El documental como testigo: memorias danzarias en la Costa Chica (parte 1)

Taking as a premise that the ethnographic documentary has been one of the ways to record and show the various Afro-Mexican dances of the Costa Chica, this article argues that this genre represents an audiovisual archive for the cultures portrayed. The text displays a critical discussion in this sense and shows the methodological process used to record and edit the feature-length documentary “Diablos de El Quizá” made by the author and her work team. The ethnographic documentary then becomes a strategy that attempts to contribute to the collective memories of a community. An archive where different generations come to remember and recreate their dance memory.

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Publication Details

Journal
Encartes
Published
2025-09-22
DOI
https://doi.org/10.29340/en.v8n16.428
Primary Topic
Cinema History and Criticism
Type
article
Field-Weighted Citation Impact
0.00
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article

El documental como testigo: memorias danzarias en la Costa Chica (parte 1)

Rosa Claudia Lora Krstulovic
Encartes
Cinema History and Criticism
article

El documental como testigo: memorias danzarias en la Costa Chica (parte 1)

Rosa Claudia Lora Krstulovic
article en

Abstract

Taking as a premise that the ethnographic documentary has been one of the ways to record and show the various Afro-Mexican dances of the Costa Chica, this article argues that this genre represents an audiovisual archive for the cultures portrayed. The text displays a critical discussion in this sense and shows the methodological process used to record and edit the feature-length documentary “Diablos de El Quizá” made by the author and her work team. The ethnographic documentary then becomes a strategy that attempts to contribute to the collective memories of a community. An archive where different generations come to remember and recreate their dance memory.

EncartesVol. 8(16)
Centro de Investigación y Estudios Superiores en Antropología Social (MX)
Openalex Percentile: Top 75%
Cinema History and Criticism
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