Cholo aesthetics and mestizaje: architecture in El Alto, Bolivia
Cholo aesthetics and mestizaje: architecture in El Alto, Bolivia
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Cholo 美学和混血：玻利维亚埃尔阿尔托的建筑
DOI：
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发表时间：
2019
影响因子：
0.6
通讯作者：
Daniel Runnels
中科院分区：
文献类型：
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作者：
Daniel Runnels
摘要在本文中，我考虑了玻利维亚建筑师弗雷迪·马马尼·西尔维斯特和他的cholets，胡椒的视觉景观的埃尔阿尔托，玻利维亚。我认为，他的建筑代表了一种新的美学感受力，也具有政治功能。他使用鲜艳的色彩，模仿安第斯人在节日服装中对亮度的喜爱，以及在他的建筑中加入安第斯十字架等元素，使玻利维亚城市空间中的印第安人成为与土著人民关系最密切的视觉印记。这篇文章断言，马玛尼的作品代表了一种我称之为“印度化城市景观”的姿态，类似于费利佩·基斯佩的“印度化白色他人”的概念。本文分为两个部分。首先，我追溯了一些话语，构建mestizaje作为玻利维亚的占主导地位的种族范式在20世纪世纪，然后我反思马马尼的做法，以显示他如何建立在公共空间的印第安人的标志，构成了视觉打破mestizaje作为占主导地位的民族类型。
ABSTRACT In this paper, I consider Bolivian architect Freddy Mamani Silvestre and his cholets that pepper the visual landscape of El Alto, Bolivia. I argue that his buildings represent a new aesthetic sensibility that also has a political function. Elements such as his use of bright colors, which mimic the Andean affinity for brightness in festive garments, and the incorporation of the Andean cross in his buildings make a striking visual stamp of indigeneity in Bolivia’s urban space most closely associated with indigenous peoples. This article asserts that Mamani’s work represents a gesture that I call ‘Indianizing the urban landscape,’ similar to Felipe Quispe’s notion of “indianizar al q’ara” (indianizing the White other). My paper is divided into two parts. First, I trace some of the discourses that constructed mestizaje as Bolivia’s dominant racial paradigm in the 20th century, then I reflect on Mamani’s practice to show how he establishes markers of indigeneity in public spaces that constitute a visual break from mestizaje as the dominant national type.