The Listening Choir: Building Safe Acoustic Spaces in Sites of Post-Conflict.
Sotelo Castro, Luis C. 2021. ‘The Listening Choir: Building Safe Acoustic Spaces in Sites of Post-Conflict’ (working title). Worthington, Debra and Bodie, Graham (eds.) Listening, Community Engagement, and Peace Building: International Perspectives. Newark: Wiley Publishing. (forthcoming)
Facilitating voicing and listening in the context of post-conflict performances of memory. The Colombian scenario.
2019b. ‘Facilitating voicing and listening in the context of post-conflict performances of memory. The Colombian scenario.’ In: De Nardi, S., Orange, H., et al. Routledge Handbook of Memoryscapes. Routledge: London.
Looking backwards to walk forward. Walking, collective memory and the site of the intercultural in site-specific performance
This page discusses my practice-based project Making memory While Walking (2009) in which I use an abandoned eighteenth-century path (a heritage site) in performative terms.
Queering Activist Memory: Performing Archives of Kidnapping and Ransom in Colombia.
2020a ‘Queering Activist Memory: Performing Archives of Kidnapping and Ransom in Colombia’. Interventions: Contemporary Drama Review. (forthcoming).
2019c. ‘La Acción Escénica para un contexto transicional: casos colombianos.’ Cornago, Oscar y Rodriguez, Zara. (Ed.) Tiempos de habitar. Practicas Escenicas y Esfera Publica. Cuenca (España): Genueve Ediciones.
Participation Cartography: blurring the boundaries of space, autobiography and memory by means of performance
In this article, I focus on the empowering potential of a participatory practice that frames walking as integral to a performative, self-mapping, and aesthetic process.
2020b. ‘Not being able to speak is torture: performing listening to painful narratives’. International Journal of Transitional Justice, Special Issue Creative Approaches to Transitional Justice: Contributions of Arts and Culture. (12 March 2020)
Preguntas para avanzar un lenguaje crítico de proyectos escenicos de memoria e historia oral en el contexto del posconflicto
This paper advances key questions for a critical approach to oral history performance projects in a post conflict context. It focuses on four cases from Colombia.
In this paper, I focus on disclosures by one participant as enabled by a kind of artistic practice that I term “participation cartography.” By using “participation cartography” as a framework for the analysis of Running Stitch (2006), a piece by Jen Southern (U.K.) and Jen Hamilton (Canada), I demonstrate that disclosures by participants in this practice are to be seen as a form of self-mapping that positions the self in relation to a given performance space.
Enterarse de viva voz de las peores cosas: la escucha en el contexto de actos escénicos que usan la memoria como material en un escenario postraumático
2019a. ‘Enterarse de viva voz de las peores cosas: la escucha en el contexto de actos escénicos que usan la memoria como material en un escenario postraumático’. Revista Artilugio Nro 5.
This is my PhD thesis. I discuss practices that are performance-based and in which participants are invited to engage in everyday spatial actions which are then documented. The documents enabled participants to reflect about their participation process. In so doing, they are enabled to 'position the self' in relation to a given performed space.