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The context of the cold war was articulated around the confrontation between the United States and the Soviet Union. It is in this scenario that the Panzós massacre originated, which is part of the bloody recent history of Guatemala in the mid-20th century. Considering this historical context, this article aims to identify the artistic practice linked to the memory processes of traumatic events of the recent past, case study "Mural massacre of Panzós in Guatemala". To do this, consider the stories of artists and teachers at the Perquín School of Art and Open Workshop, El Salvador, who were convened from Guatemala by the Community Studies and Psychosocial Action Team (ECAP). The particularity of this artistic work lies in its makers. They are members of the MayanQ’eqchí community who were victims of the massacre. The results indicate that the participants in the mural involve a visual plastic narration that materializes the memories not only of the massacre, but of the history of Panzós. This work concludes that artistic practice is not only a representation of episodes, but that art can collaborate in the traumatic experiences of individuals.

Muralismo y memorias en América latina: el caso del mural comunitario y colaborativo sobre la masacre de Panzós en Guatemala