2019: The Art of Democracy
Presentation Title
Keywords
arts, Colombia, armed conflict, reconciliation, symbolism
Description
Colombia has experienced nearly six decades of violent confrontations between agents of the State, the paramilitary, guerrilla groups, and narcotraffickers. Between 1958 and 2018 there were 4,210 massacres, 214,584 civilians and 46,675 combatants killed, 79,245 civilians “disappeared,” and over seven million internally displaced individuals.
Almost 70% of this violence has occurred in rural areas, far from urban centers where the population is concentrated. This cartography correlates to polarization between sectors that experienced armed conflict, and sectors that witnessed these events mainly through the media. These contrasting experiences shape views on peace and reconciliation.
Art can bridge these “two Colombias” through symbolic representations of pain developed in collaboration with victims of armed conflict. This “democratization of suffering” creates an emotional community with a deeper understanding of the country’s physical and psychological wounds.
Our presentation provides an overview of this phenomenon, with examples from artists in various genres (Erika Diettes, Doris Salcedo, Oscar Muñoz, Miguel Angel Rojas, Clemencia Echeverri, Humberto Dorado). Then, we discuss Edwin Rodriguez’s Memories in Color project and our related engaged teaching.
“Memories in Color” establishes collaboration between ex-combatants, communities affected by violence, and artists to find common ground where they can process together their painful past and hopes for a peaceful future. Miniature houses become a symbolic vehicle to build democratic space where opposing voices coexist. We describe K-State Spanish students’ collaborative translation process and share examples: two brief videos about Memories in Color and a survivor monologue.
Participants gain awareness of the democratic potential of art through Colombians’ efforts to unite and own their painful history. Students’ translations mirror this effort as a diverse group arrives at a collective narrative by negotiating understandings based on differing experiences.
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The Democratization of Suffering Through Art Practices
Colombia has experienced nearly six decades of violent confrontations between agents of the State, the paramilitary, guerrilla groups, and narcotraffickers. Between 1958 and 2018 there were 4,210 massacres, 214,584 civilians and 46,675 combatants killed, 79,245 civilians “disappeared,” and over seven million internally displaced individuals.
Almost 70% of this violence has occurred in rural areas, far from urban centers where the population is concentrated. This cartography correlates to polarization between sectors that experienced armed conflict, and sectors that witnessed these events mainly through the media. These contrasting experiences shape views on peace and reconciliation.
Art can bridge these “two Colombias” through symbolic representations of pain developed in collaboration with victims of armed conflict. This “democratization of suffering” creates an emotional community with a deeper understanding of the country’s physical and psychological wounds.
Our presentation provides an overview of this phenomenon, with examples from artists in various genres (Erika Diettes, Doris Salcedo, Oscar Muñoz, Miguel Angel Rojas, Clemencia Echeverri, Humberto Dorado). Then, we discuss Edwin Rodriguez’s Memories in Color project and our related engaged teaching.
“Memories in Color” establishes collaboration between ex-combatants, communities affected by violence, and artists to find common ground where they can process together their painful past and hopes for a peaceful future. Miniature houses become a symbolic vehicle to build democratic space where opposing voices coexist. We describe K-State Spanish students’ collaborative translation process and share examples: two brief videos about Memories in Color and a survivor monologue.
Participants gain awareness of the democratic potential of art through Colombians’ efforts to unite and own their painful history. Students’ translations mirror this effort as a diverse group arrives at a collective narrative by negotiating understandings based on differing experiences.
