Abstract: Until now critics had located the lyrical topic known as The debate of the flowers in several poems from the Middle Ages, as well as in certain songs from Sephardic, Balkan, Romanian, and Hungarian folklore. The aims of this paper are, on the one hand, to present some Hispanic and Maghrebi versions of this debate and, on the other, to describe certain analogies between these Spanish, Sephardic, and Hispanic American testimonies and the Arab versions.

Resumen: Hasta ahora, la crítica había localizado el tema lírico conocido como El debate de las flores en algunos poemas de la Edad Media, así como en determinadas cancioncillas del folclore sefardí, balcánico, rumano y húngaro. Los objetivos de este artículo son, por un lado, dar a conocer algunos paralelos hispánicos y magrebíes, y, por otro, describir ciertas analogías de esos testimonios españoles, sefardíes e hispanoamericanos con las versiones árabes.

ABSTRACT Our rich intangible cultural heritage, folklore, and traditional knowledge thrive as living traditions that evolve and transmit intergenerationally, not fading relics of the past. They manifest our history while shaping the future - today’s traditions progress from our past, just as today’s advances will become tomorrow’s traditions. As philosopher Friedrich von Hayek elucidated, traditions organically arise in a locality, becoming invaluable resources constituting national wealth. Consequently, communities and nations with abundant cultural riches increasingly demand safeguarding these creative traditions and knowledge systems. Considering the above, this article examines intangible cultural heritage and cultural analysis. The academic exploration delved into multifaceted dimensions of the phenomena aiming to unravel complexities surrounding intangible cultural heritage conservation. Overall, it was found that vibrant intangible heritage, being locally rooted and evolving, calls for nuanced, adaptive safeguarding approaches rather than fixation in some static envisioning of tradition - the continuum between past and future necessitates careful negotiation.

RESUMEN El rico patrimonio cultural inmaterial, folclore y conocimientos tradicionales prosperan como tradiciones vivas que evolucionan y se transmiten intergeneracionalmente, no como reliquias del pasado que se desvanecen. Manifiestan nuestra historia al mismo tiempo que dan forma al futuro: las tradiciones de hoy provienen de nuestro pasado, de la misma manera que los avances de hoy se convertirán en las tradiciones del mañana. Como aclaró el filósofo Friedrich von Hayek, las tradiciones surgen orgánicamente en una localidad y se convierten en recursos invaluables que constituyen la riqueza nacional. En consecuencia, las comunidades y naciones con abundantes riquezas culturales exigen cada vez más salvaguardar estas tradiciones creativas y sistemas de conocimiento. Teniendo en cuenta lo anterior, este artículo examina el patrimonio cultural inmaterial y el análisis cultural. La exploración académica profundizó en las dimensiones multifacéticas de los fenómenos con el objetivo de desentrañar las complejidades que rodean la conservación del patrimonio cultural inmaterial. En general, se encontró que el vibrante patrimonio intangible, al estar arraigado localmente y en evolución, requiere enfoques de salvaguardia matizados y adaptativos en lugar de fijación en alguna visión estática de la tradición: la continuidad entre el pasado y el futuro requiere una negociación cuidadosa.

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.

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.

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

The Buddhist culture of the Grand Canal arises from the interaction and dynamic interplay between Grand Canal culture and Buddhist culture. This cultural phenomenon is not merely a simple superimposition of two elements; rather, it represents a unique cultural form that has evolved historically through the intersection of temporal and spatial dimensions. Its connotations can be understood from multiple perspectives, including the ephemerality of time, the dispersion of space, the plurality of types and the intermingling of subject and object. The Buddhist culture of the Grand Canal developed along both sides of the canal and has been historically deposited, embodying an amalgamation of reality and history. Therefore, the study of this culture should not be confined to specific temporal or spatial contexts but should encompass a multidimensional and expansive cultural exploration centred on the Grand Canal. By examining the connection between human excellence and the flow of water within this context, the cultural characteristics of the Buddhist culture of the Grand Canal extend into the cultural flow between the north and south. Here, Buddhist culture serves as the connecting thread, linking, communicating and integrating the spiritual worlds of people across different regions. The scope of research primarily encompasses diverse fields such as Buddhist history, Buddhist thought, cultural relics, social folklore, literature and art. CONTRIBUTION: This paper emphasises that an in-depth understanding of the connotations and qualities of the Buddhist culture of the Grand Canal is one of the most important ways to correctly understand the culture of the Grand Canal, especially the cross-culture of the Grand Canal and Buddhism, and points out the way in which and the scope of the research should be carried out

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 The tourist resources represent the base of the development of the activity, for this reason this investigation has the purpose of determining if the resources of the town of San Carlos del Apa in Paraguay, have potentialities susceptible of tourist use. For which an investigation with a quantitative, non-experimental, transversal and descriptive approach was used. Twenty-one resources were analyzed using the observation technique whose instrument was a file with 5 dimensions and 15 items: Categorization (5), Classification (2), Character (2), Assessment (4) and Hierarchy (2) in July 2022. The main results show that the locality has 38% of resources categorized as Natural Sites, followed by the Folklore category (28%), being mostly of a cultural nature (62%), resources of type agricultural and fishing exploitations predominate, gastronomy, architecture and urban spaces, protected natural areas and streams. Regarding the hierarchy, 38% of these can be considered as Star Resources (RE) and 62% as complementary (RC). Finally concluding that the town of San Carlos del Apa has resources of great natural, cultural and historical value whose tourism potential is high, making it feasible to develop quality tourism products. However, it still requires planning them, value them, protect them, preserve them and integrate them into circuits or tourist routes to generate a greater offer and stay for visitors, as well as improve accessibility conditions, overnight stays, food services and drinks, guided and complementary services for the visitor.

RESUMEN Los recursos turísticos representan la base del desarrollo de la actividad, por tal motivo esta investigación tuvo como propósito determinar si los recursos de la localidad de San Carlos del Apa en Paraguay, cuenta con potencialidades susceptibles de aprovechamiento turístico. Para lo cual se recurrió a una investigación con enfoque cuantitativo, no experimental, transversal y descriptivo. Fueron analizados 21 recursos mediante la técnica de la observación cuyo instrumento fue una ficha de 5 dimensiones y 15 ítems: Categorización (5), Clasificación (2), Carácter (2), Valoración (4) y Jerarquía (2) en julio de 2022. Los principales resultados muestran que la localidad cuenta con 38% de recursos categorizados como Sitios Naturales, seguido de la categoría Folklore (28%), siendo en su mayoría de carácter cultural (62%), predominan recursos de tipo explotaciones agropecuarias y pesqueras, gastronómicas, arquitectura y espacios urbanos, áreas naturales protegidas y corrientes de agua. Respecto a la jerarquía el 38% de estos pueden ser considerados como Recursos Estrella (RE) y el 62% como complementarios (RC). Concluyendo finalmente que la localidad de San Carlos del Apa, cuenta con recursos de gran valor natural, cultural e histórico cuyas potencialidades turísticas son altas, siendo factible desarrollar productos turísticos de calidad. Sin embargo, requiere aún una planificación de los mismos, ponerlos en valor, protegerlos, consérvalos e integrarlos a circuitos o recorridos turísticos para generar una mayor oferta y estadía de los visitantes, así como mejorar las condiciones de accesibilidad, pernoctación, servicios de alimentos y bebidas, guiados y servicios complementarios para el visitante.

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.

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 Luis Humberto Salgado was a mediator between tradition and the modernist trends of his time, innovating academic musical nationalism inspired by Ecuadorian folklore with the twelve-tone technique. Based on a selection of his works for piano, symphony orchestra, and chamber ensembles, this article examines Salgado's eclectic style, which idiosyncratically fuses elements of the twelve-tone system with the Andean pentaphonic scale, Ecuadorian vernacular rhythms, contrapuntal forms of the baroque, and stylistic features of various historical periods of European concert music.

Luis Humberto Salgado fue un mediador entre la tradición y las tendencias modernistas de su tiempo, innovando el nacionalismo musical académico inspirado en el folklore ecuatoriano con la técnica dodecafónica. Basado en una selección de sus obras para piano, orquesta sinfónica y conjuntos de cámara, este artículo examina el estilo ecléctico de Salgado, el cual fusiona de forma idiosincrática elementos del sistema dodecafónico con la escala pentafónica andina, los ritmos vernaculares ecuatorianos, las formas contrapuntísticas del barroco y rasgos estilísticos de varios períodos históricos de la música de concierto europea.

Resumen Un sector muy importante de la juventud boliviana está vinculado al patrimonio inmaterial de Bolivia mediante el folclore y por su participación en las fiestas colectivas bolivianas, como actor o como espectador. Muchos de esos jóvenes son estudiantes de todas las universidades del país, fenómeno que se manifiesta especialmente en las entradas folclóricas universitarias, pero también en otras festividades populares. Este fenómeno surgió a fines de la década de los setenta, creció en la década de los ochenta y se multiplicó desde la década de los noventa. Las culturas folclóricas juveniles universitarias no son simplemente una moda sino un movimiento de larga duración. Por eso, las entradas universitarias son consideradas patrimonio vivo e inmaterial de Bolivia. Las culturas juveniles folclóricas se constituyen en uno de los principales protagonistas vivos para la salvaguarda de nuestro patrimonio folclórico.

Abstract A very important part of the Bolivian youth is linked to Bolivia’s intangible heritage through folklore and through their participation in Bolivian collective festivities, as actors or spectators. Many of these young people are university students from all the universities in the country, a phenomenon that is especially evident in the university folkloric entries, but also in other popular festivities. This phenomenon emerged in the late 1970s, grew in the 1980s and multiplied since the 1990s. College youth folk cultures are not just a fad but a long-lasting movement. That is why the university entries are considered Bolivia’s living and intangible heritage. The folkloric youth are one of the main living protagonists for the safeguarding of our folkloric heritage.

According to several documents preserved in the Fondo Pablo Garrido –Research and Documentation Center, University of Chile–, we herein present a contextual analysis of the critique and research texts on folklore by Chilean musician and musicologist Pablo Garrido Vargas, and of the respective approaches and actions that he undertook in the cultural policies field, from the year 1928 –the beginning of his career as a journalist– to 1944 –when he joined the Dirección General de Información y Cultura, at the Chilean Ministry of Interior. This article tracks down the notion of “social function” that Garrido applied to musical folklore, for which we have approached his initial career as a music critic and cultural journalist, researcher and scholar, musician –composer and performer–, agent, union leader, and sympathizer for the Frente Popular. It is of particular interest, in this sense, his conflicted relation with the musical establishment embodied by the Universidad de Chile –regarding which we propose a hypothesis about the upbringing of folklore under its wing–; a general outline of his political, social and aesthetic positions, and a brief exposition of the Afrocentrist thesis he devised on the origins of the Chilean cueca.

Sobre la base de diversos documentos resguardados por el Fondo Pablo Garrido –Centro de Documentación e Investigación Musical, Universidad de Chile–, ofrecemos un análisis contextual de los textos críticos e investigativos acerca de folclor del músico y musicólogo chileno Pablo Garrido Vargas y de sus respectivos planteamientos y acciones, en el plano político-cultural, entre 1928 –el comienzo de su carrera periodística– y 1944 –cuando ingresó a la Dirección General de Información y Cultura, Ministerio del Interior de Chile–. Este artículo rastrea la noción de “función social” que Garrido aplicó al folclor musical, para ello abordamos su trayectoria inicial como crítico musical y periodista cultural, investigador y académico, músico –compositor e intérprete–, gestor, dirigente sindical y simpatizante del Frente Popular. Particularmente relevante nos parece una lectura de su conflictiva relación con la oficialidad musical de la Universidad de Chile –a cuyo propósito planteamos una hipótesis acerca del desarrollo del folclor a su alero–; una reseña general de sus posiciones política, social y estética y la exposición somera de la tesis afrocéntrica que elaboró en torno al origen de la cueca chilena.

Resumo A tradição de La Llorona, a mulher que lamentase, é um arquétipo geral nas culturas latino-americanas. Embora as histórias de La Llorona variem por país e região, a narração mais comum está associada ao folclore mexicano, no qual uma mulher angustiada chora por seus filhos afogados; em algumas versões, a morte é o resultado de sua ira assassina por ser traída por seu amante; em outros, a morte é o resultado de um acidente. Tradicionalmente, essas histórias servem como contos de advertência, muitas vezes posicionando as Latinas como forças trágicas em suas comunidades (Morales, 2010). No entanto, especialistas chicanos reconceptualizaram La Llorona como um símbolo do poder feminista. Este estudo autoetnográfico reflete sobre a história de La Llorona como uma metáfora para a "resistência das mulheres Latinas" na sociedade (Anzaldúa, 1987, p. 33) ou como Morales (2010, p. 3) afirma, "o voz clamando contra a injustiça". Especialmente a través da aplicação da teoria feminista chicana / latina e da epistemologia crítica, as autoras exploram os trabalhos de Gloria Anzaldúa, Nela Martínez Espinosa, Dolores Huerta e Nisia Floresta, que como autoras e políticas feministas Latinas usaram suas vozes para combater injustiças sociais em suas comunidades, e os autores refletem sobre como essas heroínas influenciaram suas próprias identidades como "mulheres que lamentam- se", como educadoras Latinas feministas que trabalham para uma pedagogia em prol da justiça social.

Resumen La tradición de La Llorona, la mujer que se lamenta, es un arquetipo generalizado en las culturas latinoamericanas. Si bien las historias de la Llorona varían según el país y la región, la narración más común está asociada con el folklore mexicano, en el cual una mujer angustiada llora por sus hijos ahogados; en algunas versiones, la muerte es el resultado de su ira asesina al ser traicionada por su amante; en otros, la muerte es el resultado de un accidente. Estas historias han servido tradicionalmente como cuentos de advertencia, a menudo posicionando a las latinas como fuerzas trágicas dentro de sus comunidades (Morales, 2010). Sin embargo, los especialistas chicanos han reconceptualizado a La Llorona como símbolo de poder feminista. Este estudio autoetnográfico reflexiona en base a la historia de La Llorona como una metáfora de la "resistencia de la mujer latina” en la sociedad (Anzaldúa, 1987, p. 33), o como afirma Morales (2010, p. 3) "la voz que clama contra la injusticia ". En especial a través de la aplicación de la teoría feminista Chicana/Latina y la epistemología crítica, las autoras exploran los trabajos de Gloria Anzaldúa, Nela Martínez Espinosa, Dolores Huerta y Nisia Floresta, las cuales como autoras y políticas Latinas feministas han utilizado sus voces para luchar contra las injusticias sociales en sus comunidades. Además, las autoras reflexionan sobre cómo estas heroínas han influenciado sus propias identidades como "mujeres que se lamentan", como feministas Latinas educadoras que trabajan por una pedagogía en favor de la justicia social.

Abstract The lore of La Llorona, the woman who wails, is a pervasive archetype in Latin American cultures. While stories vary by country and region, the most common telling is associated with Mexican folklore, in which an anguished woman cries for her drowned children-in some retellings, their death results from her murderous rage at being betrayed by her lover; in others their deaths result from an accident. These stories have traditionally served as cautionary tales, often positioning Latinas as tragic forces within their communities (Morales, 2010); however, Chicana scholars have reconceptualized La Llorona to symbolize a feminist power. This autoethnographic study reflects on the lore of La Llorona as a metaphor for a Latina’s “resistance in society” (Anzaldúa, 1987, p.33) or as Morales (2010, p.3) states, “the voice who cries out against injustice”. Specifically, through the application of Chicana/Latina feminist and critical epistemologies, the authors explore the works of Gloria Anzaldúa, Nela Martinez Espinosa, Dolores Huerta, and Nisia Floresta- Latina feminist authors and politicians, who have used their voices to fight injustices within their communities. Furthermore, the authors reflect upon how these heroines have influenced their own identities as “women who wail”-as feminist Latina educators who work toward a pedagogy for social justice.

Resumen En este artículo se presentan los resultados del «Primer sondeo sobre personajes mitológicos del Paraguay», realizado por la Fundación Tapé Avirú, a través de su página web, en el año 2020, sobre 12 mitos conocidos en Paraguay y el área guaranítica (parte de Argentina, Bolivia y Brasil). La encuesta contó con la participación de 4.015 informantes, casi todos localizados en el país. La gran mayoría han sido mujeres, adultos jóvenes, provenientes de un ambiente urbano, con formación universitaria y el castellano como lengua materna. Los resultados globales indican una convergencia en cuanto a conocimiento o creencia de los mitos entre los participantes de la muestra: 99 % afirma conocer uno o más de los mitos investigados, 63,9 % cree en uno o más, 48,7 % afirma haber tenido experiencia directa con uno de ellos y 98 % pudo dar una descripción física y no física de los personajes. Así, los mitos se mantienen como un espacio de identidad propia compartida por la mayoría de los paraguayos consultados, ante un mundo cada vez más diversificado en materia de creencias.

Abstract This article presents the results of the «First survey on mythological characters of Paraguay», carried out by the Tapé Avirú Foundation, through its website, in 2020, on 12 myths known in Paraguay and the Guaranitic area (part of Argentina, Bolivia and Brazil). 4,015 informants took part in the survey, almost all of them located in the country. The vast majority were women, young adults, from an urban environment, with university education and Spanish as their mother tongue. The overall results indicate a convergence in knowledge or belief of the myths among the participants in the sample: 99% claim to know one or more of the myths investigated, 63.9% believe in one or more, 48.7% claim to have had direct experience with one of them and 98% were able to give a physical and non-physical description of the characters. Thus, myths remain a space of self-identity shared by the majority of Paraguayans consulted, in the face of an increasingly diversified world when it comes to beliefs.

Abstract Indigenous peoples and traditional communities prioritize social and interactive relationships between humans and non-humans in which natural beings like animals, plants, fungi, rivers, waterfalls, rocks, caves or mountains are imbued with spirits, subjectivities and reflective awareness. According to the cosmological perceptions of different cultures, elemental or enteal beings directly or indirectly act in the regulation of anthropic activities, guiding the behavior of individuals who enter various natural spaces for activities such as hunting, fishing, gathering, cultivation and recreation. This review of the literature in the Google Scholar and Scientific Electronic Library Online (SciELO) databases from January to July 2021 addresses the entities that act as guardians of nature and resources, especially animal species that are hunted. Special attention is directed to two of the best-known protective entities in Brazil: Curupira and Caipora. The combination of spirituality and ecology is essential to understand and support local beliefs and, in turn, implement ecologically-based strategies for rational conservation of natural resources and maintenance of the rich biocultural heritage associated with them. nonhumans non animals plants fungi rivers waterfalls rocks spirits awareness cultures hunting fishing gathering recreation SciELO (SciELO 202 hunted bestknown best known Brazil Caipora turn ecologicallybased ecologically based them 20 2

Resumo Povos indígenas e comunidades tradicionais dão prioridade às relações sociais e interativas entre humanos e não humanos, em que entes naturais, como animais, plantas, fungos, rios, cachoeiras, rochas, cavernas ou montanhas, estão imbuídos de espíritos, com subjetividades e consciência reflexiva. De acordo com as cosmopercepções de diferentes culturas, os seres elementais ou enteais atuam direta ou indiretamente na regulação de atividades antrópicas, guiando o comportamento dos indivíduos que adentram espaços naturais diversos, para fins de caça, pesca, coleta, cultivo, recreação etc. Por meio de uma revisão comparada de bibliografia obtida nas bases de dados Google Scholar e Scientific Electronic Library Online (SciELO), no período de janeiro a julho de 2021, o presente artigo discute acerca dos entes que exercem a função de guardiões da natureza e dos recursos, especialmente das espécies animais de interesse cinegético (caça). Uma atenção especial é direcionada a duas das entidades protetoras mais conhecidas no imaginário brasileiro: Curupira e Caipora. Torna-se premente conceber a união da espiritualidade com a ecologia, objetivando entender e apoiar as crenças locais, a fim de implementar estratégias ecologicamente embasadas para alcançar tanto a conservação racional dos recursos naturais quanto a manutenção do rico patrimônio biocultural a eles associada. plantas fungos rios cachoeiras rochas montanhas espíritos reflexiva culturas antrópicas diversos caça pesca coleta cultivo etc SciELO, SciELO , (SciELO) 2021 caça. . (caça) brasileiro Caipora Tornase Torna se ecologia locais associada (SciELO 202 (caça 20 2

ABSTRACT Following details and marginal data in the available bibliography and archives, we focus on the interrelationship of two unfinished folkloric collections: “Cancioneiro caipira”, by Amadeu Amaral, and “Na pancada do ganzá”, by Mário de Andrade, conceived respectively in the 1920s and 1930s. As active writers based in São Paulo and interested in artistic creation and traditional popular cultures, their paths crossed in the environment in which modernism developed. The paper analyzes this interrelationship and sheds light on links of continuity in the modernist visions of popular traditions and Brazilian folklore. archives collections Cancioneiro caipira, caipira , caipira” Amaral Na ganzá, ganzá ganzá” Andrade s 1930s cultures developed folklore

RESUMO Seguindo detalhes e dados marginais encontrados na bibliografia e nos acervos disponíveis, enfocamos a inter-relação de dois cancioneiros inacabados: “Cancioneiro caipira”, de Amadeu Amaral, e “Na pancada do ganzá”, de Mário de Andrade, concebidos respectivamente nos anos 1920 e 1930. Como ativos escritores sediados em São Paulo e interessados na criação artística e nas culturas populares tradicionais, seus caminhos se cruzaram nos ambientes em que se desenvolveu o modernismo. O artigo analisa esse relacionamento e lança luz sobre elos de continuidade nas visões modernistas das tradições populares e do folclore brasileiro. disponíveis interrelação inter relação inacabados Cancioneiro caipira, caipira , caipira” Amaral Na ganzá, ganzá ganzá” Andrade 192 1930 tradicionais modernismo brasileiro 19 193 1