La presente investigación tuvo como objetivo analizar la influencia de la Organización Nacional de Mujeres Indígenas Andinas y Amazónicas del Perú (ONAMIAP) y la Central de Comunidades Nativas de la Selva Central (CECONSEC) en el proceso de toma de decisiones de la Organización de Mujeres Indígenas Asháninkas de la Selva Central (OMIAASEC). Para lograrlo se entrevistó a las mujeres indígenas participantes de OMIAASEC, a representantes de otras organizaciones indígenas, a miembros de ONGs y ex autoridades. Además, se realizó un trabajo de campo en la Selva Central de Pichanaqui, para conversar con la presidenta de la organización. Se llegó a la conclusión de que tanto CECONSEC y ONAMIAP, son stakeholders de OMIAASEC, que, por sus atributos de poder, tienen la capacidad de influir en el proceso de toma de decisión de ésta última organización.

La presente investigación tuvo como objetivo analizar la influencia de la Organización Nacional de Mujeres Indígenas Andinas y Amazónicas del Perú (ONAMIAP) y la Central de Comunidades Nativas de la Selva Central (CECONSEC) en el proceso de toma de decisiones de la Organización de Mujeres Indígenas Asháninkas de la Selva Central (OMIAASEC). Para lograrlo se entrevistó a las mujeres indígenas participantes de OMIAASEC, a representantes de otras organizaciones indígenas, a miembros de ONGs y ex autoridades. Además, se realizó un trabajo de campo en la Selva Central de Pichanaqui, para conversar con la presidenta de la organización. Se llegó a la conclusión de que tanto CECONSEC y ONAMIAP, son stakeholders de OMIAASEC, que, por sus atributos de poder, tienen la capacidad de influir en el proceso de toma de decisión de ésta última organización.

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...