En Busqueda del Sumak Kawsay: Hacia un Nuevo Cine Indigenista Ecuatoriano del Siglo XXI
[Thesis]
Tarco Carrera, Henry Rubén
Moody, Sarah
The University of Alabama
2020
254 p.
Ph.D.
The University of Alabama
2020
This dissertation examines indigenista cinema from Ecuador and how non-native Ecuadorian directors enact a process of decolonization in their cinematographic productions through construction of different images that seek to empower, rescue and preserve the traditions and cultures of the Kichwa people in Ecuador. This pattern is apparent in such films as Galo Urbina's Ayawaska (2007), José Paúl Moreira's Saraguro: historia con sangre Inka (2010), Víctor Arregui's El facilitador (2013), and Gabriel Páez's Vengo volviendo (2015). These indigenista motion pictures incorporate the indigenous inhabitants' epistemologies, principles and worldviews, which, excluded by modernity, lead to the philosophy of life known as Sumak Kawsay, or the attainment of a full life, defined as a harmonic and balanced state of being. In this manner, the films move away from traditional feature films made in Ecuador or in broader Latin America, which only tend to display values and ideals of Western civilization. In contrast, these indigenista films portray the indigenous way of life and the native epistemes in a positive light, thereby contributing to an intercultural dialogue with the aim of imagining a future decolonized Ecuador, free of the hierarchies of the modern/colonial world-system. These cinematographic productions can be linked to the demands for justice and equity that the Confederation of Indigenous Nationalities of Ecuador has repeatedly made of the Ecuadorian state. The government's imposition of neoliberal economic policies led to economic and political instability beginning with the government of former president Jamil Mahuad, lasting until 2007 and occurring again in October of 2019. Indigenous peoples demanded that the Ecuadorian state carry out social, political and economic reforms to the benefit of all its citizens. These demands had a significant impact on the films made in Ecuador, which have become artistic devices that reflect the ideals of the indigenous peoples.