hacer un estudio exhaustivo sobre los citados autores y sus obras que son de consulta pública, nuestro interés es reconocer la importancia de sus trabajos revelando algunas resonancias que para la escena teatral contemporánea, a partir de difundir parte de la exploración escénica de la Fundación Artística y Cultural Inti Amaru, preguntándonos ¿Cuál podría ser el papel de los profesionales en artes escénicas frente a la actualidad de las comunidades étnicas? Indagación que desde el 2019 nos llevó a contemplar la creación del concepto de Teatro Indigenista y con el cual iniciamos un movimiento teatral con acciones como conversatorios virtuales, laboratorios de formación, temporadas de circulación, publicaciones y la creación del Festival de teatro indígena y afrocolombiano que cumple este año IV versiones y al cual están cordialmente invitados en Bogotá. Universidad Antonio Nariño 2024-12-23 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Reflexiones sobre las artes escénicas application/pdf https://revistas.uan.edu.co/index.php/vozavos/article/view/2082 The Voz a Vos Bulletin ; Vol. 9 No. 18 (2024): Performing arts and their context; 37 - 52 BOLETÍN VOZ A VOS; Vol. 9 Núm. 18 (2024): Artes escénicas y pensamiento situado; 37 - 52 10.54104/vozavos.v9n18 spa https://revistas.uan.edu.co/index.php/vozavos/article/view/2082/1557 https://creativecommons.org/licenses/by-nc-sa/4.0 |
| spellingShingle | Ritual Indigenismo y educación Teatro Dramaturgia Ritual Indigenism and education Theatre Dramaturgy Quiroz Sánchez, William Fernando Aproximaciones al Teatro indigenista en la escena contemporánea |
| title | Aproximaciones al Teatro indigenista en la escena contemporánea |
| title_alt | Approaches to indigenous theatre in the contemporary scene |
| title_full | Aproximaciones al Teatro indigenista en la escena contemporánea |
| title_fullStr | Aproximaciones al Teatro indigenista en la escena contemporánea |
| title_full_unstemmed | Aproximaciones al Teatro indigenista en la escena contemporánea |
| title_short | Aproximaciones al Teatro indigenista en la escena contemporánea |
| title_sort | aproximaciones al teatro indigenista en la escena contemporanea |
| topic | Ritual Indigenismo y educación Teatro Dramaturgia Ritual Indigenism and education Theatre Dramaturgy |
| topic_facet | Ritual Indigenismo y educación Teatro Dramaturgia Ritual Indigenism and education Theatre Dramaturgy |
| url | https://revistas.uan.edu.co/index.php/vozavos/article/view/2082 |
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