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This recently commissioned film, written by Chuquimamani-Condori, shot mostly on 8mm film, with hand-drawn animation sequences and a score composed and performed by Joshua Chuquimia Crampton, enacts a ceremony for the artists’ late grandmother, Flora Tancara Quiñonez Chuquimia and details the event in stories of the artists’ family that compose part of the Aymara community, a group of indigenous nations whose territories overlap with Bolivia, Chile and Peru, and whose people live today across the globe, maintaining relations through land ties and ceremony.

The scenes of the film show Flora met by a dog, a condor and a hummingbird, central figures in the three-year transition to death, detailing Aymara and Quechua oral traditions.

The voice of the artists’ grandmother Flora, as well as Flora’s younger sister, the artists’ great-aunt Mercedes Tancara Quiñonez Montevilla, and the artists’ mother, Fanny Tancara Chuquimia Crampton, narrate the film, relayed by a silicone figure in Flora’s likeness, whose features also resemble the artists’ great-grandmother Juana Tancara Montevilla, great-great-grandmother Rosa Tancara Quiñonez, and emblems of the Pachamama, the spacetime grandmother.

Amaru’s Tongue: Daughter follows in a tradition of Aymaran abolitionist oral history inseparable from the black radical tradition, and adopts a fantastical tone, serving as an ‘invitation to otherwise’ (Eva Hayward and Che Gossett). The film maps ‘abolition geographies’ (Ruthie Wilson Gilmore) from the perspective that we are inseparable from the Pachamama, inseparable from the water, the sea, the lake as wound that Pachacuti Yamqui called Mamacocha, what theorists call ‘nowhere’, the home that is ‘no place’.

Amaru’s Tongue: Daughter is commissioned by Auto Italia and produced by Auto Italia, London; Centre d’Art Contemporain Genève and Haus der Kunst, Munich.

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