EncArtes multimedia includes the publication of different products of ongoing research. Visual ethnographies / multimedia reports will be accepted with strong fieldwork support and use of frames of reference from the social sciences, photographic essays, documentaries, poetry, life stories and oral archives. All material will be judged in double blind.
Vol 4 No. 7 (2021)
Śiva: nothing of him vanishes, he only transforms. Visual anthropology of urban mythological art
- Arturo Gutierrez del Angel
- Greta alvarado lugo
ANDhe present essay seeks to show, through a singularity of images, how myths, in one of their many expressive ramifications, materialize in a narrative way in what we call plastic expressions of the good errant. Its minimal units operate with signifiers built on a multiplicity of objects that refer the errant to meanings linked to those beings of the universal endeavor. To demonstrate our plastic hypothesis, we will exemplify the mythological complex related to Śiva, one of the most outstanding deities of the Indian cosmogony, referring to various manifestations and presences of this god in the colorful streets of India.
San Juan Huetziatl: Popular religiosity and the cult of saints in a communal stewardship of San Miguel Canoa, Puebla
- Ana Isabel Castillo Espinosa
The following work is a photographic essay that aims to reflect on the value of the photographic record to ethnographically analyze the expressions of popular religiosity in San Miguel Canoa, Puebla, where, based on the analysis of the festive ritual of San Juan Bosco, it is seeks to contribute to the reflection of the ethnographic construction and the use of photography in anthropological research.
Vol 3 Num 6 (2020)
Where Do We Stand To Shoot Abriendo Senderos De Justicia. La Sentencia Y Comisión De Ayotzinapa?
- Margarita Zires
This text presents a review of the investigation and production of the documentary Abriendo Senderos de Justicia (Opening Paths of Justice. The Ayotzinapa Sentence and Commission). It shows the analytical perspectives and narrative approaches taken in the different stages of its creation. In this sense, it tries to show the researchers and filmmakers in the Ayotzinapa Movement’s process of subjective involvement or political and ethical commitment. Additionally, it explains the importance of an unprecedented and uplifting sentence for this movement due to its legal creativity in the field of the struggle for human rights in our country, as well as of a commission that recovers said creativity during the government of López Obrador, beyond the difficulties it has faced.
Travelling the spanish-moroccan border: a historical and visual tour. Field experiences in a border landscape
- María Isolda Perelló Carrascosa
This photographic essay intends to show some of the results of the ground research carried out within the context of a doctoral dissertation, during the months of July through September of 2014 in Ceuta, as well as Melilla and locations near the Spanish-Moroccan border. As the text shows, the maritime enclaves of Ceuta and Melilla have once had a crucial geostrategic position in the Mediterranean. Currently, its purpose as an external European border in the African continent has been reinforced with the securitization of the border region to contain the threats related to criminal activities and “undesired” trans-Mediterranean migration, although it has also ended up affecting “atypical” trade or trafficking with Morocco.
Vol 3 No. 5 (2020)
The documentary “Over The Wall / Sobre el muro”: a look at the social transformations caused by the border wall between Mexico and the United States in Tijuana
- Alberto Hernandez Hernandez
- Jhonnatan Curiel
BAsado in the documentary Over the Wall / Sobre el muro (El Colef, 2019), this text discusses some social effects from the transformations of the barriers and divisions that have demarcated the border of the states of California, the United States and Baja California, Mexico, until the construction of fences and border walls promoted by the last four US federal administrations. Based on interviews with specialists in migration and borders, residents, and an investigation of archives and documents around the wall and its effects on the Tijuana-San Diego border, this documentary captures periods of change and border reinforcement by States. States, as well as the recent situation with the arrival of new migratory flows such as the caravans of Central American migrants to Tijuana and the challenges for this border.
Altars we see, meanings we do not know: material sustenance of lived religiosity
- Anel Victoria Salas
- Renée de la Torre Castellanos
This work consists of a photographic essay on domestic altars that is accompanied by narratives of their owners and aims to address the Catholic religiosity that is practiced on a daily basis in non-ecclesial spaces. The ethnographic work (based on photographic records and interviews) focuses on the materiality of the altars (which make beliefs visible) and on the narratives that account for the symbolic meanings, appropriations and uses of Catholic images in ordinary life. of believers. We address three scenarios for assembling and practicing altars: domestic (they are generally private and individual and are found within homes); semi-private (in workplaces, such as offices, market stalls, canteens and workshops), that although they are cared for by a person, are not for exclusive use, are exposed and are sometimes the reason for practices of those who attend that place, and public (street or neighborhood), which are placed in open spaces (on a sidewalk, square or corner) and activate collective practices and are even protected by a community. We consider it to be a novel methodological proposal to approach the understanding of religious experiences and their non-ecclesial logic.
Vol 2 Num 4 (2019)
Building hope: the participatory social documentary as a research methodology in an evangelical rehabilitation center in Tijuana. Challenges and learnings
- Eduardo Yael González Tamayo
The research methodologies that generate social scientific knowledge from the collection of empirical information have diversified thanks to technological advances and transdisciplinarity; Due to this, it is important to reflect on the way in which these disciplinary intersections nurture and complicate the role of sociocultural research. This article seeks to delve into the events, analysis and learning that emerged during the creation of the participatory social documentary Hombres de Esperanza (2017) and its various exhibitions to the general public, academics and experts in visual art. In this way, it is intended to dialogue the artistic discourse with that of the social sciences from the common points that converge in the creation of an ethnographic documentary, which was made in Tijuana and deals with an evangelical rehabilitation center.
Vol 2 No 3 (2019)
Nasa Phtamnxûu. Nasa indigenous casorio
- Alejandra Muñoz Ruiz
- Mateo Leguizamón
The purpose of this document is to show the historical framework in which, on the one hand, the audiovisual product produced by Aica Colectivo on the rescue of the indigenous marriage is developed and, on the other, to trace the route of consolidation of the knowledge that is generated from the indigenous Nasa, in an exercise that allows to limit the cultural distances that today are present in the rest of the cultures of the country. This work aims to sketch the story of the Nasa Paez indigenous people, a native people of the ancestral territory of Tierradentro, Cauca-Colombia and whose mother tongue is Nasaywe, a community in constant resistance and in a struggle to forge its own history following in the footsteps of their ancestors.
To make tuba in Mexico and the Philippines. Four centuries of shared history
- Paulina Machuca
The main objective of this documentary is to show the art of making tuba in two geographically distant places, but united by history: Colima, in western Mexico and Bohol, in the Philippines. The tuba is a drink obtained from the sap of the palm tree (Cocos nucifera L.), whose technique was introduced in western Mexico in the 17th century, thanks to the Filipinos who arrived aboard the Manila Galleon. The public will be able to know, from a comparative perspective, the processes of its elaboration, its forms of consumption and commercialization, as well as its cultural importance in their respective contexts.
Vol 1 Issue 2 (2018)
The thread of memory
- Mariana Xochiquétzal Rivera García
During three months a tour of Mexico was made with the exhibition entitled Weaving with the thread of memory: stitches of dignity in the midst of war; It showed the work of a collective of Colombian weavers made up of women survivors of the armed conflict. Through weaving they have told their stories, denouncing the injustices and violence they have suffered. The exhibition was shared with groups of weavers from Mexico City, Guerrero and Chiapas; at the same time, weaving and memory workshops were given and an audiovisual exhibition was held. The thread of memory is a documentary that follows the route of the exhibition in its journey through Mexico, it reflects on the bridges that are woven between collective creation, creativity and the transforming potential of the reality that shared spaces have to tell and weave.
Chatting with the images: "it has to do with his life story"
- Roberta Simon
ANDIn this video I present the conversations of Claudio Oliveira, one of the visitors who passed through the exhibition of the students of the Visual and Image Anthropology course of the Social Sciences course at UFRGS on the sensible ways of living in the city of Porto Alegre / RS (Brazil). Claudio's images, looks and talks are mixed with the images of the exhibition. Stories, spaces and times open up circular communication for new resonances from those who see them. I invite you to chat with the images.
Vol 1 Issue 1 (2018)
Religion and immigration: The Lord of Miracles in Rome
- Veronica Roldan
The present documentary is about the devotion to the Crucified Christ, called the Lord of Miracles by the Peruvian community residing in Italy. The history of such veneration dates back to 1651 on the outskirts of the City of Kings, as Lima was called during the Viceroyalty of Peru. Today that image of Jesus Christ, originally painted by an Angolan slave, is venerated during the month of October in Peru and in all countries where there is a community of Peruvian immigrants that form the Brotherhood of the Lord of Miracles. [.. .]