Interview with Javier Molina, photographer for mágenes paceñas (1979) by Jaime Saenz. Interviewer... more Interview with Javier Molina, photographer for mágenes paceñas (1979) by Jaime Saenz. Interviewers: Tara Daly and Raquel Alfaro
In this essay we disentangle what Jaime Saenz conceives of as the “magic” of La Paz as elaborated... more In this essay we disentangle what Jaime Saenz conceives of as the “magic” of La Paz as elaborated in Imágenes paceñas. We analyze magic from three complementary angles. First, we focus on the relationship between magic and unease. This take on magic is associated in the text, in an unexplicit and tangential way, with non-Western culture; that is, the Aymara indigenous. Our second point of entry intersects the first. The version of La Paz that Saenz depicts is moved by unfamiliar cultural forces. As a consequence, it is a product of, and produces, a distinct form of inhabiting characterized by a temporality that troubles that of modernity; this, too, results in a sense of magic. Finally, in our third approach to magic, we analyze the tensions derived from the visual and written registers Saenz combines in this text. In the montage forged between text and photography, writing is employed to maintain somewhat hidden, and for that reason alive, the magical aspects of the city. And so, t...
José María Arguedas (born in Andahuaylas, Peru, in 1911; died in Lima, Peru, in 1969) was an impo... more José María Arguedas (born in Andahuaylas, Peru, in 1911; died in Lima, Peru, in 1969) was an important novelist, ethnographer, cultural advocate, and teacher. In the first two decades of the 21st century, the cultural and political depth of his work has been brought to further light through emergent research areas. Scholars now situate Arguedas’s work under the broader umbrellas of cultural and political theories. In the realm of political philosophy, Arguedas was influenced by the Marxist legacies of 1920s and 1960s Peru, and by such thinkers and activists as José Carlos Mariátegui and Hugo Blanco. Arguedas’s politics, and particularly his challenges to 1960s developmental discourse, anticipates some of the ideas behind the principle of “buen vivir / vivir bien,” a concept developed from indigenous worldviews that has been incorporated into the new Bolivian and Ecuadorian constitutions in the first decade of the 21st century. Arguedas’s insights into the possibilities of dialogue a...
Visiones de los Andes: Ensayos críticos sobre el concepto de paisaje y región (Plural, co-editors Ximena Briceño and Jorge Coronado), 2019
Entre los meses de septiembre y diciembre de 2014, varios conocidos míos desde distintas esferas ... more Entre los meses de septiembre y diciembre de 2014, varios conocidos míos desde distintas esferas académicas y no académicas de Estados Uni-dos y Sudamérica me mandaron enlaces a artículos periodísticos sobre el arquitecto boliviano-aymara, Freddy Mamani Silvestre. Fotografías de sus llamativos edificios publicadas en los periódicos del Washington Post y The Guardian y, más tarde, en la revista The New Yorker llegaron a mi buzón. Las miraba detenidamente con una mezcla de curiosidad inicial y ansiedad latente. Con curiosidad porque me pareció insólito el estilo de Mamani que combinaba colores brillantes, diseños geométricos y una simbología indígena distintivamente andina. 1 Y con ansiedad, porque me intranquilizaba la falta de contextualización social y política de los diseños arquitectónicos y, además, las comparaciones con edificios de la ciudad de Las Vegas o incluso con el escenario cinematográfico creado en la película Willy Wonka and the Chocolate Factory. 2 La representación de Bolivia en la prensa internacional suele vincularse a sus paisajes 1 Cuando digo "distintamente andina", me refiero a una simbología que hace referen-cias tanto a Tiwanaku, a los Incas y a los grupos aymara y quechua actuales. En este sentido, no se limita a la iconografía de un país, sino se refiere a una región histórica que sigue siendo relevante en el presente. 2 En un artículo que salió en el Washington Post, el periodista Nick Miroff describe: "The interiors of his buildings feature two-story ballrooms that are a spellbinding tapestry of bright paint, LED lights and playful Andean motifs: chandeliers anchored to butterfly symbols, doorways that resemble owls and candy-colored pillars that could hold up a Willy Wonka factory". **You can cite, this is published.**
Bolivian Studies Journal/Revista de Estudios Bolivianos, 2010
This paper explores the ways in which the feminist activist group Mujeres Creando’s contemporary ... more This paper explores the ways in which the feminist activist group Mujeres Creando’s contemporary urban street performances and Julieta Paredes‘ poetry catalyze discussions around intersubjective ethics in the Andes. First, I discuss subjectivity as suspended in the inextricable space between embodiment and textuality, between the physical attributes of breathing bodies and the subsequent categorization of them in language and texts. Second, I argue that Mujeres Creando's and Paredes’ emphasis on the body as a site of active resistance to social norms contributes to the creation of what Emmanuel Levinas calls a “living poetic.“ This living, embodied poetic is less about producing a frozen…
Conocer con, saber de y percibir desde el Perú amazónico: El perspectivismo amerindio en César Ca... more Conocer con, saber de y percibir desde el Perú amazónico: El perspectivismo amerindio en César Calvo y Miguel Vilca ❦ Tara Daly En las últimas dos décadas, debido a la crisis ecológica y un modelo de desarrollo insostenible al nivel global, ha surgido un interés cre-ciente en el reconocimiento y la subsiguiente crítica del antropoceno. 1 El término antropoceno plantea que el ser humano es una fuerza geológica preponderante que ha hecho un impacto irreversible en el planeta. Se refiere a una época particular del ser humano que se inició con la explotación permanente de recursos naturales y que ya ha simultáneamente empezado su propia caída dentro de la temporalidad geológica del planeta. 2 A pesar de la autopercepción del antropoceno como controlador de su entorno natural, la especie está supeditada a la continuidad del tiempo geológico para su propia sobrevivencia. Aunque el término es utilizado frecuentemente a través de varias 1 El término se originó en el campo de la geología para referirse a la época de los seres humanos, pero adquirió popularidad en 2000, presentado por Paul Crutzen y Eugene Stoermer en el boletín del Programa Internacional Geósfera-Biósfera, para referirse específicamente a la época de los seres humanos que comenzó con la Revo-lución Industrial y que continúa hasta ahora. Por incorporar la Revolución Industrial, enfatizaron que los seres humanos son una fuerza ambiental predominante que alte-rará adversamente la geología del planeta. Aunque la comunidad geológica comenzó a popularizar el término, otras comunidades académicas también lo han investigado según sus respectivas miradas (Trischler 40). 2 Señalando su fin tanto como su existencia actual, Déborah Danowski y Viveiros de Castro observan:
Interview with Javier Molina, photographer for mágenes paceñas (1979) by Jaime Saenz. Interviewer... more Interview with Javier Molina, photographer for mágenes paceñas (1979) by Jaime Saenz. Interviewers: Tara Daly and Raquel Alfaro
In this essay we disentangle what Jaime Saenz conceives of as the “magic” of La Paz as elaborated... more In this essay we disentangle what Jaime Saenz conceives of as the “magic” of La Paz as elaborated in Imágenes paceñas. We analyze magic from three complementary angles. First, we focus on the relationship between magic and unease. This take on magic is associated in the text, in an unexplicit and tangential way, with non-Western culture; that is, the Aymara indigenous. Our second point of entry intersects the first. The version of La Paz that Saenz depicts is moved by unfamiliar cultural forces. As a consequence, it is a product of, and produces, a distinct form of inhabiting characterized by a temporality that troubles that of modernity; this, too, results in a sense of magic. Finally, in our third approach to magic, we analyze the tensions derived from the visual and written registers Saenz combines in this text. In the montage forged between text and photography, writing is employed to maintain somewhat hidden, and for that reason alive, the magical aspects of the city. And so, t...
José María Arguedas (born in Andahuaylas, Peru, in 1911; died in Lima, Peru, in 1969) was an impo... more José María Arguedas (born in Andahuaylas, Peru, in 1911; died in Lima, Peru, in 1969) was an important novelist, ethnographer, cultural advocate, and teacher. In the first two decades of the 21st century, the cultural and political depth of his work has been brought to further light through emergent research areas. Scholars now situate Arguedas’s work under the broader umbrellas of cultural and political theories. In the realm of political philosophy, Arguedas was influenced by the Marxist legacies of 1920s and 1960s Peru, and by such thinkers and activists as José Carlos Mariátegui and Hugo Blanco. Arguedas’s politics, and particularly his challenges to 1960s developmental discourse, anticipates some of the ideas behind the principle of “buen vivir / vivir bien,” a concept developed from indigenous worldviews that has been incorporated into the new Bolivian and Ecuadorian constitutions in the first decade of the 21st century. Arguedas’s insights into the possibilities of dialogue a...
Visiones de los Andes: Ensayos críticos sobre el concepto de paisaje y región (Plural, co-editors Ximena Briceño and Jorge Coronado), 2019
Entre los meses de septiembre y diciembre de 2014, varios conocidos míos desde distintas esferas ... more Entre los meses de septiembre y diciembre de 2014, varios conocidos míos desde distintas esferas académicas y no académicas de Estados Uni-dos y Sudamérica me mandaron enlaces a artículos periodísticos sobre el arquitecto boliviano-aymara, Freddy Mamani Silvestre. Fotografías de sus llamativos edificios publicadas en los periódicos del Washington Post y The Guardian y, más tarde, en la revista The New Yorker llegaron a mi buzón. Las miraba detenidamente con una mezcla de curiosidad inicial y ansiedad latente. Con curiosidad porque me pareció insólito el estilo de Mamani que combinaba colores brillantes, diseños geométricos y una simbología indígena distintivamente andina. 1 Y con ansiedad, porque me intranquilizaba la falta de contextualización social y política de los diseños arquitectónicos y, además, las comparaciones con edificios de la ciudad de Las Vegas o incluso con el escenario cinematográfico creado en la película Willy Wonka and the Chocolate Factory. 2 La representación de Bolivia en la prensa internacional suele vincularse a sus paisajes 1 Cuando digo "distintamente andina", me refiero a una simbología que hace referen-cias tanto a Tiwanaku, a los Incas y a los grupos aymara y quechua actuales. En este sentido, no se limita a la iconografía de un país, sino se refiere a una región histórica que sigue siendo relevante en el presente. 2 En un artículo que salió en el Washington Post, el periodista Nick Miroff describe: "The interiors of his buildings feature two-story ballrooms that are a spellbinding tapestry of bright paint, LED lights and playful Andean motifs: chandeliers anchored to butterfly symbols, doorways that resemble owls and candy-colored pillars that could hold up a Willy Wonka factory". **You can cite, this is published.**
Bolivian Studies Journal/Revista de Estudios Bolivianos, 2010
This paper explores the ways in which the feminist activist group Mujeres Creando’s contemporary ... more This paper explores the ways in which the feminist activist group Mujeres Creando’s contemporary urban street performances and Julieta Paredes‘ poetry catalyze discussions around intersubjective ethics in the Andes. First, I discuss subjectivity as suspended in the inextricable space between embodiment and textuality, between the physical attributes of breathing bodies and the subsequent categorization of them in language and texts. Second, I argue that Mujeres Creando's and Paredes’ emphasis on the body as a site of active resistance to social norms contributes to the creation of what Emmanuel Levinas calls a “living poetic.“ This living, embodied poetic is less about producing a frozen…
Conocer con, saber de y percibir desde el Perú amazónico: El perspectivismo amerindio en César Ca... more Conocer con, saber de y percibir desde el Perú amazónico: El perspectivismo amerindio en César Calvo y Miguel Vilca ❦ Tara Daly En las últimas dos décadas, debido a la crisis ecológica y un modelo de desarrollo insostenible al nivel global, ha surgido un interés cre-ciente en el reconocimiento y la subsiguiente crítica del antropoceno. 1 El término antropoceno plantea que el ser humano es una fuerza geológica preponderante que ha hecho un impacto irreversible en el planeta. Se refiere a una época particular del ser humano que se inició con la explotación permanente de recursos naturales y que ya ha simultáneamente empezado su propia caída dentro de la temporalidad geológica del planeta. 2 A pesar de la autopercepción del antropoceno como controlador de su entorno natural, la especie está supeditada a la continuidad del tiempo geológico para su propia sobrevivencia. Aunque el término es utilizado frecuentemente a través de varias 1 El término se originó en el campo de la geología para referirse a la época de los seres humanos, pero adquirió popularidad en 2000, presentado por Paul Crutzen y Eugene Stoermer en el boletín del Programa Internacional Geósfera-Biósfera, para referirse específicamente a la época de los seres humanos que comenzó con la Revo-lución Industrial y que continúa hasta ahora. Por incorporar la Revolución Industrial, enfatizaron que los seres humanos son una fuerza ambiental predominante que alte-rará adversamente la geología del planeta. Aunque la comunidad geológica comenzó a popularizar el término, otras comunidades académicas también lo han investigado según sus respectivas miradas (Trischler 40). 2 Señalando su fin tanto como su existencia actual, Déborah Danowski y Viveiros de Castro observan:
Beyond Human offers an innovative contribution to the understanding of the avant-garde and its le... more Beyond Human offers an innovative contribution to the understanding of the avant-garde and its legacy in the Andean region. With an approach that combines political philosophy and ecocriticism with current debates about the " 'new materialism, " Tara Daly proposes a pluralistic view of avant-garde Andean arts, and argues that their uniqueness within the broad panorama of twentieth-century Vanguardisms centers on their reorientations of the multiple relationships among humans and the natural world, partly inspired by the indigenous cultures of the Americas. Cutting through the mainly sociopolitical readings that have traditionally been applied to the Andean avant-garde, Daly argues compellingly that these artistic movements are best understood in terms of a 'vitalistic materialism' that sought to establish a uniquely Andean middle way between capitalist commodification and Marxist utopianism. " —Aníbal González, Yale University In the Andes, indigenous knowledge systems based on the relationships between different beings, both earthly and heavenly, animal and plant, have been central to the organization of knowledge since precolonial times. The legacies of colonialism and the continuance of indigenous cultures makes the Andes a unique place from which to think about art and social change as ongoing, and as encompassing more than an exclusively human perspective. Beyond Human revises established readings of the avant-gardes in Peru and Bolivia as humanizing and historical. By presenting fresh readings of canonical authors like César Vallejo, José María Arguedas, and Magda Portal and through analysis of newer artist-activists like Julieta Paredes, Mujeres Creando Comunidad, and Alejandra Dorado, Daly argues instead that the avant-gardes complicates questions of agency and contributes to theoretical discussions on vital materialisms: the idea that life happens between animate and inanimate beings—human and non-human—and is made sensible through art.
With contributions by Sara Castro-Klarén, Horacio Legrás, Zairong Xiang, Antonia Carcelén-Estrada, Arturo Arias, Javier Sanjinés C., Tara Daly, Juan G. Ramos, Gustavo Verdesio, Elizabeth Monasterios, Laura J. Beard, and Mabel Moraña.
This book engages and problematizes concepts such as "decolonial" and "coloniality" to question methodologies in literary and cultural scholarship. While the eleven contributions produce diverse approaches to literary and cultural texts ranging from Pre-Columbian to contemporary works, there is a collective questioning of the very idea of "Latin America," what "Latin American" contains or leaves out, and the various practices and locations constituting Latinamericanism. This transdisciplinary study aims to open an evolving corpus of decolonial scholarship, providing a unique entry point into the literature and material culture produced from precolonial to contemporary times.
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Papers by Tara Daly
With contributions by Sara Castro-Klarén, Horacio Legrás, Zairong Xiang, Antonia Carcelén-Estrada, Arturo Arias, Javier Sanjinés C., Tara Daly, Juan G. Ramos, Gustavo Verdesio, Elizabeth Monasterios, Laura J. Beard, and Mabel Moraña.
This book engages and problematizes concepts such as "decolonial" and "coloniality" to question methodologies in literary and cultural scholarship. While the eleven contributions produce diverse approaches to literary and cultural texts ranging from Pre-Columbian to contemporary works, there is a collective questioning of the very idea of "Latin America," what "Latin American" contains or leaves out, and the various practices and locations constituting Latinamericanism. This transdisciplinary study aims to open an evolving corpus of decolonial scholarship, providing a unique entry point into the literature and material culture produced from precolonial to contemporary times.