[ES] El número especial que aquí introducimos —‘Indigenismo on Stage: Artistic Expression and the Inter-American Indigenista Movement in the Mid-Twentieth Century’— se propone mostrar la puesta en escena del indigenismo mediante el análisis de su vertiente de indianización. Entendemos por ‘indianizazión’ la promoción del reconocimiento de determinadas ‘especifidades culturales indígenas’, especialmente las artísticas, que caracterizó el indigenismo interamericano consolidado en Pátzcuaro, México, a raíz del Primer Congreso Indigenista Interamericano, celebrado en 1940. Concretamente, este número especial aborda la puesta en escena de la indianización indigenista desde dos ámbitos cruciales: a) la expresión artística ‘indígena’ en la forma en la que se promueve desde el indigenismo, y b) la abstracción/generalización de ‘lo indígena’ y del ‘indígena' que opera y difunde exitosamente este indigenismo. Estas dos cuestiones recorren el conjunto de contribuciones (artículos, reseña y diálogo colectivo), que adoptan explícitamente una perspectiva transnacional o, cuando se acercan a casos nacionales, consideran sus conexiones indigenistas continentales. Desde el análisis de una significativa pluralidad de objetos de estudio (estatuaria, música, artesanía, fotografía, grabado o teatro), este número especial propone un recorrido que nos conduce desde los inicios del siglo XX hasta nuestros días

[EN] This special issue—‘Indigenismo on Stage: Artistic Expression and the Inter-American Indigenista Movement in the Mid-Twentieth Century’—aims to present the staging of indigenismo by analyzing its ‘indianizing’ side. The process we call ‘indianization’ consists of promoting the recognition of indigenous cultural and especially artistic ‘specificities’, as determined by the inter-American indigen ismo that consolidated in Pátzcuaro, Mexico, starting with the first Inter-American Conference on Indian Life in 1940. Concretely, this special issue addresses the staging of indigenist indianization in two crucial domains: 1) ‘indigenous’ artistic expression as it was promoted by indigenismo; and 2) the abstraction/generalization of ‘indigeneity’ and ‘indigenous people’ that operationalized and suc cessfully spread this indigenismo. These two concerns bring together the contributions to this issue (articles, a review essay, and a collective dialogue), which explicitly adopt a transnational perspective or, when they focus on specific countries, consider their indigenist connections to the rest of the Americas. Grounded on the analysis of a notable variety of objects of study (statuary, music, handicrafts, photography, engraving, and theatre), this special issue follows an itinerary that runs from the early twentieth century to the present

This essay, and this entire special issue are an outcome of the HeterQuest Project, “Heterogeneity under Question: Cross-Knowledge and Cross-Practices in Law, Indigenismo, and Social Issues,” PID2019–107783GB-I00, funded by MCIN/AEI/10.13039/501100011033. We thank LACES, the HeterQuest Project and the Mexican INAH for funding the translations of the introduction, the articles by Bedoya, Gallardo-Saborido, Giraudo, López Hernández and the review essay by Martín Sánchez

Peer reviewed