Mariana Leon

¿Cómo sentir el bosque?... percibir una montaña fluyendo a un lago ... arenilla rocosa bajo cada paso; dejarse tocar por sonidos, conectarse con la expresión toda de
la biodiversidad, ¿cómo reflexionar,  creativamente y desde lo sonoro, sobre sumergirse en el bosque?
Hacia estas preguntas orientamos Caminar el Bosque: investigación y creación de paisajes sonoros en el Wallmapu, proyecto financiado por el Fondo de la Música
2021 y ejecutado entre árboles, aves, nieves y vientos de los bosques del sur de Chile. En el camino a responderlas, articulamos tres ámbitos principales: baños de bosques, escucha humana y percepciones de bio-diversidad.

Traditional diets reflect different cultures and geographical locations, and may provide healthy diet options. In Chile, it is unknown whether traditional culinary preparations are still remembered, let alone consumed. Therefore, we adapted methods to identify traditional culinary preparations for healthy and sustainable dietary interventions. In Chile’s Metropolitan Region and the Region of La Araucanía, we collected data on the variety of traditional diets through cultural domain analyses: direct participant observation (n = 5); free listing in community workshops (n = 10); and pile sort activities within semi-structured individual interviews (n = 40). Each method was stratified by age (25–45 year, 46–65 year and ≥ 65 year) and ethnic group (first nations or not). About 600 preparations and single-ingredient foods were identified that differed both in frequency and variety by region. The foods most consumed and liked (n = 24–27) were ranked in terms of sustainability for public nu...

Traditional diets reflect different cultures and geographical locations, and may provide healthy diet options. In Chile, it is unknown whether traditional culinary preparations are still remembered, let alone consumed. Therefore, we adapted methods to identify traditional culinary preparations for healthy and sustainable dietary interventions. In Chile's Metropolitan Region and the Region of La Araucanía, we collected data on the variety of traditional diets through cultural domain analyses: direct participant observation (n = 5); free listing in community workshops (n = 10); and pile sort activities within semi-structured individual interviews (n = 40). Each method was stratified by age (25-45 year, 46-65 year and ≥ 65 year) and ethnic group (first nations or not). About 600 preparations and single-ingredient foods were identified that differed both in frequency and variety by region. The foods most consumed and liked (n = 24-27) were ranked in terms of sustainability for public nutrition purposes. Methods originally designed to collect information about plants of indigenous peoples can be extended to collect data on the variety of existing traditional culinary preparations, globally. Context, both geographical and cultural, matters for understanding food variety, and its subsequent use in the design of healthy and sustainable diet interventions.

El artículo aborda la emergencia afrodescendiente en Arica, Chile, desde la dimensión sensible, creativa y reflexiva de la performance del Tumbe carnaval y el nacimiento de la pri-mera comparsa afroariqueña. Frente a una visión tendiente a encapsular el Tumbe carnaval como auxiliar al movimiento etnopolítico, se propone que esta performance con 'sus movimientos' imprime una capacidad sensitiva que invoca sentidos y memorias abriendo campo a procesos cognitivos sustanciales para el auto-reconcimiento afrodescendiente. Así, desde la perspectiva de la performance, busca sostener que el pensar-sentir enraizado en la experiencia corporal del Tumbe carnaval es contestaria, reflexiva y constitutiva del renacimiento cultural afrochileno y la expansión del Movimiento etnopolítico afrodescendiente en Arica. Palabras clave: Afrolatinoamericanos, Afro-chilenos, Performance, Memoria corporal, Tumbe carnaval. This article delves into the emergence of afro-descendant presence in Arica (Chile) from the sensitive, creative and reflective dimensions of the performance of the Tumbe Carnaval and the beginnings of the first Afroariqueña troupe. Confronting the view that has tended to encapsulate the Tumbe Carnaval as an aid to the ethno-political movement, the article suggests that this performance with its 'movements' imprints a sensitive ability to the body that calls upon senses and memories opening the way to key cognitive processes for afro-descendant self-recognition, and where the action of think-feel, rooted in the experience of Tumbe Carnaval, is reflective and generative of the afro-Chilean cultural revival and the expansion of the ethno-political afro-descendant movement in Arica.

A dança tumba carnaval da comunidade afrodescendente em Arica (Chile) tem vivido uma dinâmica de “resgate” e “recriação” pela mesma comunidade, que desde sua aparição e com mais de uma década, tem-se consolidado como uma expressão “autêntica” dos afroariqueños. Mas nessa dinâmica, próprias de uma performatividade, as temporalidades se entrecruzam: essa dança é principalmente encenada no carnaval contemporâneo “Arica con la fuerza del Sol” que marca uma temporalidade festiva com a vida cotidiana da cidade; onde o desfile tem outra experiência do tempo, que se pode compreender como uma vivência ritual. A dança tumba carnaval coloca sua memória -como afroariqueños- nos movimentos, pois ela narra seu “passado” e o traz para ser experimentado em um presente. Assim, sendo uma forma de encenar e narrar uma “outra história” e viver o tempo, o tumba carnaval também traduz um desejo “futuro” como afrodescendentes. O presente trabalho procura expor a dinâmica criativa vivenciada pela dança tumba carnaval -seus componentes sonoros e movimentos- que possibilita essa vivência temporal de múltiplos planos, como uma forma de se experimentar como afrodescendente na cidade de Arica (Chile) e que, por meio da busca de afirmação, produz um gesto de autenticidade, de sua presença nesse território.

El presente trabajo interroga sobre la estructura sonora del tumbe carnaval, analizándolo en el marco del proceso de revitalización identitaria, que es reflejo de la puesta en escena de un sonido “afro” por parte de las organizaciones afroariqueñas. Así, retomando elementos de la tradición oral, se erigió una estructura sonora que respondía a las  necesidades estilistas contemporáneas de la comunidad afroariqueña para representarse como “afrodescendientes” y distinguirse de otras identidades del territorio, como las “andinas”.

This work seeks to understand the tumba carnaval performance  “recreation” process and the conformation of the first afro-descendant troupe in Arica (Chile), around the year 2003. It is inserted in an afrochilean cultural renaissance where the community has rescued their
memory and cultural elements, being presented as an historical conciousness about the chilenización (the anexation of this territory by the chilean state, after the Guerra del Pacífico). In such renaissance, the community raises a narrative about their presence, presenting an allegory of the rural world and their feasts as ancient black peasants. Where the tumba carnaval performance, with the creation of sound, rythmical, and movement elements construes a non-verbal language centered on the experience and allows to narrate the memory of their old black peasant grandparents. Thus, the troupe, as a collective unity of people, mobilizes the musical performance, whose movements  represent former agricultural labor and deploys a story in public action in the carnival, opening supressed contents and countering an hegemonic national chilean account in which the afrodescendants or blacks do not exist; at the same time it construes a particular way for self thinking as a community in the Andes.