This article aims to reflect on a challenging process of artistic creation of collective writing from an anthropological perspective, arising from academic research, around which a clown performance event was built. This scenic event, in turn, proceeded to be transferred from its original live performance format to an audiovisual recording format of that same performance. The transition from a situation of simultaneous presence of the clown and his audience, to another where the corporeal, sensory, emotional participation of the audiences is “mediated” by the production decisions that “compose” a “gaze” expressed by the camera that, as deferred “narrator,” assumes the leadership of an expressive communication process about the human values and emotions defined by a culture, in front of an anonymous audience. Confronting the initial challenge of finding significant express...

This article aims to reflect on a challenging process of artistic creation of collective writing from an anthropological perspective, arising from academic research, around which a clown performance event was built. This scenic event, in turn, proceeded to be transferred from its original live performance format to an audiovisual recording format of that same performance. The transition from a situation of simultaneous presence of the clown and his audience, to another where the corporeal, sensory, emotional participation of the audiences is “mediated” by the production decisions that “compose” a “gaze” expressed by the camera that, as deferred “narrator,” assumes the leadership of an expressive communication process about the human values and emotions defined by a culture, in front of an anonymous audience. Confronting the initial challenge of finding significant express...

This article aims to reflect on a challenging process of artistic creation of collective writing from an anthropological perspective, arising from academic research, around which a clown performance event was built. This scenic event, in turn, proceeded to be transferred from its original live performance format to an audiovisual recording format of that same performance. The transition from a situation of simultaneous presence of the clown and his audience, to another where the corporeal, sensory, emotional participation of the audiences is “mediated” by the production decisions that “compose” a “gaze” expressed by the camera that, as deferred “narrator,” assumes the leadership of an expressive communication process about the human values and emotions defined by a culture, in front of an anonymous audience. Confronting the initial challenge of finding significant express...

Esta investigación constituye una aproximación a las prácticas de recreación histórica. Para ello, se toma el caso de la Asociación de Recreación Histórica de Lima (ARHL). Su experiencia permite profundizar en la complejidad y potencial de la recreación histórica y complejizar la categoría de narrativas hacia prácticas mnemónicas como base de un esfuerzo pedagógico-performativo. De manera transversal al análisis, se ha buscado prestar atención a la relación entre visualidad, imaginario, performance y memoria. Para desarrollar esta aproximación, se siguió un diseño metodológico cualitativo, basado en la aplicación de i) Observación participante, ii) Observación Netnográfica; iii) Encuesta; iv) Entrevista semi-estructurada. Se sostiene que la vocación de aprendizaje-enseñanza transversal a las motivaciones de los asociados atraviesa las diferentes dimensiones de ...

Esta investigación constituye una aproximación a las prácticas de recreación histórica. Para ello, se toma el caso de la Asociación de Recreación Histórica de Lima (ARHL). Su experiencia permite profundizar en la complejidad y potencial de la recreación histórica y complejizar la categoría de narrativas hacia prácticas mnemónicas como base de un esfuerzo pedagógico-performativo. De manera transversal al análisis, se ha buscado prestar atención a la relación entre visualidad, imaginario, performance y memoria. Para desarrollar esta aproximación, se siguió un diseño metodológico cualitativo, basado en la aplicación de i) Observación participante, ii) Observación Netnográfica; iii) Encuesta; iv) Entrevista semi-estructurada. Se sostiene que la vocación de aprendizaje-enseñanza transversal a las motivaciones de los asociados atraviesa las diferentes dimensiones de ...