Performing the jumbled city

Front matter

MANCHESTER. 1824

Manchester University Press

ANTHROPOLOGY, CREATIVE PRACTICE AND ETHNOGRAPHY (ACE)

Part II Interventions: Champurria poetics

(Dance) Steps to return your side: Mapuche migration and joy — Martin Llancaman

Memory and pain: Santiago Waria, Pueblo Grande de Wigka — Rodrigo Huenchún Pardo

142 180 184

192 226

Contents

Voices Beneath the Concrete / Miñche kura pülli ni awkin: An Imaginary for Urban Mapuche Jewellery / Warian Rütran — Cynthia Niko Salgado Silva

8 A minimal cartography for a place of impossible memory: An ephemeral Indian stain on privileged areas of Santiago — Claudio Alvarado Lincopi

9 The Indian5 head — Antil 10 La Indiá: The right to imagine Mapuche Pop — Puelpan

Epilogue Niitxam / A conversation — Olivia Casagrande, Claudio Alvarado Lincopi, Roberto Cayuqueo Martínez

Afterword — Claudio Alvarado Lincopi

Mapurbe glossary References

УШ

274 286 296

308 320

326 334 345

Figures

“Marriage of an Italian to two Mapuche”, postcard commissioned by Carlos Brandt, end of nineteenth century. Photographer unknown

Restaging of the photograph ‘Marriage of an Italian to

two Mapuche'. December 2018. Ph. O Nicola Mazzuia Audio-guides and maps distribution for the play Santíago Waria. December 2018. Ph. O Nicola Mazzuia

Quinta Normal. Graphic elaboration from Google Earth. O Nicola Mazzuia

Photographic restaging of Munizaga' pictures. Quinta Normal Workshop. July 2018. Ph. O Olivia Casagrande Mapuche couple, 1960. Reproduced in Munizaga 1961, Sheet III. Courtesy of the Revista Chilena de Antropología Mapuche couple. Photographic restaging of Munizaga’s pictures. Quinta Normal Workshop. July 2018. Ph.

© Olivia Casagrande

Two Mapuche men talking, 1960. Reproduced in Munizaga 1961, Sheet III. Courtesy of the Revista Chilena de Antorpología

Two Mapuche men talking. Photographic restaging of Munizaga' pictures. Quinta Normal Workshop. July 2018. Ph. O Olivia Casagrande

El Jardín art installation by Colectivo MapsUrbe

MapsUrbe exhibition. December 2018. Ph. O Nicola Mazzuia

El Jardin art installation by Colectivo MapsUrbe detail. MapsUrbe exhibition. December 2018. Ph. © Nicola Mazzuia

El Jardin art installation by Colectivo MapsUrbe detail. Graphic elaboration. © Nicola Mazzuia

Araucaria Tree. Graphic elaboration. © Nicola Mazzuia Two Mapuche men talking. Photographic restaging of Munizaga’s pictures. Graphic elaboration. © Nicola Mazzuia Two Mapuche men talking. Photographic restaging of Munizaga’s pictures. Graphic elaboration. © Nicola Mazzuia Collage work from the photographic series Mapocho

by Nicola Mazzuia. © Colectivo MapsUrbe. The writings translate as ‘Pedro is falling down’ and ‘where are we?’

58-59

67 70

I9

27 28

33 34

Figures

Plaza de Armas. Graphic elaboration from Google Earth.

O Nicola Mazzuia 97 Plaza de Armas’ scale model. Museo Histórico Nacional.

Courtesy of the Museo Histórico Nacional IOI Illustration La ciudad de Santiago de Chile” (the city of

Santiago de Chile) from Nueva Crónica y Buen Gobierno

Felipe Guaman Poma de Ayala, 1600. Cultural Commons. 103 Intervention around Pedro de Valdivia statue. Plaza de Armas Workshop. March 2018. Ph. O Roberto Cayuqueo Martínez 106 Intervention around Pedro de Valdivia statue, detail. Plaza de

Armas Workshop. March 2018. Ph. O Roberto Cayuqueo

Martínez 106 Performance with Pedro de Valdivia statue by Dania

Quezada Vidal, under the horse. Plaza de Armas Workshop.

March 2018. Ph. O Roberto Cayuqueo Martínez 110—111 Performance with Pedro de Valdivia statue by Dania Quezada

Vidal, in front of the cathedral. Plaza de Armas Workshop.

March 2018. Ph. O Roberto Cayuqueo Martínez 110-11 Performance with Pedro de Valdivia statue by Dania

Quezada Vidal, pulling away from Pedro de Valdivia.

Plaza de Armas Workshop. March 2018. Ph. O Roberto

Cayuqueo Martínez 115 Performance with Pedro de Valdivia statue by Dania

Quezada Vidal, the scribbled mask. Plaza de Armas Workshop.

March 2018. Ph. O Roberto Cayuqueo Martínez 115 Supported palm tree in Plaza de Armas. Graphic elaboration.

O Nicola Mazzuia 117 The rescued “head of Leftraru”. Ph. O Martín Llancaman 119

Intervention around the Monumento a los pueblos indígenas by Enrique Villalobos. Graphic elaboration. © Nicola Mazzuia 121 Pedro de Valdivia equestrian statue. Plaza de Armas. Graphic elaboration O Nicola Mazzuia 127 Collage work from the photographic series Mapocho

by Nicola Mazzuia. O Colectivo MapsUrbe 135 Plaza Inés de Suarez, Providencia. Graphic elaboration from

Google Earth. O Nicola Mazzuia 143

A map of Mapuche women's trajectories in upper-class

sectors, Providencia. Graphic elaboration from Google

Maps. O Nicola Mazzuia 147 Apron. Ph. O Olivia Casagrande 150 5... es como de la familia’, art installation by Colectivo

MapsUrbe. MapsUrbe exhibition. December 2018. Ph.

© Nicola Mazzuia 155

38 39 40 41 42 43

46 47 48 49 50 51

$2

Figures

Intervention in upper-class sectors. Providencia Workshop. July and October 2018. Ph. © Colectivo MapsUrbe Intervention in upper-class sectors. Graphic elaboration. © Nicola Mazzuia

Writing with chalk. Intervention in upper-class sectors. Providencia Workshop. October 2018. Ph. © Colectivo MapsUrbe

Erasure. Intervention in upper-class sectors. Providencia Workshop. October 2018. Ph. © Colectivo MapsUrbe Apron. Graphic elaboration. © Nicola Mazzuia Comandante Boliviano. Portrait. Ph. © Antil

Comandante Boliviano. Portrait. Ph. © Antil

Comandante Boliviano. Portrait. Ph. © Antil

Collage work from the photographic series Mapocho

by Nicola Mazzuia. © Colectivo MapsUrbe. The writing translates as ‘we will win’

Santa Lucia / Welen Hill. Graphic elaboration from Google Earth. © Nicola Mazzuia

View of Santiago city centre from the Santa Lucia / Welen Hill. Vicuña Mackenna is at the centre of the picture. Álbum del Santa Lucía, 1974. Cultural Commons. Santa Lucía / Welen Hill. Caupolicán statue. Ph. O Nicola Mazzuia

Map of the site-specific theatre play Santiago Waria. Graphic elaboration. © Nicola Mazzuia

Caupolican statue. Graphic elaboration. © Nicola Mazzuia Caupolican statue. Graphic elaboration. © Nicola Mazzuia Comandante Boliviano. Portrait. Graphic elaboration.

© Nicola Mazzuia

Comandante Boliviano. Portrait. Graphic elaboration.

© Nicola Mazzuia

David Aninir Guiltraro performance. Graphic elaboration. © Nicola Mazzuia

Quinta Normal Extension document. From Breve reseña sobre la Quinta Normal de Agricultura 1901, by René

E Le Feuvre. Chilean National Library Collection. Cultural Commons

View of the Quinta Normal Park. From Breve reseña sobre la Quinta Normal de Agricultura 1901, by René E Le Feuvre. Chilean National Library Collection. Cultural Commons Mapuche couple, 1960. Reproduced in Munizaga 1961, Sheet III. Courtesy of the Revista Chilena de Antropología xi

195 195 205 209 215 218

$8

Figures

Mapuche couple, Quinta Normal. Santiago Waria.

December 2018. Ph. O Nicola Mazzuia

Final scene, Santa Lucía / Welen Hill. Santiago Waria. December 2018. Ph. O Nicola Mazzuia

Sonidos bajo el cemento, joyería Mapuche urbana. Miñche kura pülli ñi awkin, Warian Rütran. Art installation by Cynthia

Niko Salgado Silva. MapsUrbe exhibition. December 2018. Ph. O Nicola Mazzuia

Sonidos bajo el cemento, joyería Mapuche urbana. Minche kura pülli ñi awkin, Warian Rütran. Art installation by Cynthia Niko Salgado Silva, detail. MapsUrbe exhibition. December 2018. Ph. O Nicola Mazzuia

Sonidos bajo el cemento, joyería Mapuche urbana. Miñche kura pülli ni awkin, Warian Rütran. Art installation by Cynthia Niko Salgado Silva, detail. MapsUrbe exhibition. December 2018. Ph. © Nicola Mazzuia

A map of Mapuche women?’ trajectories in upper-class sectors, Providencia. Graphic elaboration from Google Maps. © Colectivo MapsUrbe

Intervention in upper-class sectors. Providencia Workshop. July and October 2018. Ph. © Colectivo MapsUrbe Intervention in upper-class sectors. Providencia Workshop. July and October 2018. Ph. © Colectivo MapsUrbe Monumento a los pueblos indígenas by Enrique Villalobos.

Plaza de Armas. Ph. O Nicola Mazzuia

Cabeza de Indio, art installation by Antil, detail. MapsUrbe exhibition. December 2018. Ph. O Nicola Mazzuia Cabeza de Indio, art installation by Antil, detail. MapsUrbe exhibition. December 2018. Ph. O Nicola Mazzuia Cabeza de Indio, art installation by Antil, detail. MapsUrbe exhibition. December 2018. Ph. O Nicola Mazzuia Cabeza de Indio, art installation by Antil, detail. MapsUrbe exhibition. December 2018. Ph. O Nicola Mazzuia Cabeza de Indio, art installation by Antil, detail. MapsUrbe exhibition. December 2018. Ph. O Nicola Mazzuia Cabeza de Indio, art installation by Antil, detail. MapsUrbe Exhibition. Decemeber 2018. Ph. O Nicola Mazzuia

La Indiá, video installation by Puelpan, detail. MapsUrbe exhibition. December 2018. Ph. O Nicola Mazzuia

La Indiá, video installation by Puelpan, detail. MapsUrbe exhibition. December 2018. Ph. O Nicola Mazzuia xii

Contributors

Editors

Olivia Casagrande is an anthropologist and Research Associate at the University of Sheffield. She was previously a Marie Sklodowska-Curie Fellow at the University of Manchester.

Claudio Alvarado Lincopi is a historian and PhD student in Urban Studies at the Pontificia Universidad Católica de Chile, and an Associate Researcher at the Centro de Estudios Interculturales e Indígenas (CIIR).

Roberto Cayuqueo Martínez is a theatre director, writer and performer.

Authors

Antil is an artist and documentary filmmaker. He holds a degree in Art and Aesthetics from the Pontificia Universidad Católica de Chile. He has participated in several exhibitions and currently works as an audiovisual producer for the Municipality of Pudahuel, Santiago.

Rodrigo Huenchün Pardo is a secondary school history teacher with a degree in History from the Universidad de Chile, as well as student and teacher of Mapuzugun.

Martín Llancaman is a philosopher and PhD student in Philosophy at the Universidad de Chile. He is a researcher at the Centro de Estudios Culturales e Indígenas (CIIR).

Puelpan, stage name for Danae Morales, is a singer and songwriter, and a metalsmith. She holds a degree in Education and Music Pedagogy from the Universidad Metropolitana de Ciencias de la Educación (UMCE).

Cynthia Niko Salgado Silva is an experimental designer of corporal and spatial territories. She holds a degree in Environmental Design (Universidad Mayor) and a diploma in Lighting Design from the Pontificia Universidad Católica de Chile.

хш

Contributors

Claudio Alvarado Lincopi, Antil, Marcela Bascuñán Madrid, Olivia Casagrande, Roberto Cayuqueo Martínez, Nicolas Cayuqueo Ríos, Rodrigo Huenchún Pardo, Martín Llancaman, Simona Mayo Gozalez, Tomás Melivilà Díaz, Puelpan, Dania Quezada Vidal, Cynthia Niko Salgado Silva, Danitza Segura

With contributions from Daniela Millaleo, David Aniñir Guiltraro, Enrique Antileo Baeza This work was supported by funding from the European Union Horizon

2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement MAPSUR BE n°707537.

xiv

Prologue

Enrique Antileo Baeza

MapsUrbe captivated me the first time I had the opportunity to look at their work. A heterogeneous Collective mounting an exhibition in the Quinta Normal to address Mapuche trajectories in the city of Santiago through sound, visual materials and montages, their work moved the spectator, connecting with their own experience, or those of their mothers, fathers and elders. То me, MapsUrbe’s work defied definition but in a good way. It was art with archival work. It was an aesthetic proposal coupled or perhaps entangled with political dialogue, with the clear intention of shaking (us) up.

This work makes up a mosaic that goes beyond the book you have in your hands. It is a journey through the individual experiences of what we could call mapuchidad santiaguina and 1s interwoven with a critical dialogue on the history and the future of Mapuche migrants to the metropolitan capital, once a colonial city and then a capitalist and segregated one. In this dialogical impulse, the geographical disintegration of the Mapuche people in the most populated region of the country is reviewed. It is cartography, not only of the position of landmarks or places on a map, but also an emotional geography and a spatio-temporal connection with lived experiences.

In that mapping, places and territories were discovered that were flooded with meanings from the Mapuche perspective. Some of these spaces probably mean nothing to the Chilean people, though some other may have a shared significance. All are points on the Mapuche Urban Map that acquired importance over the course of their lives. Most of this invisible geography is constituted from the Mapuche post-reservation diasporic process; that is, after the exodus produced by the Chilean military colonisation and the subsequent usurpation of land by large settler-landowners. The rest comes from long ago and is interwoven with resignifications of the present.

Among the sites which still resonate in my memory after viewing MapsUrbe’s work is the Welen Hill. As the peak from which the Spanish colonisers symbolised the image of the territory they were to conquer, several centuries later it became a central point of Mapuche resistance in Santiago during their mobilisations. Hundreds of Mapuche climbed that hill on foot to repudiate centuries of massacres. Another example is the Quinta Normal Park, a construction for urban leisure that was silently occupied by Mapuche for almost the entire twentieth century as a place for meeting fellow countrymen and countrywomen. A large part of the migrant Mapuche community was articulated there. As a watercourse that organised the ancient lof of this mapu and that today reminds us of segregation and racism, the Mapocho River was also an icon of this work, as was Cerro Navia, a municipality where hundreds of Mapuche families have been living since the time of the land seizures; families who have cast aside the veil of invisibility and made their presence felt between ruka and ngillatuwe. Especially xvii

Prologue noteworthy was the work MapsUrbe did in mapping the upper-class residences where so many Mapuche women worked as domestic servants. These were mainly areas of the elite: territories where, on 25 October 2020, the privileges conferred to them by the tyrant’s constitution were defended tooth and nail. In those “little houses in the upper quarter”, as Víctor Jara sang, many Mapuche stories circulated, which MapsUrbe somehow tries to recall.

This book, born of an initial impulse coordinated by Olivia Casagrande, is also a powerful experimental methodological exercise. Colectivo MapsUrbe, whose names are listed throughout the book, succeeds in bringing a collaborative perspective to their work. This time, the extractivismo typical of the insensitive academicism is left behind, and critical energy is positioned and managed to transform an investigation into creation. What you will see in the book and hear in the audios 1s the result of a sort of reflexive ethnography, very engaged and mixed (champurreada) with photography, music, cartography, theatrical work, and acts of walking or traversing. It is a complex mosaic that leaves us speechless, wondering, and inevitably sensing. Feeling.

The performative power of this project and this book is undoubtedly a fundamental element that permeates all of its materials and representations. 'The Collective managed to develop interventions, reconstructions of images from the 1960s, theatrical experiments in the site-specific mode, and alterations in the geographical imaginary of the eastern metropolitan uptown that is Chile’s own Upper East Side, as well as videos and remarkable pop creations. Once again, the stimuli generated by the creative power of all the people who make up the group set this particular ethnographic work on a different and counter-hegemonic path in terms of methodological practices.

It is difficult to locate the heart of the project, or rather, a single heart. MapsUrbe is a network of heartbeats that addresses the Mapuche migrant and diasporic question from different fronts. In this line, and to conclude, I would like to highlight the engagement with the history and emotional memory of Mapuche experiences that resonate in the present and connect us with our kinsfolk. All the works in the book are tinged with this memory. On the other hand, this initiative takes aim at the notion of a static and folklorised Mapuche identity. The Collective, by tensing the ‘imaginary of the Mapuche’ defended by a broad spectrum of subjects and institutions, disputes it without denying it, rather expanding it. It positions itself from an ontologically open possibility of being Mapuche, where otherness, shaped by being a diverse people, is not a face and a stamp. There, the champurria emerges as a vindication of our being more than a list of attributes or an expectation. There, it upholds the fact that life in the diaspora is also part of the history of our people.

xviil

Acknowledgements

Where to begin?

Many people contributed to the writing of this book, to the research project from which it stems, and to our thinking, concerns and creativities elaborated during the last few years. We firmly believe that knowledge is constructed collectively, both from an intellectual and an affective point of view. This book would not have been written or dreamed of without the support, love, questions, critiques and conversations of many. We do our best to thank you all.

To the editorial team at Manchester University Press, and in particular Thomas Dark, for your patience and for believing in this book ‘beyond text’. To the colleagues at the Social Anthropology Department, The University of Manchester, and at the Instituto de Estudios Urbanos y Territoriales, Pontificia Universidad Católica de Santiago, Chile: Andrew Irving, Peter Wade, Penny Harvey and Constance Smith and Jonathan Barton. Your comments and advice on the research process and on the first drafts of sections of this manuscript proved fundamental. Andrew Irving, for your patient and creative mentoring, for believing in this project from its start and encouraging experimentation and even venture.

While all the translations from Spanish and Mapzugun are our responsibility as the book editors, thank you to Brian O'Sullivan, who provided advice on the translation from Spanish into English, and found some perfectly fitting solutions for many Chilean modismos and jargon. Thank you to Nicola Mazzuia, who gifted us with beautiful images and graphics (and did not mind us playing with them!).

A heartfelt thank you to all the persons and institutions who supported the MapsUrbe project, providing space, logistics, advice, and technical support: Kvme Felen, Centro Ceremonial Mapuche de Cerro Navia, Juan Sandoval (Beatmachinne), Damarie Contreras, Centro de Extensión Balmaceda Arte Joven, Teatro al Puente, Museo Histórico Nacional, Centro de Estudios Interculturales e Indígenas (CUR), Hogar Mapuche Relmulikan, Instituto de Arte, Cultura, Ciencia y Tecnologia Indígena de Santiago, Municipalidad de Santiago. Thank you to the institutions that hosted the research: The University of Manchester, UK; Instituto de Estudios Urbanos, Universidad Católica de Chile; and the project's funders: European Union's Horizon 2020 Research and Innovation programme under the Marie Sklodowska-Curie Scheme. Special thanks to CIIR, for their financial contribution to the production of the play Santiago Waria; to the University of Sheffield, for funding support for the full-color printing of this book.

Our thanking extends far beyond the actual writing of this book. It goes as far as to persons who first made the connection between Olivia, Claudio, and Roberto: the Railaf Zuñiga family in the Netherlands, and especially Rosa and Rafael, Rosario, Rafael Jr, Maria, and Danny; the Pilquil Lizama family in Chile, and especially Elizabeth, Monica, Carlos, and Juan Carlos хх1

Acknowledgements

Chávez-Floor Pilquil, all part of the strenuous Mapuche resistance to the civil-military dictatorship of Augusto Pinochet Ugarte. Your trajectories of loss, exile, and endurance eventually contributed to yet another creative and political process, encounter, sharing of life and laughter. Thank you.

To the wenuy, peni and lamgen who critically and affectively supported the process: Enrique Antileo Baeza, Cristian Vargas Paillahueque, Emmanuel Giannotti, Fernando Pairicán, Margarita Caripán, Norma Hueche, Daniela Catrileo, Eric Mayo, María Guilitraro, Simon Aniñir, Floriano Cariqueo Colpihuque, Raúl Molina, Nicola Mazzuia, Viola Castellano and Letizia Bonanno. For your support, presence, attentiveness and care: thank you. For lending us your voices, a very special thank you to Catalina Osorio, Daniela Millaleo, Elsa Quinchaleo and Floriano Cariqueo Colpihueque.

David Aniñir Guiltraro, and your beautiful, furious and tender poetry, for inspiring this work and our lives, thank you” will fall short.

To our families: those from which we came; those which we formed ourselves. For your patience, waiting, joyful expectations and loving presence.

To the authors of this book, companions on this long journey, and to all the members of Colectivo MapsUrbe past and present. We will always be owing to you. Chaltumay pu lamgen.

Manchester/Santiago, 21 October 2021 The editors:

Olivia Casagrande

Claudio Alvarado Lincopi

Roberto Cayuqueo Martínez

NOTE

This book draws on some material that previously appeared in: Casagrande, O. and Cayuqueo Martínez, R. 2019. Performing the Indigenous City: Collaborative Ethnography, Site Specific Performance and Political Imagination in Santiago, Chile. Entanglements 2 (1): 173-187; Casagrande, O. 2021. Toward a tuwün wariache? Place-making and current acts of traversing in the Mapuche city. Journal of the Royal Anthropological Institute, 27: 949—975; Casagrande, O. and Alvarado Lincopi, C. 2022. For subversive political aesthetics: Mestizo performances challenging monuments of whiteness in Santiago's urban space. Darkmatter. Available at: https://darkmatter-hub. pubpub.org/pub/vscvs7n1.

xxii

Introduction: Ethnographic scenario, emplaced imaginations and a political aesthetic

Olivia Casagrande

In October 2019, Santiago was shaken by protests. After the first weeks of what has been called a ‘social uprising’ (estallido social), one image became iconic: in the middle of the main square in the city centre and against a background of a yellow-orange sky lit by fires and the sunset, someone standing on top of the statue of General Baquedano raises the Wenufoye, the Mapuche flag that had become highly symbolic during the protests. A few days later, in different cities across the south of the country (the historical indigenous territory before it was occupied by the Chilean army at the end of the 1800s), protestors began targeting colonial monuments. Symbols of Spanish rule and the Chilean republic were destroyed or replaced and some of them were significantly rearranged, such as the head of the statue of the military aviator Dagoberto Godoy hung in the hands of the Mapuche cacique Caupolicán. In this challenge to the established narratives and icons in the context of a broader struggle against inequality! the colonial past returns to haunt the present. In the ‘durability’ of what Ann Stoler calls the colonial presence’ (2016: 3), it is a history that ‘still matters today’ pointing to both the continuum between coloniality and the neoliberal present, and to the endless reproduction of social and economic violence, as well as their consequential forms of suffering.

Almost one year after these events, similar actions of protest began targeting monuments and urban landmarks in many other cities across the world, especially in the USA and the UK. The socio-political landscapes of (post) colonial cities have been questioned and disrupted through interventions in the materiality of urban space, putting forward alternative inconographies and imaginations. Colonised bodies and subjects have entered the public debate in the contexts of the COVID-19 crisis and the protests following the murder of the African American George Floyd by the police in Minneapolis. During the months of these mobilisations, Mapuche activists joined the outcry against racialisation processes, not only in solidarity but also in claiming the struggle as their own. The parallel is certainly complex, and the specificity of these different contexts needs to be taken into account — especially considering the Chilean ‘neoliberal experiment’ pursued through the terror of the civil-military dictatorship, and how this shaped the country’s disparities (see Harvey 2005; Klein 2007; Han 2012). Nonetheless, this opens up a reflection on how socio-racial inequalities, as well as the links between the city’s materialities and the lived experiences of its inhabitants, are particularly meaningful today. As such, they need to be addressed both locally and in their broader links and relevance. Beyond their specificities in terms of geographical contexts and histories, contemporary political claims are made over bodies and lives that are considered and treated as

1 Pedro Cayuqueo interviewed in the Guardian: Conquistadors tumble as indigenous Chileans tear down statues, 5 November 2019.

‘peripheral’, something sadly occurring in urban realities both at the ‘centre’ and at the ‘periphery’ of the contemporary capitalist global world.”

The disruptions and re-imaginations of the material and social spaces of (post)colonial cities are the concerns of this book. Stemming from collaborative and practice-based research with young indigenous artists, intellectuals and activists, this volume addresses the Mapuche diaspora and its engagement with urban space in Santiago: 1t is a look into the city, 1ts times and spaces, and the multiple ways of walking through it. In the words of AbdouMaliq Simone, it is a collective meditation on the particular ways in which ‘bodies, things and spaces — and the relations among them — mutually compose themselves’ (2016: 5, my emphasis). As complex entanglements of uncertainties and imaginations, urban settings provide opportunities as well as taking away abilities and desires; generating loss and opening up different possibilities for life at the same time (Simone 2016: 12-13). Only apparently contradictory, there 1s a sense of dis- and re-connection in this dynamic: a ‘holding together’ through the simultaneous undoing and remaking of life (Simone 2016: 6).

Resulting from a multimodal ethnography within the project MapsUrbe — The Invisible City: Mapuche mapping of Santiago’, this edited collection is a construction of texts, images, sounds and performance built around the main outcomes of the research process: an artistic exhibition and a site-specific theatre play, Santiago Waria: Pueblo Grande de Wigka (The city of Santiago: The big town of the whites). Conceived as a collaborative project, MapsUrbe was first meant to address the Mapuche diaspora in Santiago through collective mapping methodologies, walking interviews, and digital storytelling. It aimed to focus on indigenous urban spatialities, exploring issues of displacement and the absent presence of the homeland in southern Chile. However, the ongoing dialogue with Claudio Alvarado Lincopi and Roberto Cayuqueo Martinez, co-coordinators of the project and co-editors of this book, and with the project participants, brought about a change in the direction of site-specific methods, art, and performance." The collaborative — and hence

2 See article by Ida Danewid on how the ‘making’ of global cities has typically gone hand in hand with racialised forms of displacement, dispossession, and police violence (2020). The Mapuche word Wigka means non-Mapuche or white. It usually has a pejorative connotation o and is used to refer to land usurpation and robbery. The play title is a quote from the 1987 documentary Santiago: pueblo grande de Huincas by the anthropologist Rony Goldschmied with the support of Sonia Montecino (available at: https://vimeo.com/25837134), some of whose materials are used in the performance. Both the art exhibition and the play took place in Santiago between December 2018 and January 2019.

4 Claudio and Roberto were appointed as “research assistants' at the beginning of the project, and we collaborated closely on bringing it about, designing every step together up to the final outputs. While I was the project director and undoubtedly had the responsibility of overall management, we adopted a sort of “flexible leadership” in relation to different phases of the project; Roberto directed the final performance and appointed me as director' assistant, and Claudio was in charge of many of the workshops we organised.

open — nature of the research and the ability and wholehearted commitment of the participants to creatively intervene in it, as well as my own willingness to rethink methodologies and forms of representation, allowed the project to be transformed into a much more complex and richer collective space, as we will see in what follows. The sort of ‘open laboratory’ that MapsUrbe represented during the two years I spent in Chile (of which roughly eighteen months were more intensively dedicated to the project) became a shared space for exchanging thoughts, analysis, and experimental creation. Issues of migration, displacement, race, and colonial continuities were addressed through collaborative practices encompassing ethnography, art, and performance. On-site workshops and artistic production — but also walking and improvising — were the main ways in which the city’s materialities were engaged in order to defy the invisibility of the collective history and individual stories of indigenous migrants in the (post)colonial city.

Elaborating on this creative process, both the final art exhibition and play (as well as this volume) engage with the subversive imaginations of collective art practices disrupting dominant narratives embedded in the urban landscape. They thus challenge the silence around colonial continuities that shape the social and material spatialities of the Chilean capital. Instead, what this book is suggesting is a political aesthetic defined by the Mapuche concept of champurria (‘mixed up’); this concept, which originally referred to racial mixture in a pejorative way, has recently been appropriated by Mapuche living in urban contexts and constantly negotiating between different identities and senses of belonging, and, often coming from mixed families, claiming their own mestizaje or miscegenation as something creative, heterogeneous, yet still entirely indigenous, as will be discussed further in this introduction. What we refer to as a “champurria political aesthetic’ is understood as the gestures through which people construct themselves and their everyday landscapes, shaped by specific social and personal identities (related to issues of gender, age, and skin colour). They are, however, simultaneously capable of reaching beyond the social and material contexts in which they are grounded. At the same time, Champurria aesthetic and politics affected and configured our shared practices of knowledge production in their being collective, frictional and varied.

As such, this book engages with ‘corporeal epistemologies’ as forms of experiential and imaginative knowledge arising from putting the body in place and on stage, encompassing both performance and ethnography (Kondo 2018). Moving from emplaced and embodied creative practices, it interrogates the relationship between race, aesthetics, and politics, encompassing issues of indigeneity, urban migration, and the materiality of the (post)colonial city. Central to the book are the forms and meanings developed in the art exhibition and especially in the play Santiago Waria. These constitute shared ethnographic representations that aim to give space to the ‘plural ethnography’

experienced during fieldwork as shaped by the multiplicity and intersection of gazes and voices. Taking collaborative methods a step further and engaging in (without claiming to resolve) the decolonisation of methodology (Smith 2012), this plurality meant working towards openness within the project leading to it being re-appropriated by the research participants. For me, as an anthropologist, it also meant putting into question my own disciplinary assumptions and personal and professional self or, paraphrasing the ethnographer and philosopher Ernesto de Martino, deliberately exposing myself to the outrage of my own most cherished memories (Martino 2002). By doing so, this volume addresses the ways in which anthropological knowledge is built and shared, and the epistemological possibilities arising from collaborative methodologies where ethnography, performance, and the urban space intersect.

ANTROPOFÁGIAS: SETTING THE SCENARIO

Diana Taylor defines scenarios as 'sets of possibilities, ways of conceiving conflict, crisis or resolution, structures of understanding”. Scenarios are multifaceted systems; their formulaic structure predisposes certain outcomes while allowing for reversal and change. They are not reducible to narrative because they demand embodiment: the body is inserted into a specific frame, in which it nevertheless has a space to manoeuvre because is not entirely scripted. The social actor and her role are thus both simultaneously in view, alongside their uneasy fits and areas of tension (2003: 28-63). In outlining the particular scenario in which the project took place, I want to address the artwork Antropofágias (Anthropophagies), created by Claudio Alvarado Lincopi, Roberto Cayuqueo Martínez and myself that was part of the MapsUrbe final exhibition. The coloured picture is a playful and ironic reproduction of a black and white photograph taken in the 1880s and entitled *Marriage of an Italian to two Mapuche'. The photographer 1s unknown and the man depicted is probably Pedro Totta, an Argentinean adventurer of Italian origin who ended up living in an indigenous community near Temuco in the south of Chile.