Sesiones parale<strong>la</strong>s / Parall<strong>el</strong> sessionsreal <strong>en</strong>vironm<strong>en</strong>t to g<strong>en</strong>erate a new docum<strong>en</strong>t adapted to the non-sci<strong>en</strong>tificpublic.In this way it could arrive at a methodology able to chann<strong>el</strong> a real disseminationof regional to national and international lev<strong>el</strong>s, an without the col<strong>la</strong>borationof this new figure of Communicator.Sirok, KajaVeinte años <strong>de</strong>spués: La <strong>de</strong>finición <strong>de</strong> <strong>la</strong> i<strong>de</strong>ntidad eslov<strong>en</strong>a.La <strong>historia</strong> <strong>oral</strong> <strong>en</strong> <strong>la</strong> exposición ¿Has estadoalguna vez <strong>en</strong> Trig<strong>la</strong>v?»Slov<strong>en</strong>ian I<strong>de</strong>ntity is somebody who is comp<strong>la</strong>ining a lot about more or lesseverything but would not do anything <strong>el</strong>se apart from comp<strong>la</strong>ining about it!«. Shesmiles and continues: I’m not proud to be anything connected to any country,because I think this is the least important thing wh<strong>en</strong> it comes to my i<strong>de</strong>ntity.« //Interview with a Stu<strong>de</strong>nt; June 2011//In 2011, wh<strong>en</strong> Slov<strong>en</strong>ia was moving towards the 20th anniversary of in<strong>de</strong>p<strong>en</strong><strong>de</strong>nce,many »national« exhibitions were put on, personal memories recor<strong>de</strong>d/highlighted,new historical narratives produced and new movies directed.It all revolved around the narrative of the fight, the <strong>de</strong>f<strong>en</strong>se and the creation ofour national i<strong>de</strong>ntity. But what is i<strong>de</strong>ntity? What does it mean to be Slov<strong>en</strong>ian?Is it your birthp<strong>la</strong>ce, your passport, the <strong>la</strong>nguage perhaps? Is it about attitu<strong>de</strong>,habits, food? In or<strong>de</strong>r to find solutions we asked stu<strong>de</strong>nts of the Visual CommunicationDepartm<strong>en</strong>t /Cultural Heritage/ these questions and asked themto give their own and family/fri<strong>en</strong>ds view about Slov<strong>en</strong>ia and its i<strong>de</strong>ntity.The exhibition Have you ever be<strong>en</strong> on Trig<strong>la</strong>v?, inaugurated 23. 6. 2011, attemptsto craft answers via audiovisual means, photographs, personal accounts thatt<strong>el</strong>l the various tales about growing up in Slov<strong>en</strong>ia and creating a Slov<strong>en</strong>iani<strong>de</strong>ntity (Trig<strong>la</strong>v is the highest mountain in Slov<strong>en</strong>ia and it is the symbol of theSlov<strong>en</strong>e nation). The photographs t<strong>el</strong>l stories that hardly fit in the old, dustymold of paradigms, taboos and i<strong>de</strong>as about i<strong>de</strong>ntity.A distinct emphasis is p<strong>la</strong>ced on the fact that the younger g<strong>en</strong>eration talksabout their pres<strong>en</strong>t situation via photographs and personal recounts and interviewsin a critical way, exposing and blowing away the stereotypical viewon Slov<strong>en</strong>ians as “good-hearted, op<strong>en</strong>, honest and hard-working people”. Toquote the exhibition: “What’s the Slov<strong>en</strong>ian national sport? ENVY.””La i<strong>de</strong>ntidad eslov<strong>en</strong>a es repres<strong>en</strong>tada por algui<strong>en</strong> que se queja mucho, máso m<strong>en</strong>os acerca <strong>de</strong> todo. Sin embargo, ¡no haría nada más aparte <strong>de</strong> quejarsesobre <strong>el</strong>lo!”. El<strong>la</strong> sonríe y continúa: »No estoy nada orgullosa <strong>de</strong> ser conectada acualquier país, porque creo que esto es lo m<strong>en</strong>os importante cuando se trata <strong>de</strong>mi i<strong>de</strong>ntidad “// Entrevista con una estudiante, junio 2011 //.En 2011, cuando Eslov<strong>en</strong>ia se estaba acercando hacia <strong>el</strong> 20 aniversario <strong>de</strong> <strong>la</strong>in<strong>de</strong>p<strong>en</strong><strong>de</strong>ncia, se repres<strong>en</strong>taron muchas exposiciones “nacionales”, se grabaron/ resaltaron muchos recuerdos personales, se produjeron narrativashistóricas y p<strong>el</strong>ícu<strong>la</strong>s nuevas. Todo giraba <strong>en</strong> torno a <strong>la</strong> narrativa <strong>de</strong> <strong>la</strong> lucha,<strong>la</strong> <strong>de</strong>f<strong>en</strong>sa y <strong>la</strong> creación <strong>de</strong> nuestra i<strong>de</strong>ntidad nacional. Pero, ¿qué es <strong>la</strong> i<strong>de</strong>ntidad?¿Qué significa ser eslov<strong>en</strong>o? ¿El lugar <strong>de</strong> nacimi<strong>en</strong>to, <strong>el</strong> pasaporte, <strong>el</strong>idioma, tal vez? ¿Será <strong>la</strong> cuestión <strong>de</strong> <strong>la</strong> actitud, los hábitos, <strong>la</strong> comida? Con <strong>el</strong>fin <strong>de</strong> <strong>en</strong>contrar soluciones pedimos a los estudiantes <strong>de</strong> los <strong>de</strong>partam<strong>en</strong>tos<strong>de</strong> Comunicación Visual / Patrimonio Cultural / estas preguntas y les pedimossu propia opinión y <strong>la</strong> <strong>de</strong> <strong>la</strong> familia / amigos sobre Eslov<strong>en</strong>ia y su i<strong>de</strong>ntidad.La exposición ¿Has estado alguna vez <strong>en</strong> Trig<strong>la</strong>v?, cuya inauguración fue <strong>el</strong> 23<strong>de</strong> junio <strong>de</strong> 2011, int<strong>en</strong>ta e<strong>la</strong>borar respuestas a través <strong>de</strong> medios audiovisuales,fotografías, testimonios personales que narran varias <strong>historia</strong>s sobre crecer <strong>en</strong>Eslov<strong>en</strong>ia y sobre <strong>la</strong> creación <strong>de</strong> una i<strong>de</strong>ntidad eslov<strong>en</strong>a (Trig<strong>la</strong>v es <strong>la</strong> montañamás alta <strong>de</strong> Eslov<strong>en</strong>ia y es <strong>el</strong> símbolo <strong>de</strong> <strong>la</strong> nación eslov<strong>en</strong>a). Las fotografíascu<strong>en</strong>tan <strong>historia</strong>s que difícilm<strong>en</strong>te <strong>en</strong>cajan <strong>en</strong> <strong>el</strong> mol<strong>de</strong> viejo y polvori<strong>en</strong>to <strong>de</strong>los paradigmas, los tabúes y <strong>de</strong> <strong>la</strong>s i<strong>de</strong>as acerca <strong>de</strong> <strong>la</strong> i<strong>de</strong>ntidad.Un énfasis distintivo se coloca <strong>en</strong> <strong>el</strong> hecho <strong>de</strong> que <strong>la</strong>s g<strong>en</strong>eraciones jóv<strong>en</strong>es narransu situación actual a través <strong>de</strong> fotografías, re<strong>la</strong>tos personales y <strong>en</strong>trevistas<strong>de</strong> una manera crítica, exponi<strong>en</strong>do y refutando <strong>la</strong> visión estereotípica sobre loseslov<strong>en</strong>os como <strong>de</strong> “g<strong>en</strong>te <strong>de</strong> bu<strong>en</strong> corazón, abierta, honesta y trabajadora”.En pa<strong>la</strong>bras <strong>de</strong> <strong>la</strong> exposición: “¿Cuál es <strong>el</strong> <strong>de</strong>porte nacional eslov<strong>en</strong>o? ENVIDIA.”Pronsato, Car<strong>la</strong> Verónica“Nosso amigo Radamés Gnattali”: Memorias <strong>de</strong> unatrayectoria musicalEn este articulo analizamos <strong>la</strong> importancia <strong>de</strong>l ví<strong>de</strong>o docum<strong>en</strong>tal “Nosso amigoRadamés Gnattali”, dirigido por Aluísio Didier, como fu<strong>en</strong>te <strong>de</strong> rescate <strong>de</strong>una práctica musical que int<strong>en</strong>ta aproximar <strong>la</strong> distancia <strong>en</strong>tre <strong>la</strong> música popu<strong>la</strong>ry <strong>la</strong> erudita, <strong>en</strong> dialogo con grabaciones <strong>en</strong> CDs <strong>de</strong> este compositor, suspartituras musicales y <strong>en</strong>trevistas concedidas por él.En este s<strong>en</strong>tido, uno <strong>de</strong> los objetivos <strong>de</strong> este artículo es analizar aspectos <strong>de</strong> <strong>la</strong>creación musical implícitas <strong>en</strong> <strong>el</strong> proceso creativo <strong>de</strong> Radamés Gnattali (1906-1988) que permitan <strong>la</strong> compr<strong>en</strong>sión <strong>de</strong> su tránsito <strong>en</strong>tre lo erudito e lo popu<strong>la</strong>r<strong>en</strong> <strong>la</strong> música brasileña.Para esto, consi<strong>de</strong>ramos su obra <strong>en</strong> <strong>el</strong> contexto histórico y cultural <strong>de</strong> suépoca, focalizando, principalm<strong>en</strong>te su arreglo para dos pianos realizadosobre <strong>la</strong> música compuesta por Tom Jobim <strong>en</strong> su hom<strong>en</strong>aje: “Meu amigoRadamés” (años 1970), <strong>en</strong>t<strong>en</strong>di<strong>en</strong>do un arreglo musical como una re-creación.El análisis <strong>de</strong> esas fu<strong>en</strong>tes posibilita también <strong>la</strong> contribución para <strong>el</strong> rescate<strong>de</strong> <strong>la</strong> memoria e <strong>de</strong> <strong>la</strong> i<strong>de</strong>ntidad <strong>en</strong> re<strong>la</strong>ción a <strong>la</strong> música brasileña que incluye,por su carácter, s<strong>en</strong>sibilida<strong>de</strong>s específicas y como tales experi<strong>en</strong>cias <strong>de</strong> construcción<strong>de</strong> trayectoria pue<strong>de</strong>n iluminar <strong>la</strong> articu<strong>la</strong>ción <strong>en</strong>tre <strong>la</strong> música eruditay <strong>la</strong> popu<strong>la</strong>r, <strong>en</strong>tre lo macro social y lo micro especifico.In this article we analyzed the importance of the docum<strong>en</strong>tary “Our fri<strong>en</strong>d RadamésGnatali”, directed by Aluísio Didier and Moisés K<strong>en</strong>dler, as a source ofrecovery of a musical practice which tries to approach the distance betwe<strong>en</strong>popu<strong>la</strong>r music and c<strong>la</strong>ssical music, in dialogue with recordings on CD´s of thiscomposer, his music notes and interviews giv<strong>en</strong> by him.In this s<strong>en</strong>se, one of the purposes of this article is to analyze implicit aspectsof musical creation in the creative process of Radamés Gnattali (1906-1988)<strong>en</strong>abling the compreh<strong>en</strong>sion of his transit betwe<strong>en</strong> c<strong>la</strong>ssical and popu<strong>la</strong>r Brazilianmusic.For this we consi<strong>de</strong>r his work, in the historical and cultural context of his time,mainly focusing on his arrangem<strong>en</strong>t for two pianos performed on the musiccomposed by Tom Jobim in his honor: “My fri<strong>en</strong>d Radames” (around 1970), un<strong>de</strong>rstandinga musical arrangem<strong>en</strong>t as a re-creation.The analysis of these sources may also contribute to the recovery of memoryand i<strong>de</strong>ntity in re<strong>la</strong>tion to Brazilian music, that inclu<strong>de</strong>s, by its character, specifics<strong>en</strong>sitivities and how such experi<strong>en</strong>ces of construction of journey can illuminatethe articu<strong>la</strong>tion betwe<strong>en</strong> c<strong>la</strong>ssical and popu<strong>la</strong>r music, betwe<strong>en</strong> macroand micro social.LEAL, Cristiano GuerraFotografía y <strong>de</strong>posición <strong>oral</strong> <strong>en</strong> <strong>la</strong> recomposición <strong>de</strong><strong>la</strong> memoria esco<strong>la</strong>r. La trajetória <strong>de</strong> creación <strong>de</strong> <strong>la</strong>FUVS/Univás <strong>en</strong> Pouso Alegre-MG (1964-1984)El uso <strong>de</strong> <strong>la</strong>s <strong>historia</strong>s <strong>de</strong> <strong>la</strong> fotografía y <strong>la</strong> vida, ci<strong>en</strong>cias sociales, hay nuevaspreguntas y no libre o inexactitu<strong>de</strong>s, sin embargo su uso como fu<strong>en</strong>te <strong>de</strong> informaciónprovi<strong>en</strong>e, a través <strong>de</strong>l tiempo, convirtiéndose <strong>en</strong> una herrami<strong>en</strong>taimportante para <strong>de</strong>sbloquear <strong>la</strong>s interacciones sociales y los procesos <strong>de</strong>formación <strong>de</strong> <strong>la</strong> i<strong>de</strong>ntidad colectiva e individual. Como <strong>la</strong> interacción <strong>de</strong> estosdos docum<strong>en</strong>tos originales <strong>de</strong> gran valor para <strong>el</strong> proceso <strong>de</strong> formación <strong>de</strong> <strong>la</strong>memoria y <strong>el</strong> análisis <strong>de</strong> <strong>la</strong> escue<strong>la</strong>. Esta opción es <strong>la</strong> <strong>de</strong> complem<strong>en</strong>tar <strong>la</strong> investigaciónllevada a cabo <strong>en</strong> <strong>el</strong> FUVS / Univ, que t<strong>en</strong>ía prioridad como un docum<strong>en</strong>to<strong>de</strong> orig<strong>en</strong> a <strong>la</strong>s lecturas <strong>de</strong> los docum<strong>en</strong>tos escritos, registros y libros<strong>de</strong> texto. Que ofrece <strong>la</strong> interacción <strong>de</strong> estas fu<strong>en</strong>tes <strong>en</strong> <strong>el</strong> proceso <strong>de</strong> interpretación<strong>de</strong> los recuerdos y <strong>la</strong>s conservará <strong>de</strong> los actores sociales que han experim<strong>en</strong>tado<strong>la</strong> aplicación <strong>de</strong> <strong>la</strong> Fundación <strong>de</strong> <strong>la</strong> Universidad <strong>de</strong>l Valle Sapucaí, quepatrocina <strong>la</strong> Universidad <strong>de</strong> Vale do Sapucaí - Universidad - <strong>en</strong> Pouso Alegre,MG. La <strong>en</strong>cuesta fue realizada a partir <strong>de</strong>l conjunto <strong>de</strong> docum<strong>en</strong>tos consta <strong>de</strong><strong>la</strong>s fotografías producida y acumu<strong>la</strong>da <strong>en</strong> <strong>el</strong> proceso <strong>de</strong> <strong>la</strong> práctica habitual <strong>de</strong><strong>la</strong> creación <strong>de</strong> FUVS / Univ. De continuar con <strong>el</strong> levantami<strong>en</strong>to <strong>de</strong> <strong>la</strong>s imág<strong>en</strong>escon <strong>el</strong> archivo institucional, que los separa y organizar.——————————————————————————————————————————————MICROCINE – Docum<strong>en</strong>talesRuna Kuti. Indíg<strong>en</strong>as urbanosDailos Batista y Paloma Castaño——————————————————————————————————————————————C<strong>en</strong>tro Cultural <strong>de</strong> <strong>la</strong> Cooperación——————————————————————————————————————————————Subtema / Subteme 4Géneros, memoria y política / G<strong>en</strong><strong>de</strong>r, memory andpoliticsSa<strong>la</strong> Jacobo Laks - Mesa / Session 14Coordinan / Chair: Cristina Viano, Luciana Seminara y RobsonLaverdi——————————————————————————————————————————————28
Sesiones parale<strong>la</strong>s / Parall<strong>el</strong> sessionsLLONA, Mir<strong>en</strong>La reg<strong>en</strong>eración <strong>de</strong>l cuerpo obrero y <strong>el</strong> pap<strong>el</strong> <strong>de</strong> <strong>la</strong>madre consci<strong>en</strong>te: instrucción, salud e higi<strong>en</strong>e durant<strong>el</strong>os años treinta <strong>en</strong> <strong>el</strong> País Vasco (España)My int<strong>en</strong>tion is to analyze how the i<strong>de</strong>als of femininity changed among wom<strong>en</strong>of the working c<strong>la</strong>sses in the Basque Country (Spain) in the early tw<strong>en</strong>tiethc<strong>en</strong>tury. This was a period of significant economic <strong>de</strong>v<strong>el</strong>opm<strong>en</strong>t and <strong>de</strong>finitionof new cultural patterns. I’ll try to explore, specifically, the awak<strong>en</strong>ing of thes<strong>en</strong>se of social right among working wom<strong>en</strong>.My working hypothesis is that the concept of social citiz<strong>en</strong>ship for wom<strong>en</strong> joineds<strong>el</strong>f-managem<strong>en</strong>t issues of their own body with new mo<strong>de</strong>ls of family organizationand new approaches of re<strong>la</strong>tionships betwe<strong>en</strong> the sexes. From thispoint of view, my study of the <strong>de</strong>v<strong>el</strong>opm<strong>en</strong>t of social citiz<strong>en</strong>ship, in the contextof advances in social legis<strong>la</strong>tion and <strong>la</strong>bor and health reforms, seeks to explorethe <strong>de</strong>v<strong>el</strong>opm<strong>en</strong>t of new structures of fe<strong>el</strong>ing of femininity and masculinity,which are both on the basis of the transformation of the mo<strong>de</strong>rn family and themo<strong>de</strong>rnization of the concept of social and individual w<strong>el</strong>fare.My int<strong>en</strong>tion is to search the g<strong>en</strong>esis of a new feminine figure among the workingc<strong>la</strong>sses, the conscious mother, a mo<strong>de</strong>l of femininity that required a significantprogress of the <strong>de</strong>bate about the family wage. I’ll try to <strong>de</strong>tect in wom<strong>en</strong>’sconsciousness the beginning of a new i<strong>de</strong>al of responsible par<strong>en</strong>thood, linkedto the figure of the male bread-winner. I’ll also try to <strong>de</strong>termine to which ext<strong>en</strong>tworking-c<strong>la</strong>ss wom<strong>en</strong> took as social progress and as a feature of mo<strong>de</strong>rnizationtheir withdrawal from the <strong>la</strong>bor market and their exclusive <strong>de</strong>dication tobuild a working-home.From the methodological point of view, this research will link <strong>oral</strong> testimoniesof working-c<strong>la</strong>ss wom<strong>en</strong> and the main discourses of the socialist culture andthe social reformism of the thirties in the Basque Country (Spain).Mi int<strong>en</strong>ción es analizar cómo cambiaron los i<strong>de</strong>ales <strong>de</strong> feminidad <strong>en</strong>tre <strong>la</strong>smujeres <strong>de</strong> <strong>la</strong>s c<strong>la</strong>ses trabajadoras <strong>en</strong> <strong>el</strong> País Vasco (España), <strong>en</strong> <strong>la</strong>s primerasdécadas <strong>de</strong>l <strong>siglo</strong> XX, un período <strong>de</strong> importantes transformaciones económicas,<strong>de</strong> <strong>de</strong>sarrollo <strong>de</strong> nuevas pautas culturales y <strong>de</strong> <strong>de</strong>finición <strong>de</strong> los primeros<strong>de</strong>rechos sociales.Mi hipótesis <strong>de</strong> trabajo es que <strong>el</strong> concepto <strong>de</strong> ciudadanía social para <strong>la</strong>s mujeresincorporó cuestiones re<strong>la</strong>cionadas con <strong>la</strong> autogestión <strong>de</strong> su propio cuerpo,con nuevas formas <strong>de</strong> organización familiar y con nuevos p<strong>la</strong>nteami<strong>en</strong>tos <strong>de</strong>re<strong>la</strong>ción <strong>en</strong>tre los sexos. Des<strong>de</strong> este punto <strong>de</strong> vista, mi estudio <strong>de</strong>l <strong>de</strong>sarrollo<strong>de</strong> <strong>la</strong> ciudadanía social tratará <strong>de</strong> ver, <strong>en</strong> <strong>el</strong> contexto <strong>de</strong> los avances <strong>de</strong> <strong>la</strong>legis<strong>la</strong>ción social, <strong>la</strong>s reformas <strong>la</strong>b<strong>oral</strong>es y sanitarias, <strong>el</strong> <strong>de</strong>sarrollo <strong>de</strong> nuevasestructuras <strong>de</strong> s<strong>en</strong>tir <strong>la</strong> feminidad y <strong>la</strong> masculinidad, que están, tanto <strong>en</strong> <strong>la</strong> base<strong>de</strong> <strong>la</strong> transformación <strong>de</strong> <strong>la</strong> familia, como <strong>de</strong> <strong>la</strong> mo<strong>de</strong>rnización <strong>de</strong>l concepto <strong>de</strong>bi<strong>en</strong>estar social e individual.Mi int<strong>en</strong>ción es avanzar <strong>en</strong> <strong>la</strong> génesis <strong>de</strong> <strong>la</strong> figura <strong>de</strong> <strong>la</strong> madre consci<strong>en</strong>te <strong>en</strong>tre<strong>la</strong>s c<strong>la</strong>ses trabajadoras, un mo<strong>de</strong>lo <strong>de</strong> feminidad que requería para su realización<strong>de</strong> avances significativos respecto al <strong>de</strong>bate sobre <strong>el</strong> sa<strong>la</strong>rio familiar.Int<strong>en</strong>taré <strong>de</strong>tectar <strong>la</strong> gestación <strong>en</strong> <strong>la</strong> conci<strong>en</strong>cia fem<strong>en</strong>ina <strong>de</strong> un nuevo i<strong>de</strong>al<strong>de</strong> paternidad responsable, ligado a <strong>la</strong> figura <strong>de</strong>l cabeza <strong>de</strong> familia masculino.También trataré <strong>de</strong> <strong>de</strong>terminar hasta qué punto <strong>la</strong>s mujeres <strong>de</strong> <strong>la</strong>s c<strong>la</strong>sestrabajadoras asumieron como un avance social y un rasgo <strong>de</strong> mo<strong>de</strong>rnizaciónsu retirada <strong>de</strong>l mercado <strong>la</strong>b<strong>oral</strong> y como un i<strong>de</strong>al <strong>de</strong> progreso su <strong>de</strong>dicación <strong>en</strong>exclusiva a <strong>la</strong> construcción <strong>de</strong> un hogar obrero.Des<strong>de</strong> <strong>el</strong> punto <strong>de</strong> vista metodológico, esta investigación pondrá <strong>en</strong> re<strong>la</strong>ción,testimonios <strong>oral</strong>es <strong>de</strong> mujeres proce<strong>de</strong>ntes <strong>de</strong> <strong>la</strong> cultura obrera <strong>de</strong> <strong>la</strong> época ylos discursos principales <strong>de</strong> <strong>la</strong> cultura socialista y <strong>de</strong>l reformismo social <strong>de</strong> losaños treinta.MACHADO, Van<strong>de</strong>rleiGénero, maternidad y paternidad <strong>en</strong> <strong>la</strong>s memorias<strong>de</strong> militantes que combatieron <strong>la</strong> dictadura cívicomilitar<strong>de</strong> BrasilThis work aim analyze left ex-militants reports (<strong>oral</strong> history interviews andmemory books) that fought against the 1964 Brazil’s dictatorship about thematernity and paternity repres<strong>en</strong>tations of that time. We assume that mothersof the politically persecuted people had important role in clear casesof arrest, r<strong>el</strong>ease <strong>de</strong>mands and <strong>de</strong>nounce the way that their family membershad be<strong>en</strong> treated in police stations. In differ<strong>en</strong>t memory records of thesemothers actuation we can see that the repres<strong>en</strong>tations about the traditionalmaternal role was used for family <strong>de</strong>f<strong>en</strong>se and political actuation. Thesefemale and maternal actuation will be opposed to the paternal actuation forhis own persecuted sons and daughters. We aim to un<strong>de</strong>rstand expectations,limits, possibilities and legitimacy of paternal actuation in cases of imprisonm<strong>en</strong>t,torture, <strong>de</strong>ath and disappearance of oppon<strong>en</strong>ts to the dictatorship.We want recognize differ<strong>en</strong>t strategies that mothers and fathers had practicedin these situations.Miranda Reyes, MarianaLa configuración <strong>de</strong> <strong>la</strong> i<strong>de</strong>ntidad <strong>de</strong> género <strong>de</strong> <strong>la</strong>s mujeresafro<strong>de</strong>sc<strong>en</strong>di<strong>en</strong>tes <strong>de</strong> <strong>la</strong> Costa Chica <strong>de</strong> Oaxaca,MéxicoEl género como i<strong>de</strong>ntidad individualizada es <strong>el</strong> eje <strong>de</strong> este trabajo. El análisisse c<strong>en</strong>tra <strong>en</strong> cómo <strong>la</strong> experi<strong>en</strong>cia <strong>de</strong> participación social y política <strong>de</strong> <strong>la</strong>s mujeresafro<strong>de</strong>sc<strong>en</strong>di<strong>en</strong>tes <strong>de</strong> <strong>la</strong> Costa Chica configura su i<strong>de</strong>ntidad <strong>de</strong> género. Loque quiero mostrar a partir <strong>de</strong> los testimonios es cómo <strong>la</strong> i<strong>de</strong>ntidad <strong>de</strong> género,<strong>en</strong>t<strong>en</strong>dida como <strong>el</strong> ser y estar <strong>en</strong> un contexto <strong>de</strong>terminado, se configura y adquiereun significado difer<strong>en</strong>te <strong>en</strong> cada uno <strong>de</strong> los espacios <strong>de</strong> interacción. Es<strong>de</strong>cir, <strong>en</strong>t<strong>en</strong><strong>de</strong>r que <strong>la</strong> i<strong>de</strong>ntidad <strong>de</strong> género se articu<strong>la</strong> con otras dim<strong>en</strong>sionescomo <strong>la</strong> raza o <strong>la</strong> etnia.AbstractG<strong>en</strong><strong>de</strong>r as individual i<strong>de</strong>ntity is c<strong>en</strong>tral to this work. The analysis focuses onhow the social and political participation of African <strong>de</strong>sc<strong>en</strong>dant wom<strong>en</strong> of theCosta Chica set their g<strong>en</strong><strong>de</strong>r i<strong>de</strong>ntity. I want to show, from the testimonies,how g<strong>en</strong><strong>de</strong>r i<strong>de</strong>ntity, <strong>de</strong>fined as being in a giv<strong>en</strong> context, is set and acquiresa differ<strong>en</strong>t meaning in each space of interaction. It means, un<strong>de</strong>rstanding thatg<strong>en</strong><strong>de</strong>r i<strong>de</strong>ntity is linked to other dim<strong>en</strong>sions such as race or ethnicity.Motta Gonzalez, NancyHistoria <strong>oral</strong> <strong>de</strong> sexualida<strong>de</strong>s y feminida<strong>de</strong>s: construccióni<strong>de</strong>ntitaria <strong>en</strong> mujeres <strong>de</strong> grupos socioculturalesdiversosSe analizan los cambios y continuida<strong>de</strong>s que se pres<strong>en</strong>tan <strong>en</strong> <strong>la</strong>s construccionesi<strong>de</strong>ntitarias fem<strong>en</strong>inas contemporáneas, <strong>de</strong>s<strong>de</strong> <strong>el</strong> ámbito <strong>de</strong> <strong>la</strong>s sexualida<strong>de</strong>s,<strong>de</strong> mujeres negras, transg<strong>en</strong>eristas e indíg<strong>en</strong>as y mestizas-b<strong>la</strong>ncas,pert<strong>en</strong>eci<strong>en</strong>tes a c<strong>la</strong>ses medias, c<strong>la</strong>ses popu<strong>la</strong>res y c<strong>la</strong>se obrera; <strong>de</strong> sectorescampesinos e indíg<strong>en</strong>as <strong>de</strong> resguardo y migrantes indíg<strong>en</strong>as urbanos, <strong>en</strong> <strong>el</strong> surocci<strong>de</strong>nte colombiano.El principal objetivo apunta a registrar procesos <strong>de</strong> subjetivación <strong>en</strong> <strong>la</strong> transformación<strong>de</strong> <strong>la</strong>s distintas feminida<strong>de</strong>s contemporáneas, trabajando conceptualm<strong>en</strong>te<strong>la</strong> interseccionalidad, tales como raza, etnicidad, sexualidad,género, c<strong>la</strong>se social edad y g<strong>en</strong>eración. Metodológicam<strong>en</strong>te se mostrará <strong>la</strong>combinación <strong>de</strong> los <strong>en</strong>foques cualitativos (etnografía e <strong>historia</strong>s <strong>de</strong> vida) concuantitativos (datos <strong>de</strong>mográficos c<strong>en</strong>sales). El eje c<strong>en</strong>tral biográfico <strong>de</strong> <strong>la</strong>s<strong>en</strong>trevistas ha sido <strong>la</strong> vida sexual <strong>de</strong> <strong>la</strong>s mujeres <strong>en</strong> cuatro cohortes g<strong>en</strong>eracionalesy un grupo etáreo que va <strong>de</strong> 20 a 80 años.<strong>Los</strong> testimonios <strong>oral</strong>es muestran los cambios <strong>en</strong> <strong>la</strong>s percepciones sobre <strong>el</strong> cuerpofem<strong>en</strong>ino como experi<strong>en</strong>cia <strong>de</strong> p<strong>la</strong>cer, ya sean experi<strong>en</strong>cias heterosexualesu homosexuales, <strong>la</strong>s nuevas formas <strong>de</strong> viv<strong>en</strong>cia <strong>de</strong> <strong>la</strong> maternidad y <strong>la</strong> valoración<strong>de</strong> los hijos, <strong>la</strong>s re<strong>la</strong>ciones <strong>en</strong>tre p<strong>la</strong>cer y afecto, amor romántico y proyecto<strong>de</strong> vida <strong>de</strong> <strong>la</strong> mujer, <strong>la</strong> construcción <strong>de</strong> <strong>la</strong>s feminida<strong>de</strong>s transg<strong>en</strong>eristas y <strong>de</strong>manera transversal <strong>en</strong> <strong>la</strong>s difer<strong>en</strong>tes condiciones fem<strong>en</strong>inas <strong>la</strong>s re<strong>la</strong>ciones <strong>de</strong>género: f<strong>en</strong>óm<strong>en</strong>os tales como <strong>la</strong> negociación <strong>en</strong> <strong>la</strong>s re<strong>la</strong>ciones <strong>de</strong> po<strong>de</strong>r <strong>en</strong>trehombres y mujeres y cambios <strong>en</strong> <strong>la</strong>s formas <strong>de</strong> dominación patriarcal. Las <strong>historia</strong>s<strong>de</strong> vida dan cu<strong>en</strong>ta <strong>de</strong> <strong>la</strong> trayectoria familiar educativa, <strong>la</strong>b<strong>oral</strong> y participaciónsocial o política <strong>en</strong> organizaciones <strong>de</strong> mujeres o movimi<strong>en</strong>tos socialesétnico-raciales, <strong>en</strong> don<strong>de</strong> <strong>la</strong>s dim<strong>en</strong>siones <strong>de</strong> raza, grupo étnico, g<strong>en</strong>eración yc<strong>la</strong>se social son factores <strong>de</strong>terminantes <strong>de</strong> estas dinámicas.Change and continuity in the contemporary woman i<strong>de</strong>ntity building processesare analysed within the fi<strong>el</strong>d of sexualities of b<strong>la</strong>ck, transg<strong>en</strong><strong>de</strong>r, indig<strong>en</strong>ousand mixed-race wom<strong>en</strong> in the middle and working c<strong>la</strong>ss, in peasant areasand indig<strong>en</strong>ous resguardos, as w<strong>el</strong>l as indig<strong>en</strong>ous migrants to the cities of theColombian southwest.The main objective is to register processes of subjetivation in the transformationof various contemporary womanhoods, by working conceptually theintersection of race, ethnicity, sexuality, g<strong>en</strong><strong>de</strong>r, social c<strong>la</strong>ss, age and g<strong>en</strong>eration.Methodologically, qualitative approaches (ethnography and life stories)will be combined with quantitative ones (using <strong>de</strong>mographic data from thec<strong>en</strong>suses). The c<strong>en</strong>tral axis in the interviews has be<strong>en</strong> the sexual life of wom<strong>en</strong>in four g<strong>en</strong>erational cohorts and an age group from 20 to 80.The <strong>oral</strong> responses show the changes in the perceptions of the female body asa pleasure experi<strong>en</strong>ce, either as hetero or homosexual experi<strong>en</strong>ces, the newways of living motherhood and the worth of childr<strong>en</strong>, the re<strong>la</strong>tionships betwe<strong>en</strong>pleasure and affection, romantic love and feminine life project, the buildingup of transg<strong>en</strong><strong>de</strong>r feminities and, transversally through the various womanconditions in the g<strong>en</strong><strong>de</strong>r re<strong>la</strong>tionships, ph<strong>en</strong>om<strong>en</strong>a such as transactions in thepower re<strong>la</strong>tionships among m<strong>en</strong> and wom<strong>en</strong> and changes in the patriarchal29