|Un depi o "espíritu" es como la semilla de la gente y la representan como el reflejo de una
persona frente a un espejo, razón por la cual a algunos Nukak, no les gusta que les tomen
fotografías pues en ellas puede ser capturado su depi. Uno de sus mitos narra como un Nukak
cometió suicidio, porque su mujer rompió el espejo. Y él lo hizo porque sintió mucho miedo de
haber perdido su depi, su "espíritu".
|Reflection(reflex) of a person opposite to a mirror, reason for which to any Nukak, they do not like that they take photographies since
in them his(her,your) depi can be captured. One of his(her,your) myths is narrated by him(her) as a And he(it) did it because he(it) was
frightened of having lost his(her,your) depi, his(her,your) "spirit"..
Process of elaboration made by the aboriginen Nukak Maku, in the surroundings of San Jose del Guaviare, one of the doors of the
Amazonian jungle of Colombia, in 2008.
One of the slopes more prolific of the photographic activity is the documentary kind, which is based on a belief of continuity between
the photographic image and the photographed. The success of this conception is such that all the documents of identity are in the habit
of being accompanied of a photography of the person who carries and has clear legal effects. Nevertheless this hypothetical continuity
is more than a cultural convention that has been tested seriously by different theoretical works about the photography.
Mirror seeks, among other things, to restate the relation between an image and its modal motivating not only a rethinking of the
objectivity of the photography, but generating an entail with practices and cultural knowledge in this case of the indigenous tribe Nukak
Maku, as a level more complex of documentary action.