ABSTRACT

This special issue—‘Indigenismo on Stage: Artistic Expression and the Inter-American Indigenista Movement in the Mid-Twentieth Century’—aims to present the staging of indigenismo by analyzing its ‘indianizing’ side. The process we call ‘indianization’ consists of promoting the recognition of indigenous cultural and especially artistic ‘specificities’, as determined by the inter-American indigenismo that consolidated in Pátzcuaro, Mexico, starting with the first Inter-American Conference on Indian Life in 1940. Concretely, this special issue addresses the staging of indigenist indianization in two crucial domains: 1) ‘indigenous’ artistic expression as it was promoted by indigenismo; and 2) the abstraction/generalization of ‘indigeneity’ and ‘indigenous people’ that operationalized and successfully spread this indigenismo. These two concerns bring together the contributions to this issue (articles, a review essay, and a collective dialogue), which explicitly adopt a transnational perspective or, when they focus on specific countries, consider their indigenist connections to the rest of the Americas. Grounded on the analysis of a notable variety of objects of study (statuary, music, handicrafts, photography, engraving, and theatre), this special issue follows an itinerary that runs from the early twentieth century to the present.

摘要

本期特刊——“舞台上的本土主义：20 世纪中叶的艺术表现和美洲本土主义运动”——旨在通过分析其“印度化”的一面来展示本土主义的舞台。我们称之为“印第安化”的过程包括促进对土著文化，尤其是艺术“特性”的认可，这是由在墨西哥 Pátzcuaro 巩固的美洲土著主义所决定的，从 1940 年第一次美洲印第安人生活会议开始. 具体来说，本期特刊在两个关键领域讨论了本土主义印度化的阶段：1）本土主义推动的“本土”艺术表现；2）“本土化”和“本土人民”的抽象化/概括化，使这种本土主义得以运作并成功传播。这两个问题汇集了对这个问题的贡献（文章、评论文章和集体对话），它们明确采用跨国视角，或者，当他们关注特定国家时，考虑他们与美洲其他地区的本土主义联系。基于对各种显着研究对象（雕像、音乐、手工艺品、摄影、版画和戏剧）的分析，本期特刊遵循了从 20 世纪初到现在的行程。