Miguel Rojas-Sotelo
Biographic Data
| ID | 709570 |
|---|---|
| NAME | Miguel Rojas-Sotelo |
| GIVEN NAMES | Miguel |
| FAMILY NAME | Rojas-Sotelo |
| SIGNATURE | ROJAS-SOTELO M |
| AFFILIATIONS | Duke University |
| ORCID | 0000-0001-6129-7782 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
"Monilla Amena". Principios amazónicos para entender la producción cultural del mundo amerindio – Abiayalense
Usando una de las historias de origen Amazónico, Monilla Amena (el árbol de la vida y abundancia), se puede insertar críticamente la producción cultural y artística de este territorio transnacional y dar cuenta de artistas-territorio amazónicos que con agencia actúan sobre espacios hegemónicos de producción cultural. Este texto ofrece unos principios para entender la producción cultural del mundo amazónico, usa este mito como línea de tiempo y es…
The Tree of Abundance
The Tree of Abundance is an origin story for many nations in the Amazon basin. It recounts a time when all people(s) lived under a mother tree, until those with an ax arrived and the tree collapsed. This is the act of coloniality, which produced a new landscape. The story serves as a conceptual metaphor to analyze the production of an emerging generation of contemporary visual makers of indigenous origin. These cultural producers are set in a his…
Iconoclastia, justicia indígena, historia y memoria. Actos de fabulación y soberanía
“Reescribiendo la historia de nuestro país, no más símbolos de la colonización y apología a la violencia” fueron algunas de las razones dadas por los indígenas Mizak por sus acciones iconoclastas contra monumentos que representan una nación blanqueada y acrítica al legado colonial. Este artículo recuenta algunos casos y pone en contexto los debates sobre la batalla simbólica por la repre-sentación, la memoria, la historia y la justicia que llevan…
No Future
The past is certain, the future an illusion. Contemporary films such as Ivy Maraey: land without evil (Juan Carlos Valdivia 2013), Embrace of the Serpent (Ciro Guerra 2015), The Fever (Maya Da Rin 2020), and Bacurau are border films, from the genre of contact films. They announce how coloniality maintains a grip on frontier territories in the Americas. These films also present particular indigenous visions that challenge western epistemes and con…
Narcoaesthetics in Colombia, Mexico, and the United States
The production of the visual artists Juan Obando (Colombia), José Ignacio García (United States–Mexico), and the Narcochingadazo collective (United States–Mexico–Colombia) under the umbrella of what they call “narcoaesthetics” is linked to contemporary democratic processes in Colombia and Mexico and the implementation of branding techniques aimed at offsetting these countries’ bad image due to the drug issue. From a decolonizing reading of their …
Painting, Literature, and Film in Colombian Feminine Culture, 1940-2005
Deborah Martin's book is an intricate weaving of quotes and references around the production of what she calls “second-wave feminist” art, literary, and visual production in Colombia during the second half of the twentieth century. Her in-depth readings of the work of painter Débora Arango and the literary production of Laura Restrepo, in addition to the work of contemporary filmmakers Marta Rodríguez, the women's film collective Cine Mujer, and …
Narcoaesthetics in Colombia, Mexico, and the United States
The production of the visual artists Juan Obando (Colombia), José Ignacio García (United States–Mexico), and the Narcochingadazo collective (United States–Mexico–Colombia) under the umbrella of what they call “narcoaesthetics” is linked to contemporary democratic processes in Colombia and Mexico and the implementation of branding techniques aimed at offsetting these countries’ bad image due to the drug issue. From a decolonizing reading of their …
Narcoaesthetics in Colombia, Mexico, and the United States
The production of the visual artists Juan Obando (Colombia), José Ignacio García (United States–Mexico), and the Narcochingadazo collective (United States–Mexico–Colombia) under the umbrella of what they call “narcoaesthetics” is linked to contemporary democratic processes in Colombia and Mexico and the implementation of branding techniques aimed at offsetting these countries’ bad image due to the drug issue. From a decolonizing reading of their …
Painting, Literature, and Film in Colombian Feminine Culture, 1940-2005
Deborah Martin's book is an intricate weaving of quotes and references around the production of what she calls “second-wave feminist” art, literary, and visual production in Colombia during the second half of the twentieth century. Her in-depth readings of the work of painter Débora Arango and the literary production of Laura Restrepo, in addition to the work of contemporary filmmakers Marta Rodríguez, the women's film collective Cine Mujer, and …
Iconoclastia, justicia indígena, historia y memoria. Actos de fabulación y soberanía
“Reescribiendo la historia de nuestro país, no más símbolos de la colonización y apología a la violencia” fueron algunas de las razones dadas por los indígenas Mizak por sus acciones iconoclastas contra monumentos que representan una nación blanqueada y acrítica al legado colonial. Este artículo recuenta algunos casos y pone en contexto los debates sobre la batalla simbólica por la repre-sentación, la memoria, la historia y la justicia que llevan…
No Future
The past is certain, the future an illusion. Contemporary films such as Ivy Maraey: land without evil (Juan Carlos Valdivia 2013), Embrace of the Serpent (Ciro Guerra 2015), The Fever (Maya Da Rin 2020), and Bacurau are border films, from the genre of contact films. They announce how coloniality maintains a grip on frontier territories in the Americas. These films also present particular indigenous visions that challenge western epistemes and con…
The Tree of Abundance
The Tree of Abundance is an origin story for many nations in the Amazon basin. It recounts a time when all people(s) lived under a mother tree, until those with an ax arrived and the tree collapsed. This is the act of coloniality, which produced a new landscape. The story serves as a conceptual metaphor to analyze the production of an emerging generation of contemporary visual makers of indigenous origin. These cultural producers are set in a his…
"Monilla Amena". Principios amazónicos para entender la producción cultural del mundo amerindio – Abiayalense
Usando una de las historias de origen Amazónico, Monilla Amena (el árbol de la vida y abundancia), se puede insertar críticamente la producción cultural y artística de este territorio transnacional y dar cuenta de artistas-territorio amazónicos que con agencia actúan sobre espacios hegemónicos de producción cultural. Este texto ofrece unos principios para entender la producción cultural del mundo amazónico, usa este mito como línea de tiempo y es…
Art (6 works) · Political science (6 works) · Law (4 works) · Anthropology (3 works) · History (3 works) · Humanities (3 works) · Sociology (3 works) · Aesthetics (2 works) · Art history (2 works) · Gender Studies (2 works)