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Issue 21: A Burning Song

Patricio Majano

Reading time: 10 minutes

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01.11.2021

Heritage and Memory: The Work of Mario López Vega

Curator Patricio Majano looks at the work of Mario López Vega and highlights the importance of generating a Nahua aesthetic as a form of resistance to the historical annihilation of the Indigenous peoples in El Salvador.

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Notes

  1. Carlos Felipe Osegueda Osegueda, Miguel Ángel Hernández, Charles Clayton Arévalo Coronado, Fátima Lisbet Mejía Rosales, Brian Antonio Moz Mendoza, and Georgina Lorena Soriano Aguilar, “Los derechos humanos en El Salvador: una retrospectiva analítica del etnocidio de 1932,” Entorno, no. 64 (October 2017), 57–64. Available at: https://doi.org/10.5377/entorno.v0i64.6061 (Accessed on October 5, 2021).

  2. DIGESTYC, Censo de Población y Vivienda 2007 (Población). Available at: http://www.digestyc.gob.sv/index.php/temas/des/poblacion-y-estadisticas-demograficas/censo-de-poblacion-y-vivienda/poblacion-censos.html (Accessed on October 5, 2021).

  3. Mariella Hernández Moncada, “Pueblos Indígenas de El Salvador: La visión de los invisibles,” Centroamérica Patrimonio vivo | Acer-VOS (2016), 138-157. Available at: https://www.upo.es/investiga/enredars/wpcontent/uploads/2017/03/138157.pdf (Accessed on October 5, 2021).

  4. Max Mojica, “Atlacatl el indio inexistente,” elsalvador.com, December 5, 2015. available at: https://historico.elsalvador.com/historico/172157/atlacatl-el-indio-inexistente.html (Accessed on October 5, 2021).

  5. There are some artists like María Dominga Herrera or Pedro Ángel Espinoza who, considering where they were from, might have belonged to Indigenous communities, though there are no records that prove it. I think this is partly due to the strategies of the state. Many people were afraid to reveal that they were part of these communities. It wasn’t until around the eighties that artists such as Francsico Jiménez began to openly identify themselves as Indigenous peoples.

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