THE MARCH OF CARNEIROS: strategies and rising social mobility Carneiro family in Northern Captaincies, seventeenth and eighteenth centuries.

Abstract

In this text, looking up some links between history, anthropology and film from the analysis of the Bolivian film "La Nación Clandestine", produced by filmmaker Jorge Sanjinés and released in 1989. The film portrays historical and cultural elements of the Aymara people, whose protagonist Sebastian, a member of this
ethnic group. Through this character, the filmmaker assembles a web of tensions and interethnic conflicts, highlighting the complex relationships between indigenous and non-indigenous, given the context of the military coup in Bolivia in the 1960s. A feature associated with the film is produced by Jorge Sanjinés Italian realism, which aimed to 'films with the people, showing the social and political realities in various spaces. The film seeks to existing relationships within the Aymara community, their cosmology, social organization structure, practices and rituals performed by indigenous, to then make the parallel with the non-Indian society in Bolivia, which turns into hiding practices produced for centuries by ethnic groups. Hence the name "La Nación Clandestine",because it presents a Bolivian native who becomes illegal within their own territories immemorial. Approach will this movie production by the bias of anthropology of colonialism, in view of the permanence of internal colonialism in Bolivia, after the process of independence. The film is riddled with complexities and provides important considerations to think about the relationship between universes indigenous and non-indigenous people within a nation-state that produces inside "clandestine nations."