3. Producción
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Item type:Publication, Girl YouTubers in Peru as economic agents negotiating gender and class identities(SAGE Publications Ltd, 2021-01-01)The study examines the role of children as producers, distributors, and consumers in the digital realm. Additionally, it also explores class and gender identities they create and perform in this modality. We focus on young female YouTubers (8–11 years old) from Peru, a country that has experienced significant economic expansion in the first decades of the 21st century. The study analyzes 40 videos created by five girl YouTubers. The discussion addresses the economic role children perform in the digital economy as they produce value through content creation, distribute goods, and engage in globalized consumption. The paper also discusses the ways girls display gender and class identities in their products and their consumption patterns. Throughout the analysis, we use the key concept of children’s agency; the discussion reveals both the concept’s reach and limitations in the context of consumer culture, gender regimes, and neoliberal policies. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Culture moderates the relationship between self-control ability and free will beliefs in childhood(Elsevier, 2021-05-01)We investigate individual, developmental, and cultural differences in self-control in relation to children's changing belief in “free will” – the possibility of acting against and inhibiting strong desires. In three studies, 4- to 8-year-olds in the U.S., China, Singapore, and Peru (N = 441) answered questions to gauge their belief in free will and completed a series of self-control and inhibitory control tasks. Children across all four cultures showed predictable age-related improvements in self-control, as well as changes in their free will beliefs. Cultural context played a role in the timing of these emerging free will beliefs: Singaporean and Peruvian children's beliefs changed at later ages than Chinese and U.S. children. Critically, culture moderated the link between self-control abilities and free will beliefs: Individual differences in self-control behaviors were linked to individual differences in free will beliefs in U.S. children, but not in children from China, Singapore or Peru. There was also evidence of a causal influence of self-control performance on free will beliefs in our U.S. sample. In Study 2, a randomly assigned group of U.S. 4- and 5-year-olds who failed at two self-control tasks showed reduced belief in free will, but a group of children who completed free will questions first did not show changes to self-control. Together these results suggest that culturally-acquired causal-explanatory frameworks for action, along with observations of one's own abilities, might influence children's emerging understanding of free will. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Social dynamics, gendered subjectivities, and surreptitious acts of agency from women to face intimate partner violence in a rural community of Peru(SAGE Publishing, 2022-12-06)The article analyzes women's inner subjective processes while engaged in male-to-female intimate partner violence (IPV) situations. Through in-depth interviews with 12 women who had suffered violence in a rural community in Peru, it examines three topics: social dynamics that simultaneously contribute to resist within and openly question IPV, the transformations of hegemonic femininity in the community and the implications on their gendered subjectivities, and women's surreptitious acts and processes of agency to recalibrate power within their situation of IPV. In conclusion, women experience inner psychic tensions about themselves, their partners, and their relationships, which enables them to question IPV while resisting within the violent situation. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Macha Caporal: bridging gaps, embodying resistance(Institucio Alfons el Magnanim - Diputacio de Valencia, 2022-01-01)En el presente artículo se explora la práctica y performance de un bloque de Machas Caporal, bailarinas que se apropian del vestuario, movimiento y nombre del personaje masculino de la danza boliviana Caporales. Dada la demarcada estructura de género establecida en la danza Caporales —representada por la pareja del Macho Caporal (personaje masculino) y la Cholita (personaje femenino)—, la aparición de la Macha Caporal como un nuevo rol en la danza ha traído consigo el cuestionamiento social sobre la performance e identidad de las mujeres que bailan como Machas. Partiendo de una investigación etnográfica realizada en 2018 en la ciudad de La Paz y desde una perspectiva de género, en este artículo se analiza cómo la performance de las Machas Caporal revela la disconformidad de las mujeres hacia las normas discriminatorias de género que predominan en el contexto sociocultural boliviano. A partir de los testimonios de un bloque de mujeres y de la descripción de sus contextos de práctica y de sus performances, se revelan las condiciones en las que las mujeres bailan, y se visibilizan dinámicas de desigualdad y violencia presentes en el entorno de las entradas folklóricas de la ciudad de La Paz. Finalmente, se examina cómo el modo de organización de las mujeres en un bloque independiente y su estilo de movimiento pueden entenderse como propuestas de resistencia y acción política en un entorno caracterizado por el machismo y la desigualdad. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, "This democracy is no longer democracy": Protest Art and the aesthetics of subversion in times of political repression in Peru “ESTA DEMOCRACIA YA NO ES DEMOCRACIA”: ARTE DE PROTESTA Y ESTÉTICA DE LA SUBVERSIÓN EN TIEMPOS DE REPRESIÓN POLÍTICA EN PERÚ¹(Universitat de Valencia, Faculty of Philology, Translation and Communication, 2026-07-20)This study examines the transformative role of art in contexts of violence and state repression in Peru, much like what occurs in other Latin American countries. With a critical approach, it investigates how artistic practices subvert official narratives and articulate discourses of resistance that denounce historical inequalities and tensions inherited from processes of colonialism and exclusion. The study focuses on three cultural manifestations: the protest song "Esta democracia ya no es democracia," which emerged during the mobilizations against the government of Dina Boluarte in 2022 and 2023; the sculpture *La descarada* by César Aguilar, which, through visual symbolism, critiques state power and its hierarchical structures; and the *blanquinegra* flag, a modification of the national emblem that resignifies mourning and protest in the face of repression. By integrating methodologies such as Critical Discourse Analysis, iconographic analysis, and Multimodal Critical Discourse Analysis, the study unravels the mechanisms that allow these symbols to transform pain and inequality into tools of denunciation and empowerment. The findings reveal that art, by articulating new social imaginaries, generates spaces of resistance and fosters processes of political and social change in the region. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Trabajando bajo el control del algoritmo: El caso de los repartidores de Rappi en Lima Metropolitana en el contexto de pandemia(Pontificia Universidad Católica del Perú, 2023-11-22)The growth of the gig economy in recent years has revolutionized the world of work due to the changes that have been generated in the organization, forms of control and structure of the labor market in an increasingly flexible and technological context; However, this is accompanied by characteristics typical of job insecurity. In this context, the article seeks to answer how gig economy workers adapt and react to the forms of control and power exercised by platforms. Based on the experience of delivery people from the Rappi platform in Metropolitan Lima based on a case study, this research focuses on two important points: on the one hand, the control strategies used by the company over its workers are analyzed, taking advantage of the crisis generated by COVID-19 and, on the other hand, the immigration situation that characterizes the majority of this workforce. Thus, four forms of control are identified: the customer evaluation system, the flexibility discourse, information asymmetry, and rewards and incentives. On the other hand, it investigates the tactics and mechanisms used by delivery workers as a response to carry out, avoid and resist the degradation of working conditions. This article offers a double contribution: first, it addresses a topic little studied in a particular context such as the Peruvian one, whose labor market is characterized by being highly informal and precarious; and, secondly, it constitutes an advance in research on the relationships of control and resistance in the gig economy. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Subordinación y agencia: el personaje principal de la película Juliana(Pontificia Universidad Católica del Perú, 2023-10-16)This essay intersectionally analyzes the main character of the film Juliana (1989) in order to highlight the marginal space that frames her and in which she essentially moves, as well as the space where the relations of power and subordination that condition her in the face of the male figure, demanding that he accept submission as a maternal inheritance. It is recalled how race and social class are superimposed on these factors, thus creating simultaneous subordinations. However, it is argued that despite these multiple layers of oppression, Juliana resists and develops an agency that places her in a constant position of questioning, allowing her to challenge the established order. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, El teatro campesino de Víctor Zavala Cataño: construcción del campesino, agencia, saber y acción política(2023-01-01)Este artículo explora la construcción del campesino en El cargador, de Víctor Zavala Cataño, la misma que forma parte de su libro Teatro campesino. A partir de la conocida idea de que el teatro campesino pone al campesino en el centro por primera vez en la historia de la dramaturgia peruana, analizaré cómo es construida esta representación. Para estos fines, el artículo explora análisis previos, entrevistas en profundidad realizadas a artistas escénicos y análisis de pieza. A partir de lo anterior, se propone que la representación del campesino en el contexto que nos ocupa persiste en construirlo como una víctima sin agencia, más específicamente, como aquel que desconoce su condición y no puede articular su malestar en una acción de cambio, lo que colabora con una matriz tutelar y paternalista que lo pone en la posición de un “otro”. Asimismo, el teatro campesino ignora las manifestaciones teatrales presentes en la fiesta andina y las representa como ajenas e inútiles para los campesinos y cargadores, a pesar de que estas pueden ser leídas como el espacio por excelencia de la teatralidad andina en el Perú. Asimismo, se explorará la relación entre campesino y universidad propuesta por El cargador en que la segunda es presentada como poseedora del saber político necesario para la acción política campesina. De forma exploratoria, empezamos a pensar el teatro campesino como un fenómeno urbano y universitario. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Condiciones para el uso del celular en un caserío de los Andes: implicancias para la educación remota(2023-01-02)Basándome en los datos de una etnografía realizada con las familias de un caserío rural de los Andes de Huánuco, en este artículo analizo las estrategias que utilizan las familias para apropiarse de los celulares en el marco de las condiciones geográficas y socioeconómicas que enfrentan. Los hallazgos muestran que todos los aspectos involucrados en el uso del celular presentan desafíos para estas familias, desde obtener el dispositivo móvil hasta los relacionados a su funcionamiento, como cargar las baterías de sus equipos, conseguir el saldo móvil y captar la señal. Estas condiciones afectan de manera diferenciada a las familias, a los hombres y a las mujeres, y en el marco de un sistema cada vez más neoliberal que configura la economía política del celular en este caserío. A la vez, los hallazgos de este estudio revelan el conjunto de estrategias que las familias han desplegado para sobrellevar los obstáculos que encuentran. Concluyo el artículo discutiendo la implicancia de estos hallazgos para la educación remota en áreas rurales. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Amazonian Indigenous Artists as Agents of Interface: Artworks, Networks, and Curation Strategies in the COVID-19 Crisis(Multidisciplinary Digital Publishing Institute (MDPI), 2023-10-31)In this article, I analyse how the COVID-19 crisis crystalised and fuelled the vigorous role of Amazonian indigenous artists as, what I call, “agents of interface”, enabling connectivity, translation, networking and bridging information, ontologies, claims, and aesthetics. With the pandemic’s spatial restrictions and the reduction of global activity in the arts with a return to focusing on the local, I argue that it is important to look at interfaces as arenas from which to understand further reconfigurations, actions, and values in the arts. Based on the project and exhibition Ite!/Neno!/Here!: Responses to COVID-19 co-curated by the indigenous artist Rember Yahuarcani and me, and on other various initiatives, this paper explores how Amazonian indigenous artists became crucial agents of the interface in four main arenas providing first-hand, real-time information of the impact of COVID-19 at Amazonian urban and rural settings, channelling networks of aid and curation, connecting different agents and worlds, and engaging in curatorial collaborations. I argue that by acting at the interface, artists have reinforced their voices, while pushing for redefinitions of and positions in the art system and suggest that the COVID-19 crisis has introduced a new moment in the configuration of Peru’s art scene.