Atarraya
Listening to human and non-human voices in post-conflict Colombia
Bibliographic Data
| ID | 15080932 |
|---|---|
| Authors | Manuela Ochoa Ronderos (Concordia University, corresponding author) |
| Year | 2023 |
| Volume | 28 |
| Issue | 1 |
| Pages | 28-43 |
| Publication date | 2023-01-02 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Research in Drama Education The Journal of Applied Theatre and Performance (JOURNAL) |
| Journal identifiers | ISSN: 1356-9783 • E-ISSN: 1470-112X |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/13569783.2023.2170222 |
| OpenAlex | W4378418998 |
| Language | EN |
| References cited | 10 |
This article focuses on Atarraya, a participatory performance piece by Carolina Caycedo in collaboration with ; a group of social organisations affected by hydroelectric and mining megaprojects in Colombia. It argues that oral history-informed art practices offer an alternative space to communicate painful experiences and demand better futures, engaging broader and more diverse audiences. By analyzing the performative elements of Atarraya, such as the inclusion of human and non-human voices, the article shows how in the face of the transitional justice system in Colombia, it is necessary to understand listening as a critical component of oral history-informed performance
Active listening · Aesthetics · Art · Business · Citizen journalism · Futures contract · Human rights · Performative utterance · Political science · Social science · Sociology · Transitional justice · Visual arts · Communication · Gender Studies · Law · Law in Society and Culture
The Moral Imagination
At the Convergence of Transitional Justice and Art
Not Being Able to Speak Is Torture
Reimagining Transitional Justice through Participatory Art
Victims as Protagonists in Transitional Justice
The Role of Artistic Processes in Peace-Building in Bosnia-Herzegovina
Las Víctimas, La Memoria Y El Duelo
Living Voices
| Citation velocity | historical |
|---|---|
| Highly cited | No |