A KNITTING OF COLORS IN PAC PAV PEC PEC BY SOLEDAD FARIÑA IN ANSWER TO MISCEGENATION

Abstract

The present article investigates the work Pac Pac Pec Pec by the Chilean poet Soledad Fariña from a decolonial perspective, based on the postulations made by Walter Mignolo and Cornejo Polar, delving into Indigenous signifiers and their repercussion in Fariña’s work. The notion of the poetic project by the Chilean writer as a racially mixed voice is debated, hypothesizing that the signifiers of color, from an Andean worldview, express new aesthetic possibilities that recognize the “remains” of the American past and present them as a form of resistance to the supposed suppression of primary worldviews brought about by the conquest of America. The main finding of this work suggest that the primary poetic voice of Pac Pac Pec Pec is a heterogeneous subjectivity that “stitches up” its own Colonial injury through its corporeality, introducing color and feather art signifiers in a transcendental and essential way within this work. This leads to positioning Indigenous and Occidental identities on the same level of importance.