This doctoral research is dedicated to the study of identity issues in contexts of renewal or appropriation of ethnic traditions and their displacement, by specific actors, within the realm of holistic spiritualities. These issues revolve around quests for authenticity, legitimacy and negotiation of (intra)-cultural differences. This research problematizes the relationships among mobility, spirituality and Mayan ethnicity, from the perspective of Transnational Studies and life stories, through the concept of neo-Mayanity. These relationships have been embedded in the broader context of "religious change" and its forms since the 1950s and 1960s. On the one hand, these changes imply the rise of New Age currents in the wake of 1968 counter-culture. On the other hand, they stem from the emergence of new forms of "religious or spiritual mobility", more specifically in the transnational circulation of actors, practices, imaginations and symbols. This research features qualitative case studies conducted in different national contexts. Six field studies were carried out as part of a multi-situated ethnography spanning Mexico, Guatemala, Switzerland and Germany, using methods such as narrative interviews, direct participant observations, cyber-ethnography, and ethno-photography. The research aims to show current transformations in the field of Mayan ethnicity, ever since contact with globalized New Age spiritualities. A variety of empirical examples reveal that since the "2012 Phenomenon", the accelerated transnationalization of spiritual leaders has involved a resemantization of symbolic contents and rituals through processes of rearrangement, visual innovation and cohabitation.

El presente trabajo de investigación explora el entorno cultural peruano a través de la ópera prima de Oscar Catacora. El neoindigenismo en la historia de la cultura peruana será revisado y contrastado con obras más recientes que escapan a la literatura en cual se origina este movimiento a fin de evidenciar la presencia de este en la cinta Wiñaypacha del ya mencionado autor. Esto debido al gran aporte a la cultura que dejó el movimiento superando a lo intentado anteriormente por el indigenismo. El trabajo de autores de grandes novelas neoindigenista como Redoble por Rancas sirven de punto de partida para entender la esencia del movimiento. Asimismo, será posible encontrarlo en la cinta de Catacora, en sus expresiones más simbólicas. Por ello la pregunta de investigación que se plantea es ¿Qué aspectos del filme Wiñaypacha pueden ser considerados de la corriente artística Neoindigenista? De esta forma podemos indagar sobre si en la actualidad aún existe la lucha por la igualdad de los pueblos indígenas o pueblos originarios afectada por un posible olvido que lo entenderemos como de parte de la sociedad y el estado hacia estos pueblos. / The following research article explores the Peruvian cultural environment through Oscar Catacora's first feature. Neoindigenism in the history of Peruvian culture will be reviewed and contrasted with more recent works that escape the literature in which this movement originates to demonstrate its presence in the Wiñaypacha tape by the aforementioned author. This is due to the great contribution to culture that the movement left behind, surpassing what was previously attempted by indigenism. The work of authors of great neo-indigenous novels like Redoble por Rancas serve as a starting point to understand the essence of the movement. Also, it will be possible to find it in the Catacora film, in its most symbolic expressions. For this reason, the research question that arises is: What aspects of the film Wiñaypacha can be considered from the Neoindigenism artistic trend? In this way we can inquire about whether the struggle for equality of indigenous peoples or indigenous peoples still exists today, affected by a possible forgetfulness that we will understand as part of society and the state towards these peoples. / Trabajo de investigación