English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

This article focuses on  Atarraya , a participatory performance piece by Carolina Caycedo in collaboration with ; a group of social organisations affected by hydroelectric and mining megaprojects in Colombia. It argues that oral history-informed art practices offer an alternative space to communicate painful experiences and demand better futures, engaging broader and more diverse audiences. By analyzing the performative elements of  Atarraya,  such as the inclusion of human and non-human voices, the article shows how in the face of the transitional justice system in Colombia, it is necessary to understand  listening  as a critical component of oral history-informed performance.

Atarraya: listening to human and non-human voices in post-conflict Colombia