Abstract

The languages of visuality, music, dance, song, textiles and their iconography, as well as silverwork are woven into the theatrical work Ñi pu tremen. My ancestors by Paula González Seguel, makes the density of Mapuche cultural differences visible, audible and sensorily perceptible. This theatrical idea is representative of current Mapuche dramaturgy. It emphasizes embodied culture and does so using a diversity of forms of cultural knowledge, memory and transmission, expanding the canon and disciplinary boundaries. In the play, a repertoire of scenic practices and mnemonic devices break into the archive to stage one of the biggest unresolved issues for Mapuche people: Their territorial identity.