Call for submissions: Cinema, Literature, and Art against Extractivism in Latin America


Guest-editors: Andrea Echeverría, Wake Forest University // Juan G. Sánchez M., University of North Carolina-Asheville // Ulises Juan Zevallos-Aguilar, Ohio State University

Deadline: February 1, 2018

Large-scale mining, oil industry, and commercial exploitation of cattle, timber and forests, are the cause of major environmental, social, political and cultural transformations in Latin America and Abya Yala. The activity of these economic sectors has confronted indigenous nations with the governments of the countries where their territories are located, as well as with the transnational companies that operate there. Numerous visual and plastic artists, writers and intellectuals have pointed out the negative impacts that the exploitation of minerals, forests, bodies of water, and fossil fuels produce in their territories. Their work shows how forced displacement of entire communities, systematic killing of environmental advocates, and the destruction of nature are consequences of these economic activities. Moreover, they indicate that there is a clash of paradigms between the vision of nature that their work promotes, and the legal and economic rationality of nation-states. In order to build bridges between these seemingly irreconcilable agendas, these artists and intellectuals often support civil mobilizations and community actions through their music, art, film and literature.

Mapuche writers such as María Teresa Panchillo, Rayen Kvyeh, and Adriana Paredes Pinda have criticized through poetry the deterioration of bodies of water and the destruction of native forests caused by the pine pulp business in the Ngulu Mapu, Chile. In the Peruvian Andes, Quechua writer Macedonio Villafán Broncano gives voice to the Apu (sacred mountain), allowing him to express the pain produced by large-scale mining since the Colony. Also, Quechua writer Feliciano Padilla has expressed his fear of the disappearance of several varieties of potatoes in Puno as a result of the industrial production of alcohol based on monoculture. Both the Sarayaku nation in the Ecuadorian Amazon and the Wayuu nation between Venezuela and Colombia have demonstrated how documentaries in conjunction with community action are effective tools to condemn unjust decisions by mining companies, as well as the responsibility of nation-states. Among other visual artists, Nonuya artist Abel Rodríguez, Mapuche painter Eduardo Rapimán, and caricaturist Chillico (pseudonym of César Aguilar Peña) from Cusco have criticized in their work the greedy exploitation of their respective ancestral territories.

This special issue of DIÁLOGO will bring together articles, interviews, poems, stories, and comics which dialogue with the work of visual artists, writers, and indigenous movements concerned with extractivism in their ancestral land. Suggested topics might include, but are not limited to:

  • Transformations in the territory, memory and identities that respond to extractivism
  • Landscapes as dynamic networks in which natural and cultural systems interact
  • Activism, social organizations, and cinema
  • The languages and voices of the Earth
  • Music and the alteration of sound landscapes
  • Masters of minerals, forests, and waters. Humans, non-humans, and more-than-humans
  • Mass media, indigenous communities, and social movements (radio, YouTube, web)

We invite everyone interested in contributing to this issue to send their articles of research and essays (6-9000 words), reflection notes (3500 words), interviews (3000 words), and book and film reviews (1200 words). Unpublished pieces of creative writing by indigenous writers (maximum of 6 poems, 10 pages of fiction, or testimony) in Spanish, English or native languages (with translation into English or Spanish) are also welcome. Please follow the submission guidelines at: Guidelines.aspx

Please send your manuscript before February 1, 2018 to the invited editors, Andrea Echeverría:; Juan G. Sánchez M.:; And Ulises Juan Zevallos-Aguilar: