Mémoire, violences
- Museo, lenguaje, memoria - Néstor Ponce
A Museum dedicated to memory is a linguistic space inscribed in time. It has a duty to remember the events that marked the history of a territory ; and, at the same time, distance itself from trite promotional speech in order to invoke reflection. To think about the past is to anticipate the future, to write the future. The end of the armed conflict in Colombia, with the signing of the peace treaty in November 2016, entails a public reflection with a participatory principle of all the actors in the conflict. The Museum of Memory in Medellín deserves to be studied in a perspective of building synthesis and offering alternate proposals for peace.
- L'Archive comme lieu de mémoire : l'assassinat de Jorge Eliécer Gaitán le 9 avril 19481 et la vision particulière de Ricardo Restrepo dans l'essai filmique Cesó la horrible noche (2014) - Virginia de la Cruz Lichet
Le 9 avril 1948, le leader libéral Jorge Eliécer Gaitán fût assassiné brutalement dans les rues de Bogotá. Comme conséquence, une révolution spontanée se déclencha dans la ville durant quatre jours, un moment historique connu comme le Bogotazo. Sur les traces de ce fait historique qui marquera le début de la période de la violence en Colombie, cette réflexion reconstruit les évènements à partir de l'image iconique du leader juste après les coups de feu. Sur les traces d'une violence démesurée, l'essai documentaire de Ricardo Restrepo, Cesó la horrible noche (2014) permet de mettre en image ce que les colombiens ont vécu durant ces quatre jours, mais surtout ce qu'ils ont vu en tant que témoins. Les différents témoignages recueillis par Arturo Alape dans son ouvrage El Bogotazo. Memorias del olvido (2016) et les images filmées en 16mm par Roberto Restrepo, grand-père de Ricardo Restrepo, durant ces journées sont les documents collectés aujourd'hui permettant de reconstituer les faits et de réécrire cette histoire. L'analyse du film donne une autre vision de ce fait, avec une version personnelle du cinéaste, plus esthétique mais en même temps plus visionnaire, permettant de se questionner sur le futur de son pays.
On April 9th, 1948, the liberal leader Jorge Eliécer Gaitán should be roughly assassinated on the streets of Bogotá. Further to it, a spontaneous revolution in the city for four days, historical instant known by ElBogotazo should start. On the traces of this historical fact that marked the beginning of the period of violence in Colombia, this reflexion rebuilds events from the iconic picture of the leader just after gunshots. On the traces of an immoderate violence, the documentary essay of Ricardo Restrepo, Cesó la horrible noche (2014) allows to put in picture what the Colombians have lived for these four days, but especially what they saw as witnesses. The different stories gathered by Arturo Alape in his bookEl Bogotazo. Memorias del olvido (2016) and movie on 16mm film by Roberto Restrepo, Ricardo Restrepo's grandfather, filmed for these days, are documents collected today allowing to reconstruct facts and to rewrite this history. The analysis of the film gives another vision of this historical fact, with a personal version of the film-maker, more aesthetic but at the same time visionary, allowing to question on the future of its country.
- El relato de guerra: Cómo el arte transmite la memoria del conflicto en Colombia - Johanna Carvajal González
The strength of art is translated into works of art, with a message that travels through the conscious, the unconscious, the experiences of each one of us, to speak of something universal, human, essential. The role of art in Colombia's current conjuncture period called post-conflict –or better said, the post-peace agreement– is to remind us of who we are, as emotional, rational and social beings. In the same way, art becomes a channel through which intimate narratives are transformed into a collective voice that denounces situations society refuses to live again. Through the analysis of the theater play Mujeres en la guerra (2001) directed by Fernando Montes, from the photographic work El David (2006) by Miguel Ángel Rojas and from the visual work of Juan Manuel Echavarría entitled Silencios (2010), the conflict narratives will be the starting point of the work and at the same time, will compose the work itself. Narratives that are conjugated with the aesthetic discourse, which reveals the humanity behind the conflict, discourse that constitutes possibly symbolic reparation of the victims. Art is present to remember that it is possible to vindicate the abuses suffered during this violent period, which has lasted more than fifty years.
- David y Cuerpo gramatical : imágenes de la violencia y políticas de la mirada en dos casos del arte contemporáneo en Colombia - Daniel García
This article reflects on two works of contemporary art in Colombia (David by Miguel Ángel Rojas and Cuerpo gramatical, by José Alejandro Restrepo), with the purpose of explaining the reasons why these artists alluded to the Christian and classical iconography to address the problem of modern and contemporary violence in the country. The central hypothesis of the text is that, in both cases, the strategy of these works consists in proposing a politics of the gaze that serves to elaborate a critique of the processes of production, circulation and reception of the representations of public violence in the media massive information. Given the mechanisms of isolation and prescription that are usually imposed on this type of representation, the works of these artists allow them to be integrated into the field of a long-term visual culture, in addition to addressing the problem of their meaning with different criteria.
- El conflicto colombiano entre animación e hiperrealismo mágico : Desterrada de Diego Guerra. - Françoise Bouvet
In March 2014, Diego Guerra presented in the International Film Festival of Cartagena de Indias his animated film Desterrada. With this first full-length movie, the cartoonist yearns to relate what means being young in Bogotá, and at the meantime, try to paint the conflict that corrode Colombia since the 70s. Reflection of the country History or fiction, hyper-realistic but also dystopic, the film affects because of his peculiar treatment of violence, conducing the spectator from a recalling process to a denunciation of the conflict. Clearly influenced by American comics and movies, but also deeply rooted in Columbian arts, we will show that Desterrada develops an original aesthetic project and we will question the term of “magic hyper-realism” that emerged from the audience after the premiere.
- La memoria herida : entre los límites de la rememoración personal y la conciencia histórica de la violencia en Los ejércitos - Bibian Paola Ferández Luna
This article purports to analyze the novel Los ejércitos (2006) by Colombian author Evelio Rosero Diago. The interest to analyze this literary work responds to the form in which the novel explores new points of enunciation, getting away from the cliche ways in which violence is referenced in Colombia: data, statistics, and terrifying anecdotes that produce an ephemeral indignation. On the contrary, Rosero investigates new forms of language combined with uncommon narration of daily realities which provides us with the necessary distancing from the pathological familiarization with violence to which we have grown accustomed. This novel arrives in the field of Colombian literature as a distanced examination of the violent novel and its narrative tools. Consequently, the purpose of this article is to analyze the system of characters as well as time and space to elucidate the manner in which they evoke memory, revelations, and, most of all, the way in which narration of memory affects the perception of the present and expectations for the future. In this way, the reader is able to understand the link between the past, present, and future as different types of time that together constitute historical consciousness. Colombia.
Représentations, identités
- Re-construction de l'identité colombienne et ré-écriture de l'Histoire, du mythe et des mémoires noires dans Chango el Gran Putas de Manuel Zapata Olivella - Fatima Zohra Mohamed
L'article proposé a pour objet d'interroger les mémoires noires auxquelles fait référence Manuel Zapata Olivella et de poser le problème de l'écriture et de la réécriture de l'Histoire, du mythe et des mémoires à travers la fiction de Chango el Gran Putas. Quelle vision ont les colombiens de la traite et de l'esclavage ? N'est-elle pas le résultat d'une rétention d'informations des historiens qui ont retranscrit subjectivement l'Histoire d'un pays ? Cette vision erronée mais canonique que peuvent en effet avoir les colombiens sur l'Histoire de leur pays ne crée-t-elle pas une certaine spécificité dans la réception de l'Histoire de la traite et qui aujourd'hui pose le problème d'une identité culturelle colombienne fragmentée. L'écriture de Manuel Zapata Olivella confirme ces présupposés et dénonce cette spécificité en proposant une version sublimée de l'Histoire du Noir, déjà présente dans l'inconscient collectif et secrétée par la tradition orale et les mythes. Son roman, Chango el Gran Putas publié en 1983, se compose de fragments relatant quatre siècles d'histoire depuis la traversée transatlantique des esclaves noirs jusqu'aux premières indépendances en Amérique. Dans cet article, nous verrons comment il propose une lecture postcoloniale du continent latino-américain et une réécriture poético-esthétique des mémoires Noires afin de réparer un passé historique violenté, qui permettra la « reconstruction » identitaire culturelle colombienne.
The article suggested has the aim of questioning the black memories to which Manuel Zapata Olivella references and to look at the issue of the writing and the rewriting of the History, the myth and the memories through the fiction of Chango el Gran Putas. Which vision have the Colombians of the traffiking and slavery ? Isn't it the result of an information retention by the historians who subjectively retranscribed the History of a country ? This mistaken but canonical vision that the Colombians can indeed have on the History of their country does not create a certain specificity on the history reception of the traffiking and which today poses the problem of a fragmented Colombian cultural identity. The writing of Manuel Zapata Olivella confirms these presupposed and denounces this specificity by proposing a sublimated version on the History of the Black, already present in the collective unconscious and secreted by the oral tradition and myths. His novel, Chango el Gran Putas published in 1983, is composed of fragments reporting four centuries of history since the transatlantic crossing of the black slaves until the first independences in America. In this article, we will see how he proposes a post-colonial reading of the Latin-American continent and a poetico-esthetic rewriting of the Black memories in order to repair a harmed historical past, allowing the “reconstruction” of the cultural Colombian identity.
- De la ontología del género femenino y las estrategias de la mascara-de en la obra de Marvel Moreno : conflictos de identidad y violencia de la representación en Colombia - Natalia Vélez L.
The present dissertation inquires on the being of the feminine gender, evidenced in the literary discourse of the Colombian author Marvel Moreno. I turn to Lacan, in his reflection on the significant practices exposed in the symbolism of language, articulated by the “law of the father” and the differences of sex and gender according to their cultural dimension. This ontology investigates the "being" of the Phallus, sense consented by “the law”, according to which sexual difference is unintelligible. The "being" or "having" the Phallus, announces dialectically impossible positions. Moreno works this conception in the representations of the masculinized language of binary disjunction between "being" and "having", mediated by the power of the dominant sex and the repression (masquera-de) constituting of the feminine subject. I argue that these discursive representations of the dialectic "to be"-"to have" frame the paradox of the development of Colombian society in the 1990s : the consecration of fundamental rights in the 1991 Constitution, accompanied by the resurgence of political violence and increased rates of sociocultural conflicts ; the violence of representation and the hierarchical incorporation of the "I". This representational violence precedes and accompanies the identitarian processes of "extreme" subcultures, needing manifestation through the armed conflict.
- El Dorado, l'Eldorado dans l'imaginaire des artistes de théâtre colombien, serait-il un trésor mal investi ? (Réflexions sur un aperçu historiographique) - Olga Lucia Cobo
Les rapports entre le théâtre et les peuples amérindiens en Colombie sont indissociables de l'évolution politique et sociale du pays. Suivant le cours des événements à toutes les époques, les arts scéniques colombiens semblent énoncer l'histoire à voix haute. Cette communication présente un aperçu de l'histoire du théâtre en Colombie du XIVe jusqu'au début du XXIe siècle, afin d'analyser les transformations du regard que les arts scéniques du pays portent sur les peuples amérindiennes et la place que cet art, éminemment occidental, accorde à leurs traditions.Dans cette relation interculturelle la scène théâtrale colombienne a toujours été un lieu d'échanges et de rencontres mais elle a aussi prêté ses lumières à la manipulation et à l'effacement de l'Autre.Les éléments réunis permettront d'ouvrir une réflexion sur le défi que notre époque et ses événements présentent aux artistes de théâtre colombien, notamment dans la construction de la paix sociale sur les bases de véritables dialogues inter-culturaux.
This The relationships between performing arts and indigenous people in Colombia are indivisible from the country's political and social evolution. Following the course of events through the time, the Colombian performing arts seem to tell the history out-loud. This paper presents an overview of the history of theatre in Colombia from the fourteenth to the beginning of the twenty-first century, in order to analyse the transformations in the view that the country's performing arts have on Amerindian people, and to know the place that this art, eminently Western, accords to their traditions.In this intercultural relationship the Colombian theatrical scène has always been a place for exchanges and encounters but it has also shed its lights to manipulation and deletion of the other. The gathered elements will open a reflection on the challenge that our time and its events present to the Colombian theatre artists, in particular concerning the construction of the social peace on the bases of true inter-cultural dialogues.
- El Dorado o la búsqueda de los migrantes colombianos en España - Victoria Bazurto
The Muisca legend of El Dorado fed the imaginary from a lot of conquistadors and has also motivated hundredth of expeditions. It's a legend that has been broadly interpreted and integrated into the language related to the migratory contemporary universe in general but also into that one related to the Colombian migration. Based on this, the major goal of this paper is to present the way an imaginary around Spain as a new El Dorado for the Colombian migrants is built. Colombians represents in 2015 the second Latin-American community in that country just after the Ecuadorians. We will address the analysis based on the Colombians newspapers El Tiempo and El Espectador and the Spanish newspapers El País and El Mundo all over the period between 1990 and 2005.
- Música en el tiempo y el silencio : narración del conflicto armado a través de la música popular - Diana Paola Castro Roa
After more than 50 years marked by conflicts and violence spread over the Colombian territory, war had direct repercussions in Colombia's countryside, but it also affected the inhabiting ways in urban centers. Inside cultural charges, which are the consequences of lifestyles affected by conflictual circumstances, Colombian popular music played a role as heritage and collective identity, as well as a reflection for this specific status. This paper discusses a selection of musical pieces, developed from 1945 to 1970, related with the internal war. This text compares and relates the artistic and musical creations with the history of armed conflict. Although violence in Colombia is a common matter in every region, colombian popular music features different perspectives and speeches of those who have lived in conflictive contexts, as in music as well as in its lyrics. Analysis of information recognises the following references : the book Contribución al entendimiento del conflicto armado en Colombia and reports of armed conflict developed by the Centro Nacional de Memoria Histórica, plus the concept of ethnomusicology as developed following Catherine Héau Lambert's theories (2005) regarding relationships and its representations through power in popular music. It is also taken as a reference about the work from Ana María Ochoa (2003) with the theory of musical hybridation in Colombia.
