ABSTRACT: The article reviews the configuration of the desiring woman (maternally and sexually) proposed by two feature films directed by Armando Bó that present elements of horror-fantasy, India (1960) and Embrujada (1976). Taking as a starting point the figure of the vampire in the first one, and a mythological being of regional folklore -the Pombero- in the second one, these productions stress the place of the racialized woman who has become an object, imposed by the white patriarchy.

RESUMEN: El artículo revisa la configuración de mujer deseante (maternal y sexualmente) propuesta por dos largometrajes dirigidos por Armando Bó que presentan elementos de terror-fantástico: India (1960) y Embrujada (1976). Tomando como punto de partida la figura de la vampiresa, en la primera, y a un ser mitológico del folklore regional -el Pombero- en la segunda, estas producciones tensionan el lugar de la mujer racializada y devenida objeto, impuesto por el patriarcado blanco.

Abstract The link between psychiatry and power in México and Peru was analyzed in two historical moments. The first is at the end of the 19th century and at the beginning of the 20th century when the elites planned the construction of a new insane asylum under the positivist logic that considered psychiatric confinement as a fundamental tool in the modernization of a country. The project was consolidated in Peru with the founding of the Asilo Colonia La Magdalena (1918) and in Mexico with the Manicomio General (1910). The second moment is from the 1920s when nationalist state projects began the cultural homogenization of the population and the sanitary control over the subjects that "degenerated" the nation. This article shows the active role of psychiatrists in this State project. In Peru, they reflected extensively on the psychology and psychopathology of the Indigenous from a biological and racist logic in the context of the indigenist movement. In post-revolutionary Mexico, childhood became a priority for the educational and healthcare systems to build a healthy and modern nation. Psychiatrists created institutions for the detection and control of deviant ("abnormal", "problem" and "delinquent" children).

Resumen: Analizamos el vínculo entre la psiquiatría y el poder en México y en Perú en dos momentos históricos. El primero es a finales del siglo XIX e inicios del XX, cuando las élites planearon la construcción de un nuevo manicomio bajo la lógica positivista que consideraba el encierro psiquiátrico como una herramienta fundamental en la modernización de un país. El proyecto se consolidó en Perú con la fundación del Asilo Colonia La Magdalena (1918) y en México con el Manicomio General (1910). El segundo momento, es a partir de la década de 1920, cuando iniciaron proyectos estatales nacionalistas para la homogeneización cultural de la población, y el control sanitario sobre los sujetos que "degeneraban" la nación. En este artículo se muestra el lugar activo de los psiquiatras en este proyecto estatal. En Perú, reflexionaron ampliamente sobre la psicología y la psicopatología del indígena a partir de una lógica biologicista y racista en el contexto del movimiento indigenista. En el México posrevolucionario, la infancia se convirtió en una prioridad para los aparatos educativo y sanitario, para construir una nación sana y moderna. Los psiquiatras crearon instituciones para la detección y control de la infancia divergente ("anormales", "problema" e "infractores").

ABSTRACT: This study, using a qualitative narrative inquiry research design, describes the experiences of seven folk music artists of the Chilean region of Ñuble about their learning and transmission of folk music. Given the traditional conception of the musical folklore as an element of rural life and oral tradition, as well as the level of mediatization, technological and social development experienced by the Chilean society in the last decades, the following work intents to corroborate and describe if folk music artists of the Chilean region of Ñuble 1) learn, receive, and transmit folk music only through oral tradition; 2) learn, receive, and transmit folk music not only through the oral tradition but also through mediatization; 3) learn, receive, and transmit folk music only through mediatization.

RESUMEN: Este estudio, utilizando una metodología de enfoque cualitativo de tipo narrativo, describe las experiencias de siete cantores y cantoras de la región de Ñuble sobre su aprendizaje y transmisión del folclore. Dada la concepción tradicional del folclore musical como un elemento de la vida rural, y de transmisión oral, esta investigación intenta corroborar y describir si los cantores y cantoras folclóricos de la región de Ñuble 1) aprenden, reciben, y transmiten la música únicamente vía tradición oral; 2) aprenden, reciben, y transmiten la música no sólo vía tradición oral, sino también a través de la mediatización; 3) aprenden, reciben, y transmiten la música únicamente vía mediatización.

ABSTRACT This article analyzes the didactic processes involved in teaching folkloric dances during the intervention stage of Physical Education (PE) classes and extracurricular activities in Chilean schools. The study was conducted using a qualitative approach, which included interviews, focus groups, and participant observations during the intervention of learning communities (LC) as part of the implementation of a Service-Learning (SL) Course in the context of Initial Teacher Education (ITT). The main findings include the cultural significance of dance, the enhancement of critical thinking skills, and the role of play in learning. The study also highlights the importance of reflective teaching, collaborative work, and the development of affectional bonds. Additionally, the research provides specific guidelines for teaching folk dances that can improve motivation and didactics.

RESUMEN Este artículo trata sobre los procesos didácticos de las danzas folklóricas realizados en la fase de intervención en clases de Educación Física (EF) y talleres extraescolares en instituciones escolares chilenas, durante la implementación de una experiencia de Aprendizaje Servicio (A+S) en el contexto de formación inicial docente (FID). El estudio se realizó con un enfoque cualitativo, utilizando entrevistas, grupos de discusión y observaciones participantes durante la intervención de comunidades de aprendizaje (CA) de estudiantes en FID con socios-comunitarios (SC). Los resultados principales son el sentido cultural de la danza, el pensamiento crítico y el juego, como fundamentos metodológicos. Además, destacan orientaciones didácticas específicas para la danza folklórica relacionadas con el clima motivacional y la mejora recíproca del saber didáctico; y beneficios bidireccionales como la reflexión docente, la cooperación y el vínculo afectivo.

Resumen Este trabajo indaga en las instrucciones y los registros producidos a partir de la Encuesta Nacional de Folklore de 1921, organizada por el Consejo Nacional de Educación con la intención de recopilar “tradiciones populares marcadamente antiguas” (Ramos, 1921: 15). Se trabaja a partir del análisis de las instrucciones y de un conjunto de respuestas clasificadas con la categoría “conocimientos populares de la ciencia”. En particular, se eligieron respuestas que mencionan “objetos del pasado”, incluidas noticias, sitios y objetos arqueológicos y paleontológicos. El objetivo consiste en mostrar que gran parte de lo que se ha clasificado como saber popular está mediado por las lecturas propias de la educación docente, no muy diferente de la formación que tenían quienes crearon la encuesta. En este sentido, el análisis permite evidenciar cómo se superponen capas de saberes, donde los maestros recurren a su formación docente y a referencias de “expertos” en ciertas temáticas; a la vez que se apropian de los hallazgos e investigaciones científicas, y los resignifican al considerar estas prácticas como parte del acervo folklórico y popular de la región.

Abstract This paper investigates the instructions and records produced from the 1921’s National Folklore Survey, organized by the National Council of Education with the intention of collecting “markedly ancient folk traditions” (Ramos, 1921: 15). This paper is based on the analysis of the instructions and a set of answers classified under the category “popular knowledge of science”. The responses chosen were the ones that mention “objects from the past”, including archaeological and paleontological news, sites and objects. The purpose is to show that much of what has been classified as popular knowledge is mediated by the readings of teacher’s education, which is not very different from the training of those who created the survey. In this sense, the analysis shows how layers of knowledge are overlapped, with teachers drawing on their training and references to “experts” in certain subjects. At the same time, they appropriate scientific findings and research, and re-signify them by considering these practices as part of the folkloric and popular heritage of the region.

ABSTRACT In the 12th century, Nizami Ganjavi's revolutionary work transformed poetic standards of the time by introducing unprecedented humanitarian themes into Eastern literature. His work, "Khamsa," blends Turkish folk traditions and popular epics, incorporating elements from diverse cultures. The article analyzes the use of these traditions in Turkish epic thought, focusing on the comparison between "Khamsa" and Ferdowsi's "Shahnameh." It is noteworthy that Nizami, in distinguishing his heroes from Ferdowsi's, recreates characters like Khosrov and Bahram with new philosophical and artistic ideas. While inspired by "Shahnameh," Nizami's approach is unique, not merely a tribute but a conceptual reinterpretation. While "Shahnameh" emphasizes the Iranian and non-Iranian division, "Khamsa" centers on the dichotomy of Good and Evil from the perspective of nations and peoples. Unlike Ferdowsi, Nizami avoids humiliating other nations and instead emphasizes values such as humanism, philanthropy, and justice, characteristic of Turkish folk tradition. His work not only eliminates the hatred promoted by Ferdowsi in literature but also contributes to the global literary treasure, offering images that illuminate the path toward an inclusive future. Thus, Nizami emerges as a healer of the Turkish national-ethnic identity, uplifting his people without disparaging others, and leaving a lasting humanitarian legacy in Eastern and world literature.

RESUMEN En el siglo XII, la obra revolucionaria de Nizami Ganjavi transformó los estándares poéticos de la época al introducir temas humanitarios sin precedentes en la literatura oriental. Su obra, "Khamsa", combina tradiciones populares turcas y epopeyas populares, incorporando elementos de diversas culturas. El artículo analiza el uso de estas tradiciones en el pensamiento épico turco, centrándose en la comparación entre "Khamsa" y "Shahnameh" de Ferdowsi. Es de destacar que Nizami, al distinguir a sus héroes de los de Ferdowsi, recrea personajes como Khosrov y Bahram con nuevas ideas filosóficas y artísticas. Si bien está inspirado en "Shahnameh", el enfoque de Nizami es único, no es simplemente un tributo sino una reinterpretación conceptual. Mientras que "Shahnameh" enfatiza la división iraní y no iraní, "Khamsa" se centra en la dicotomía entre el bien y el mal desde la perspectiva de las naciones y los pueblos. A diferencia de Ferdowsi, Nizami evita humillar a otras naciones y en cambio enfatiza valores como el humanismo, la filantropía y la justicia, característicos de la tradición popular turca. Su obra no sólo elimina el odio promovido por Ferdowsi en la literatura sino que también contribuye al tesoro literario global, ofreciendo imágenes que iluminan el camino hacia un futuro inclusivo. Así, Nizami emerge como un sanador de la identidad nacional-étnica turca, elevando a su pueblo sin menospreciar a los demás y dejando un legado humanitario duradero en la literatura oriental y mundial.

The intention of this article is to demonstrate that theological ethics as a discipline can be expressed through some Setswana proverbs and idioms, which is another way of decolonising theology in Africa. Decolonising theology through African proverbs in expressing ethics is another way of decolonising theology since the philosophical elucidations and the meaning embedded in proverbs does not easily change over time. Proverbs are important in the substantiation of philosophical claims, and therefore are a powerful tool for education and moral formation in all sectors of society. The method used in this research is a literature study, as the main tool to gather the information of these proverbs and how they are educatively used in ethical and moral decision-making. The objective of this article is not just to define the proverbs but to point out that African folklore is rich with moral and ethical instructions. Methodologically, various proverbs are quoted to indicate that individuals are responsible for self-development when it comes to ethical and moral formation. The same sentiment prevails that an individual is a member of the community, and that as an individual he or she achieves higher goals of life not in isolation but through the contribution of the community. Application of these Setswana proverbs is didactive when considering an individual's development and achievement, the importance of community involvement, and the complementarity where an individual cannot live in isolation. The conclusion is made that there is still some hope that although ethics and morality are dwindling in African cultural fabrics, African preachers should embark on popularisation of proverbs, promote school curricula that include proverbs, and articulate theological ethics through proverbs. CONTRIBUTION: This is an interdisciplinary study engaging disciplines such as linguistics, history, ethics, theology, anthropology, sociology, and communications. This study shows the richness of Setswana proverbs in articulating theological ethics. It shows that proverbs in African languages can be used to unwrap theology from western clutches and make it relevant to the African context. It makes a remarkable contribution towards a theological decolonial project

Abstract: This study presents a state of the art of the Corpus Christi Dancer religious festival in the Central Andes in Ecuador. It examines Academic literature from 1889 to 2024. The analysis includes a chronology, a comparative table, and categorization of contributions into four stages: (1) documents from the late 19th and early 20th centuries prior to the establishment of the Instituto Ecuatoriano de Folklore, (2) research conducted within the framework of the Instituto Ecuatoriano de Folklore, (3) anthropological approaches, and (4) applied research studies from other disciplines. For each document, the study identifies the specific population under study (human group), the context of production and circulation of the text, the data collection and analysis techniques (methodology), and the conceptual approach used. The study concludes that these approaches and research reflect interpretations that are more influenced by the context of production and circulation than by the local social realities they aim to investigate.

Resumen: El estudio presenta un estado del arte sobre el Danzante de Corpus Christi de los Andes Centrales del Ecuador. Se revisa literatura académica desde 1889 hasta el 2024. Se realiza una cronología, una tabla comparativa y se categorizan los aportes en cuatro etapas: (1) documentos de finales del siglo XIX e inicios del XX previos a la creación del Instituto Ecuatoriano de Folklore, (2) investigaciones elaboradas en el marco del Instituto Ecuatoriano de Folklore, (3) acercamientos antropológicos, y, (4) estudios de investigación aplicada desde otras disciplinas. En cada documento se ubica la población específica del estudio, el contexto de producción y circulación del texto, las técnicas de recolección y análisis de la información (metodología), y el enfoque conceptual empleado. Se concluye que estos acercamientos y estudios plantean interpretaciones que tienen que ver más con el contexto de producción y circulación de sus investigaciones que con la realidad local social investigada.

The intersection of modern African poetry and folklore is a much-researched topic in African literary scholarship. However, literary scholars have not examined this relationship in the poetry of Christian Otobotekere, a king and poet whose cultural productions have been mostly studied from the perspective of ecocriticism. Therefore, in this article, I look at the place of Ijo (also spelt "Ijaw") folklore in Otobotekere's A Sailor's Son 1: In the Wake of Games and Dances (2015). I find that, in this collection, Otobotekere frequently employs the folklore of his people, including dirge, drum poetry, lullabies, moonlight stories, dance patterns, and musical styles, as well as elements of Ijo songs such as simplicity, repetition, allusion, dialogue, and direct address. I further discover that Otobotekere's incorporation of Ijo folklore makes his poetry performative and helps it to achieve the quality of what is usually referred to as "written orality". I argue that Otobotekere makes it his main aim to showcase these aspects of folklore to the non-Ijo reader and to document them for future generations in the Ijo community in Nigeria's oil-rich Niger Delta region. This study appeals to scholars in the fields of literature and folklore as it contributes to the decades-long conversation on the interaction between the two disciplines.

RESUMO: O artigo tem como objetivo debater questões interpretativas de exegese sobre o texto do auto Na Festa de São Lourenço, de 1587, escrito pelo missionário e humanista S. José de Anchieta (1534-1597), no contexto da América portuguesa quinhentista. A obra foi encenada na comunidade indígena de São Lourenço em Niterói, ainda no século XVI, e é um dos principais registros da produção intelectual do período colonial. Modernamente, o texto do autor foi reeditado por Maria de Lourdes de Paula Martins, em um extenso volume com as Poesias de Anchieta (Anchieta, 1989 [1954]), e por Armando Cardoso, na edição dos Monumenta Anchietana (Anchieta, 1977). Nossa interpretação crítica terá como escopo retomar a análise desenvolvida por Câmara Cascudo, na obra Antologia do Folclore Brasileiro (2002 [1944]), em que cita os textos de Anchieta e de cronistas do século XVI como fonte para os estudos de folclore no Brasil. Buscamos problematizar como a interpretação folclórica aproxima-se ao método da exegese da disciplina de Crítica Textual. Por fim, em perspectiva interdisciplinar com a disciplina de Historiografia da Linguística, buscaremos evidenciar como o “pensamento linguístico” (linguistic thought) (Swiggers, 2013; 2019) de Anchieta estava vinculado ao estudo de tradições populares indígenas na América portuguesa quinhentista, o que conceituamos como um Folclore brasílico colonial. RESUMO 1587 S 15341597, 15341597 1534 1597 , (1534-1597) quinhentista Niterói colonial Modernamente Martins Anchieta, (Anchieta 198 1954, 1954 [1954]) Cardoso 1977. 1977 . 1977) Cascudo 2002 (200 1944, 1944 [1944]) Brasil aproximase aproxima se Textual fim Linguística pensamento linguístico linguistic thought Swiggers, Swiggers (Swiggers 2013 2019 158 1534159 153 159 (1534-1597 19 195 [1954] 197 200 (20 194 [1944] 201 15 153415 (1534-159 1 [1954 20 (2 [1944 15341 (1534-15 [195 2 ( [194 (1534-1 [19 (1534- [1 (1534 [ (153 (15 (1

ABSTRACT: The article aims to discuss interpretative exegesis questions about the text of the play Na Festa de São Lourenço, from 1587, written by the missionary and humanist S. José de Anchieta (1534-1597), in the context of sixteenth-century Portuguese America. The work was staged in the indigenous community of São Lourenço in Niterói, still in the 16th century, and is one of the main records of intellectual production in the colonial period. Modernly, the author's text has been republished by Maria de Lourdes de Paula Martins, in an extensive volume with Poesias de Anchieta (Anchieta, 1989 [1954]), and by Armando Cardoso, in the edition of Monumenta Anchietana (Anchieta, 1977). Our critical interpretation will have the scope of resuming the analysis developed by Câmara Cascudo, in the work Antologia do Folclore Brasileiro (2002 [1944]), in which the interpreter cites the texts of Anchieta and chroniclers of the 16th century as a source for folklore studies in Brazil. We seek to problematize how folkloric interpretation approaches the exegesis method of the Textual Criticism discipline. Finally, in an interdisciplinary perspective with the discipline of Historiography of Linguistics, we will seek to show how Anchieta’s “linguistic thought” (Swiggers, 2013; 2019) was linked to the study of indigenous popular traditions in sixteenth-century Portuguese America, which we conceptualize as a colonial Brazilian folkcore. ABSTRACT 1587 S 15341597, 15341597 1534 1597 , (1534-1597) sixteenthcentury sixteenth America Niterói th period Modernly authors author s Martins Anchieta, (Anchieta 198 1954, 1954 [1954]) Cardoso 1977. 1977 . 1977) Cascudo 2002 (200 1944, 1944 [1944]) Brazil Finally Linguistics Anchietas linguistic thought Swiggers, Swiggers (Swiggers 2013 2019 folkcore 158 1534159 153 159 (1534-1597 19 195 [1954] 197 200 (20 194 [1944] 201 15 153415 (1534-159 1 [1954 20 (2 [1944 15341 (1534-15 [195 2 ( [194 (1534-1 [19 (1534- [1 (1534 [ (153 (15 (1

Resumo O artigo trata da representação das enfermidades entre campesinos ortodoxos russos no Império Russo do século XIX. As fontes usadas compreenderam materiais de expedições etnográficas, materiais folclóricos, bem como textos do século XIX que falam sobre tratamentos, memórias e imprensa local. A análise das fontes nos levou às seguintes conclusões: o conceito de enfermidade entre os campesinos russos era construído por vários atores; médicos rurais eram os atores menos influentes; e as enfermidades eram representadas como uma consequência da mistura do mundo dos vivos com o dos mortos ou como a ação de entidades antropomórficas ou zoomórficas, com o tratamento implicando um retorno à ordem natural (“correta”) das coisas. etnográficas folclóricos tratamentos local conclusões influentes zoomórficas correta (“correta” coisas (“correta

Abstract The article deals with the representation of illness among Russian Orthodox peasants from the Russian Empire in the nineteenth century. Materials from ethnographic expeditions, folklore, nineteenth-century texts on treatments, memoirs, and publications in the local press are used as sources. Analysis of the sources allowed us to reach the following conclusions: the conception of illness among Russian peasants was constructed by various actors; rural doctors were the least influential among these actors; and illnesses were represented as a consequence of mixing the world of the living and the world of the dead or the action of anthropomorphic or zoomorphic entities, with treatment implying a return to the natural (“correct”) order of things. century expeditions folklore nineteenthcentury treatments memoirs conclusions actors entities correct (“correct” things (“correct

RESUMEN Somos cuerpos en trayectoria. Y nuestros movimientos dan cuenta de vivencias específicas, de los cambios en la sociedad y de cómo producimos y reproducimos cultura. Si bien en el Perú de los últimos 13 años -tomando como marco temporal el periodo operativo del Ministerio de Cultura- muchas medidas y estrategias han sido implementadas para el impulso de las artes escénicas, poco se ha hecho específicamente para la danza. En este artículo postulo que las lógicas y características que asociamos a la práctica de la danza escénica en el Perú están alineadas con la industria de la danza producida desde el norte global -valor económico, formas de trabajo, estrategias de gestión- y que no se ha llevado a cabo, aún, un análisis a profundidad sobre las maneras de crear, producir y participar en danza en nuestro país; maneras que permitan hacer lugar para el cuerpo globalizado, la creación colectiva y los pequeños formatos. Por ello, las políticas aplicadas para la danza no generan aún cambios sustanciales para el despegue del sector local, sino que siguen incidiendo en las problemáticas asociadas a las industrias culturales, y fortalecen la mirada occidental a los cuerpos del sur.

ABSTRACT We are bodies in trajectory. And our movements reflect specific experiences, changes in society and how we produce and reproduce culture. Although in Peru in the last 13 years - taking as a time frame the operational period of the Ministry of Culture- many measures and strategies have been implemented to promote the performing arts, little has been done specifically for dance. In this article I postulate that the logic and characteristics that we associate with the practice of stage dance in Perú are aligned with the dance industry produced from the Global North -economic value, forms of labour, management strategies- and that it has not been carried out an in-depth analysis of the ways to create, produce and participate in dance in our country, which would allow us to introduce a globalized body, collective creation and small formats. For this reason, the policies applied to dance do not yet generate substantial changes for the take-off of the local sector, but rather they deepen the problems associated with cultural industries, and strengthen the Western view of southern bodies.

Resumen La danza debería recibir el mismo reconocimiento curricular que las demás materias en la educación formal; no obstante, frecuentemente se le asigna un menor número de sesiones por semana, situación que se agravó durante la contingencia sanitaria. En respuesta a esta situación, se optó por migrar hacia plataformas digitales para mantener la interacción con los estudiantes. Por ello, el objetivo de este trabajo fue identificar los beneficios de la danza mediante talleres en los que se empleó la tecnología con estudiantes de instituciones de educación básica y media. Para ello, se realizó un estudio descriptivo, tipo acción participativa, que incluyó la aplicación de pretest y postest. La muestra fue intencional, seleccionada según el criterio de aquellos estudiantes que expresaron su deseo de participar en el estudio-taller. En total, participaron once alumnas de tercer grado de primaria a segundo de preparatoria, con edades comprendidas entre los siete y los 16 años. Las sesiones se realizaron de manera sincrónica y asincrónica. Se elaboró un programa de curso y se adaptaron dos instrumentos para evaluar la técnica básica de la danza, además de un formulario destinado a evaluar los aprendizajes. Los resultados muestran que las participantes experimentaron mejoras en su desarrollo físico, una disminución del sedentarismo y un fomento de la motivación, la creatividad y la socialización durante los períodos de confinamiento. La intervención también contribuyó a ayudarlas a manejar el estrés y a mejorar sus habilidades en la ejecución de la danza.

Resumo A dança deveria receber o mesmo reconhecimento curricular que outras disciplinas da educação formal; No entanto, frequentemente são-lhes atribuídos um menor número de sessões por semana, situação que se agravou durante a contingência sanitária. Em resposta a esta situação, decidiu-se migrar para plataformas digitais para manter a interação com os alunos. Portanto, o objetivo deste trabalho foi identificar os benefícios da dança por meio de oficinas em que a tecnologia foi utilizada com alunos de instituições de ensino fundamental e médio. Para tanto, foi realizado um estudo descritivo, tipo ação participativa, que incluiu a aplicação de pré-teste e pós-teste. A amostra foi intencional, selecionada de acordo com os critérios daqueles alunos que manifestaram o desejo de participar do estudo-oficina. No total, participaram onze alunos do terceiro ano do ensino fundamental ao segundo ano do ensino médio, com idades entre sete e 16 anos. As sessões foram realizadas de forma síncrona e assíncrona. Foi desenvolvido um programa de curso e adaptados dois instrumentos para avaliar a técnica básica de dança, além de um formulário destinado a avaliar a aprendizagem. Os resultados mostram que os participantes experimentaram melhorias no seu desenvolvimento físico, diminuição do sedentarismo e promoção da motivação, criatividade e socialização durante os períodos de confinamento. A intervenção também contribuiu para ajudá-los a gerir o stress e a melhorar as suas capacidades de execução de dança.

Abstract Dance should receive the same curricular recognition as other subjects in formal education; however, they are frequently assigned a smaller number of sessions per week, a situation that worsened during the health contingency. In response to this situation, it was decided to migrate to digital platforms to maintain interaction with students. Therefore, the objective of this work was to identify the benefits of dance through workshops in which technology was used with students from basic and secondary education institutions. For this purpose, a descriptive study, participatory action type, was carried out, which included the application of pretest and posttest. The sample was intentional, selected according to the criteria of those students who expressed their desire to participate in the study-workshop. In total, eleven students from third grade from primary to second grade of high school participated, aged between seven and 16 years. The sessions were carried out synchronously and asynchronously. A course program was developed and two instruments were adapted to evaluate basic dance technique, in addition to a form intended to evaluate learning. The results show that the participants experienced improvements in their physical development, a decrease in sedentary lifestyle and a promotion of motivation, creativity and socialization during periods of confinement. The intervention also contributed to helping them manage stress and improve their dance performance skills.

Abstract: With the purpose to contributing to the study of the formation of rural anthropology’s field in Chile, it proposed an introduction to works and authors that seem to us to be sources and precursors of rural anthropology, whose publications are temporally located between the 19th century and the 1930s. In this regard, three themes are developed: 1) the travelers who described rural Chile in the 19th century, 2) the pioneers of anthropology and folklore who worked in rural contexts and themes and 3) the ethnographic experiment of Tancredo Pinochet Le Brun on the estate of the republic president. These sources and precursors constitute important references for the construction of a rural anthropology that projects into the future with full knowledge of its origins and historical bases.

Resumen: Con el propósito de contribuir al estudio de la conformación del campo de la antropología rural en Chile, se plantea una introducción a las obras y autores/as que nos parecen fuentes y precursores de la antropología rural, cuyas publicaciones se sitúan temporalmente entre el siglo XIX y la década de 1930. Al respecto, se desarrollan tres temáticas: 1) los viajeros que describieron el Chile rural en el siglo XIX, 2) los pioneros de la antropología y del folklore que trabajaron en contextos y temas rurales y 3) el experimento etnográfico de Tancredo Pinochet Le Brun en la hacienda del presidente de la república. Estas fuentes y precursores constituyen referentes importantes para la construcción de una antropología rural que se proyecte al futuro con pleno conocimiento de sus orígenes y bases históricas.

This article’s main objective is to contribute to a better understanding of Víctor Jara’s role as performer of folklore. This role includes the ways in which he collected, musicalized, and performed folk repertories, matters which have been eclipsed by an interest in his songwriting. To this end, we analyze Canto por travesura (1973), his LP dedi- cated to humorous and bawdy folklore collected from Chile’s south-central region. In the first part, we consider his collecting process and compare the versions on the LP with documentary sources. We explore the recording process, the album’s organization, and the idiosyncratic way Jara and his musicians perform canto a lo poeta. We conclude that Canto por travesura was conceived as a folkloric performance and that Jara did not seek to authoritatively reproduce a rural sound but to evoke rurality for an urban and cosmopolitan audience. In the second part, we explore the meaning of the LP’s sexual humor from a gender perspective. Most of the album’s songs come from male repertories and express male anxieties. Two songs, however, come from female repertories and feature a woman as the main character. We are particularly interested in the resignification that occurs when women’s bawdy repertoire is performed by men. Our study incorporates original material resulting from an interview we conducted with Pedro Yáñez, the renowned folklorist who collaborated with Jara on the LP.

El objetivo central de este artículo es aportar a una mejor comprensión del rol de Víctor Jara como intérprete de folclore. Es decir, cómo abordaba procesos de selección, musicalización e interpretación de repertorios folclóricos, asuntos que han sido eclipsados por el interés en su labor como cantautor. Para este fin analizamos Canto por travesura (1973), su elepé dedicado a temas humorísticos y picares- cos recopilados del folclore del centro-sur chileno. En la primera parte consideramos su proceso de recopilación y comparamos las versiones del elepé con fuentes documentales. Luego abordamos el proceso de grabación, su organización, la manera idiosincrática en que Jara y sus músicos interpretan el canto a lo poeta. Concluimos que Canto por travesura fue concebido como un espectáculo folclórico y que Jara no buscó una reproducción fidedigna de la sonoridad rural, sino una evocación de la ru- ralidad para una audiencia urbana y cosmopolita. En la segunda parte, exploramos el significado del humor sexual presente en las letras de las canciones desde una perspectiva de género. Observamos que la mayoría de las canciones del elepé provienen de repertorios masculinos y expresan ansiedades masculinas. Dos canciones, sin embargo, provienen de repertorios femeninos y tienen una mujer como personaje principal. Nos interesa particularmente la resignificación que se produce cuando canciones de repertorio picaresco femenino son interpretadas por hombres. Nuestro estudio incorpora material original resultante de una entrevista que nos otorgó Pedro Yáñez, destacado folclorista que colaboró con Jara en el elepé.