Publication: "Hemos hecho estas tablas para hacer conocer a Sarhua": reelaboraciones visuales y resignificaciones identitarias en las tablas de Sarhua en Lima (Perú).
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2020
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Abstract
Este capítulo analiza las pinturas que los pobladores provenientes de la comunidad rural andina de Sarhua, Ayacucho, Perú, realizan en la ciudad de Lima desde la década de los setenta del siglo pasado. El ensayo explica cómo los pintores cambiaron la estética característica de las pinturas que se realizaban desde tiempo atrás en Sarhua y cómo adoptaron elementos visuales y narrativos del entorno urbano de Lima. Esta visualidad les permitió comunicarse de manera efectiva con el nuevo público para dar a conocer el modo de vida de Sarhua y reclamar por las injusticias sufridas. En este capítulo discuto, además, cómo la nostalgia por el pasado dio lugar a pinturas con escenas en las que la oposición entre un pasado rural ideal y un presente en contacto con la modernidad, lleno de problemas, llevó a que estas se constituyeran en un elemento importante para la reconstrucción de la identidad fragmentada de los sarhuinos en Lima. Finalmente, este estudio busca demostrar cómo las tablas de Sarhua refieren a los modos en los que las identidades diaspóricas pueden ser negociadas en un nuevo entorno cultural y cómo se expresan las complejas y activas negociaciones entre grupos subalternos y grupos de poder.
This article analyses the paintings that the people from the rural Andean community of Sarhua produce in the city of Lima since the 1970s. The paper explains how the painters changed the characteristic aesthetic of the paintings that were produced since long ago in Sarhua, and adopted visual and narrative elements from the urban environment of Lima. This new visuality allowed them to communicate effectively with the new public to make them known the way of life of Sarhua and to claim for the injustices suffered. In the article I also discuss how nostalgia for the past gave rise to paintings with scenes in which the opposition between a rural ideal past and a present in contact with modernity full of problems, constituted the paintings in important elements to reconstruct the fractured identity of Sarhuinos in Lima. Finally, in the article, I attempt to demonstrate how the Tablas de Sarhua refer to the ways in which diasporic identities can be negotiated in a new cultural environment and how they express the complex and active negotiations between subaltern groups and power groups.
This article analyses the paintings that the people from the rural Andean community of Sarhua produce in the city of Lima since the 1970s. The paper explains how the painters changed the characteristic aesthetic of the paintings that were produced since long ago in Sarhua, and adopted visual and narrative elements from the urban environment of Lima. This new visuality allowed them to communicate effectively with the new public to make them known the way of life of Sarhua and to claim for the injustices suffered. In the article I also discuss how nostalgia for the past gave rise to paintings with scenes in which the opposition between a rural ideal past and a present in contact with modernity full of problems, constituted the paintings in important elements to reconstruct the fractured identity of Sarhuinos in Lima. Finally, in the article, I attempt to demonstrate how the Tablas de Sarhua refer to the ways in which diasporic identities can be negotiated in a new cultural environment and how they express the complex and active negotiations between subaltern groups and power groups.