{"id":5729,"date":"2024-04-08T16:44:08","date_gmt":"2024-04-08T14:44:08","guid":{"rendered":"https:\/\/lascriticas.com\/?p=5729"},"modified":"2024-04-08T17:02:11","modified_gmt":"2024-04-08T15:02:11","slug":"hijas-del-horror-rocio-silva-santisteban-y-regina-jose-galindo-de-bethsabe-huaman","status":"publish","type":"post","link":"https:\/\/lascriticas.com\/index.php\/2024\/04\/08\/hijas-del-horror-rocio-silva-santisteban-y-regina-jose-galindo-de-bethsabe-huaman\/","title":{"rendered":"Hijas del horror: Roc\u00edo Silva Santisteban y Regina Jos\u00e9 Galindo, de Bethsabe Huam\u00e1n"},"content":{"rendered":"

Hijas del horror: Roc\u00ed<\/span><\/span>o Silva Santisteban y Regina Jos<\/span><\/span>\u00e9 <\/span><\/span>Galindo<\/span><\/span><\/span><\/h1>\n

S<\/span><\/span>on el arte literario y la <\/span><\/span>performance<\/span><\/span> herramientas con las que podemos hacer protesta a las injusticias m<\/span><\/span>\u00e1<\/span><\/span>s inhumanas. As<\/span><\/span>\u00ed <\/span><\/span>lo llevan a cabo exitosamente ambas artistas, Silva Santisteban<\/strong> con su cruda poes<\/span><\/span>\u00ed<\/span><\/span>a, tan cruda como la realidad que lleva consigo y Jos<\/strong><\/span><\/span>\u00e9 <\/span><\/span><\/strong>Galindo<\/strong> con la actuaci<\/span><\/span>\u00f3<\/span><\/span>n, concretamente con \u00a0su cuerpo como medio de comunicaci<\/span><\/span>\u00f3<\/span><\/span>n. <\/span><\/span><\/span><\/p>\n

H<\/span><\/span><\/strong><\/em>ijas del Horror<\/strong><\/em> de Huam<\/strong><\/span><\/span>\u00e1<\/span><\/span>n And<\/span><\/span>\u00ed<\/span><\/span><\/strong>a<\/strong>, naci<\/span><\/span>\u00f3 <\/span><\/span>como estudio detallado en forma de tesis doctoral y acaba llegando a tod@s nosotr@s lectores en formato de libro; a todos nosotr@s que empatizamos con el resurgir de injusticias para darles reconocimiento y redenci<\/span><\/span>\u00f3<\/span><\/span>n. Las mujeres abusadas sexualmente en <\/span><\/span>\u00e9<\/span><\/span>pocas de guerra y conflictos b<\/span><\/span>\u00e9<\/span><\/span>licos en Guatemala y Per<\/span><\/span>\u00fa <\/span><\/span>se han invisibilizado, y la violencia en contra de ellas ha quedado sepultada. Es Huam<\/span><\/span>\u00e1<\/span><\/span>n And<\/span><\/span>\u00ed<\/span><\/span>a, quien por medio del estudio de la poes<\/span><\/span>\u00ed<\/span><\/span>a de Silva Santisteban y la <\/span><\/span>performance <\/span><\/span>de \u00a0Jos<\/span><\/span>\u00e9 <\/span><\/span>Galindo, rescata y nos pone al tanto de tales cr<\/span><\/span>\u00ed<\/span><\/span>menes patriarcales.<\/span><\/span><\/span><\/p>\n

\"\"<\/p>\n

Es crudo leer BAvioLADA. En este fragmento po<\/span><\/span>\u00e9<\/span><\/span>tico de <\/span><\/span>Roc<\/span><\/span>\u00ed<\/span><\/span>o Silva Santisteban<\/span><\/span> las lectoras y los lectores se transportan a trav<\/span><\/span>\u00e9<\/span><\/span>s de im<\/span><\/span>\u00e1<\/span><\/span>genes literarias al escenario del crimen que queda impune en conflictos b<\/span><\/span>\u00e9<\/span><\/span>licos.<\/span><\/span><\/span><\/p>\n

\n

\u00bf<\/span><\/span>qui<\/span><\/span>\u00e9<\/span><\/span>n eres t<\/span><\/span>\u00fa <\/span><\/span>para hablarme as<\/span><\/span>\u00ed<\/span><\/span>, perra? <\/span><\/span><\/span><\/p>\n

c<\/span><\/span>\u00f3<\/span><\/span>mo olvidar su pelo, como olvidar su aroma<\/span><\/span><\/span><\/p>\n

c<\/span><\/span>\u00f3<\/span><\/span>mo olvidar ese olor que sube por mi cuerpo<\/span><\/span><\/span><\/p>\n

una babosa, pegajoso, leche agria<\/span><\/span><\/p>\n

cerveza y v<\/span><\/span>\u00f3<\/span><\/span>mito negro, rencor y c<\/span><\/span>\u00f3<\/span><\/span>lera<\/span><\/span><\/span><\/p>\n<\/blockquote>\n

En estos versos se utiliza un lenguaje coloquial y directo para describir el horror de la violaci<\/span><\/span>\u00f3<\/span><\/span>n, y las im<\/span><\/span>\u00e1<\/span><\/span>genes que la poeta crea son perturbadoras pero memorables. En el primer verso la voz femenina po<\/span><\/span>\u00e9<\/span><\/span>tica se dirige a su agresor, quien le ha llamado a ella <\/span><\/span>\u201c<\/span><\/span>perra<\/span><\/span>\u201d<\/span><\/span>; una forma de humillaci<\/span><\/span>\u00f3<\/span><\/span>n y deshumanizaci<\/span><\/span>\u00f3<\/span><\/span>n que muestra el poder que el agresor tiene sobre <\/span><\/span>\u2018<\/span><\/span>su<\/span><\/span>\u2019 <\/span><\/span>v<\/span><\/span>\u00ed<\/span><\/span>ctima. La abusada, la violentada y la ultrajada habla del olor, <\/span><\/span>una representaci<\/span><\/span>\u00f3<\/span><\/span>n f<\/span><\/span>\u00ed<\/span><\/span>sica de la violencia y la degradaci<\/span><\/span>\u00f3<\/span><\/span>n que ha sufrido. <\/span><\/span><\/span><\/p>\n

E<\/span><\/span>n la introducci<\/span><\/span>\u00f3<\/span><\/span>n se establece que los testimonios de mujeres abusadas, espec<\/span><\/span>\u00ed<\/span><\/span>ficamente ind<\/span><\/span>\u00ed<\/span><\/span>genas, se muestran plasmadas a trav<\/span><\/span>\u00e9<\/span><\/span>s del arte literario y la <\/span><\/span>performance <\/span><\/span>y que se busca <\/span><\/span>\u201c<\/span><\/span>un aporte a la representaci<\/span><\/span>\u00f3<\/span><\/span>n de la violencia que establezca mecanismo discursivos alejados de la fascinaci<\/span><\/span>\u00f3<\/span><\/span>n y que nos acerquen a una conciencia pol<\/span><\/span>\u00ed<\/span><\/span>tica llamada a detenerla, en sinton<\/span><\/span>\u00ed<\/span><\/span>a con tendencias <\/span><\/span>\u00e9<\/span><\/span>ticas y de la solidaridad de la teor<\/span><\/span>\u00ed<\/span><\/span>a literaria<\/span><\/span>\u201d<\/span><\/span>. Se crea una solidaridad con las v<\/span><\/span>\u00ed<\/span><\/span>ctimas, que son representaci<\/span><\/span>\u00f3<\/span><\/span>n social de una desigualdad de g<\/span><\/span>\u00e9<\/span><\/span>nero. <\/span><\/span><\/span><\/p>\n

L<\/span><\/span>a obra est<\/span><\/span>\u00e1 <\/span><\/span>convenientemente dividida para entender la problem<\/span><\/span>\u00e1<\/span><\/span>tica de principio a fin. Empieza explicando la situaci<\/span><\/span>\u00f3<\/span><\/span>n de las mujeres ind<\/span><\/span>\u00ed<\/span><\/span>genas en los conflictos armados internos de Guatemala y Per<\/span><\/span>\u00fa<\/span><\/span>, donde la lectora y el lector entienden la posici<\/span><\/span>\u00f3<\/span><\/span>n de las m<\/span><\/span>\u00e1<\/span><\/span>s vulnerables, ni<\/span><\/span>\u00f1<\/span><\/span>as y mujeres. Huam<\/span><\/span>\u00e1<\/span><\/span>n And<\/span><\/span>\u00ed<\/span><\/span>a continua concretizando con teor<\/span><\/span>\u00ed<\/span><\/span>as sobre la violencia sexual contra las mujeres y sus testimonios, donde a la vez se extiende sobre la colonialidad de g<\/span><\/span>\u00e9<\/span><\/span>nero. En el cap<\/span><\/span>\u00ed<\/span><\/span>tulo 3 y 4 se entra de lleno a los testimonios po<\/span><\/span>\u00e9<\/span><\/span>ticos y actuados reviviendo el abuso a trav<\/span><\/span>\u00e9<\/span><\/span>s del tiempo. En el <\/span><\/span>\u00fa<\/span><\/span>ltimo cap<\/span><\/span>\u00ed<\/span><\/span>tulo la conclusi<\/span><\/span>\u00f3<\/span><\/span>n es contundente, el testimonio es una herramienta discursiva, y el arte nos reviva y nos hace justicia. La v<\/span><\/span>\u00ed<\/span><\/span>ctima es vista y entendida. L@s lectores entienden que los cr<\/span><\/span>\u00ed<\/span><\/span>menes contra las mujeres necesitan enmendarse.<\/span><\/span><\/span><\/p>\n

Hijas del horror lleva consigo una aprendizaje eterno, \u00a0y es que no se pueden borrar los cr<\/span><\/span>\u00ed<\/span><\/span>menes contra aquellas v<\/span><\/span>\u00ed<\/span><\/span>ctimas m<\/span><\/span>\u00e1<\/span><\/span>s vulnerables. <\/span><\/span>En el contexto de los conflictos armados internos de Guatemala y Per<\/span><\/span>\u00fa<\/span><\/span>, las mujeres ind<\/span><\/span>\u00ed<\/span><\/span>genas han sido v<\/span><\/span>\u00ed<\/span><\/span>ctimas de una violencia sexual sistem<\/span><\/span>\u00e1<\/span><\/span>tica que ha quedado impune. El arte literario y la <\/span><\/span>performance<\/span><\/span> han surgido como herramientas de protesta contra esta injusticia rompiendo el silencio. <\/span><\/span><\/span><\/p>\n

La poes<\/span><\/span>\u00ed<\/span><\/span>a de Silva Santisteban y la performance de Jos<\/span><\/span>\u00e9 <\/span><\/span>Galindo son dos ejemplos de c<\/span><\/span>\u00f3<\/span><\/span>mo el arte puede ser utilizado para denunciar la violencia sexual contra las mujeres. En su poes<\/span><\/span>\u00ed<\/span><\/span>a, Silva Santisteban utiliza un lenguaje crudo y directo para describir el horror de la violaci<\/span><\/span>\u00f3<\/span><\/span>n. En su performance, Jos<\/span><\/span>\u00e9 <\/span><\/span>Galindo utiliza su cuerpo como medio de comunicaci<\/span><\/span>\u00f3<\/span><\/span>n<\/span><\/span>.<\/span><\/span> E<\/span><\/span>l arte literario y la <\/span><\/span>performance<\/span><\/span> son herramientas poderosas que pueden ser utilizadas para denunciar la injusticia y crear conciencia sobre las causas sociales y pol<\/span><\/span>\u00ed<\/span><\/span>ticas de g<\/span><\/span>\u00e9<\/span><\/span>nero. En el caso de las mujeres ind<\/span><\/span>\u00ed<\/span><\/span>genas v<\/span><\/span>\u00ed<\/span><\/span>ctimas de violencia sexual, el arte ha sido una forma de romper el silencio y exigir justicia.<\/span><\/span><\/span><\/p>\n

Huam<\/span><\/span>\u00e1<\/span><\/span>n And<\/span><\/span>\u00ed<\/span><\/span>a evocando empat<\/span><\/span>\u00ed<\/span><\/span>a y concienciaci<\/span><\/span>\u00f3<\/span><\/span>n nos lleva a exigir justicia pol<\/span><\/span>\u00ed<\/span><\/span>tica y social, romper con el silencio, y exigir que las voces de mujeres ind<\/span><\/span>\u00ed<\/span><\/span>genas sean escuchadas. <\/span><\/span>\u00bf<\/span><\/span>Es posible un cambio social y pol<\/span><\/span>\u00ed<\/span><\/span>tico a trav<\/span><\/span>\u00e9<\/span><\/span>s de las artes que respete a las mujeres ind<\/span><\/span>\u00ed<\/span><\/span>genas y enmiende el da<\/span><\/span>\u00f1<\/span><\/span>o hecho a trav<\/span><\/span>\u00e9<\/span><\/span>s de justicia? <\/span><\/span>\u00bf<\/span><\/span>Puede ayudar a las v<\/span><\/span>\u00ed<\/span><\/span>ctimas a sanar el compartir sus historias a trav<\/span><\/span>\u00e9<\/span><\/span>s del arte, reconstruyendo sus vidas y sus historias?<\/span><\/span><\/span><\/p>\n

Huam\u00e1n And\u00eda, Bethsab\u00e9. H<\/em><\/span><\/span>ijas del horror: Roc<\/span><\/span>\u00ed<\/span><\/span>o Silva Santisteban y Regina Jos<\/span><\/span>\u00e9 <\/span><\/span>Galindo. <\/span><\/span><\/em><\/span>M<\/span><\/span>ujer, testimonio y violencia en la poes<\/span><\/span>\u00ed<\/span><\/span>a y la<\/span><\/span><\/em> performance<\/em>. Hipat<\/span>i<\/span>a Ediciones, 2023.<\/span><\/span><\/span><\/span><\/strong><\/p>\n

\n

Bethsab\u00e9 Huam\u00e1n And\u00eda<\/strong> es escritora, acad\u00e9mica y poeta peruana. Es autora, entre otros, de los conjuntos de relatos S\u00e1bado pm <\/em>(2009), Memento mori<\/em> (2009) y La oscuridad del sombrero <\/em>(2028). Vive en los Estados Unidos.<\/span><\/p>\n

Acerca de A<\/span><\/span>licia Campos Mass<\/span><\/span>\u00f3<\/span><\/span><\/span><\/strong><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Hijas del horror: Roc\u00edo Silva Santisteban y Regina Jos\u00e9 Galindo Son el arte literario y la performance herramientas con las que podemos hacer protesta a las injusticias m\u00e1s inhumanas. As\u00ed lo llevan a cabo exitosamente ambas artistas, Silva Santisteban con su cruda poes\u00eda, tan cruda como la realidad que lleva consigo y Jos\u00e9 Galindo con…<\/p>\n","protected":false},"author":106,"featured_media":5764,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[17,849],"tags":[199,312,973,347,47,820,184,55,84,103,842,104,87],"yoast_head":"\nHijas del horror: Roc\u00edo Silva Santisteban y Regina Jos\u00e9 Galindo, de Bethsabe Huam\u00e1n - Las Cr\u00edticas<\/title>\n<meta name=\"description\" content=\"La acad\u00e9mica Alicia Campos escribe acerca del ensayo Hijas del horror: Rocio Silva Santisteban y Regina Jos\u00e9 Galindo, de Bethsab\u00e9e Huam\u00e1n\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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