Indigenous Woman Research Articles

OSTEOBLASTOMA IN THE MANDIBLE: A RARE PRESENTATION

Osteoblastoma is a rare, benign, bone-forming tumor, characterized by the presence of osteoblasts with active proliferation, larger than 20 mm. The lesion mostly occurs in the second or third decades of life and has a predilection for the posterior mandible of men. This is a report of a 47-year-old indigenous woman exhibiting a large painful solid mass in the vestibular region of the right mandibular body, of unknown evolution time. The radiographic examination showed a large irregular radiopaque mass in the right posterior mandible, superior to the mandibular canal. The excisional biopsy and subsequent histopathologic analysis showed a compact mass of richly cellularized immature bone tissue with prominent osteoblastic rimming, containing loose connective tissue inside medullary spaces. Some of the osseous tissue had a blue-bone appearance. The diagnosis was osteoblastoma. The patient is being carefully monitored, and there is no recurrence after 2 years’ of follow-up. Osteoblastoma is a rare, benign, bone-forming tumor, characterized by the presence of osteoblasts with active proliferation, larger than 20 mm. The lesion mostly occurs in the second or third decades of life and has a predilection for the posterior mandible of men. This is a report of a 47-year-old indigenous woman exhibiting a large painful solid mass in the vestibular region of the right mandibular body, of unknown evolution time. The radiographic examination showed a large irregular radiopaque mass in the right posterior mandible, superior to the mandibular canal. The excisional biopsy and subsequent histopathologic analysis showed a compact mass of richly cellularized immature bone tissue with prominent osteoblastic rimming, containing loose connective tissue inside medullary spaces. Some of the osseous tissue had a blue-bone appearance. The diagnosis was osteoblastoma. The patient is being carefully monitored, and there is no recurrence after 2 years’ of follow-up.

‘Don’t make me play house-n***er’: Indigenous academic women treated as ‘black performer’ within higher education

In an era where higher education institutions appear increasingly committed to what Sara Ahmed calls ‘speech acts’ whereby declared goodwill, through stated commitments to diversity, equity, and increasing Indigenous student enrolment and completion have been made; it is undeniable that Indigenous academics are in high demand. With fewer than 430 Indigenous academics currently employed here on the continent now commonly referred to as ‘Australia’, and 69% of that cohort identifying as female, what does it look like to experience this demand as an Indigenous academic woman? Drawing on data collected from a Nation-wide study in 2019 of 17 one-on-one, face-to-face interviews with Indigenous academic women, using Indigenous research methodologies and poetic transcription, this paper explores the experiences and relational aspects of Indigenous academic women’s roles in Australian higher education.

‘By introducing my culture to someone else, I learnt to understand it again somehow’: An interview with filmmaker Laha Mebow

As the first indigenous woman to achieve prominence as a filmmaker in Taiwan, Laha Mebow occupies an important place in the island’s film culture. Her first feature, 'Finding Sayun' (2011), depicts a village community from Mebow’s own tribe, the Atayal, offering a contemporary response to the 1943 Japanese propaganda movie 'Sayon's Bell'. Her second feature, 'Lokah Laqi' (2016), explores the troubled backgrounds of a group of kids growing up in a tribal village, and earned Mebow widespread recognition and awards. Her most recent film, 'Ca fait si longtemps' (2017), is a documentary shot in New Caledonia, tracking the collaboration of Taiwanese musicians Suming Rupi and Baobu Badulu with local practitioners, and reflecting on Mebow’s personal connection to the Kanak people. Topics discussed by Mebow in this interview include the dynamics of working within indigenous communities as a semi-outsider, the methods she has developed for training and directing non-professional actors, questions of subjectivity in documentary, and her interest in exploring the connections between Austronesian peoples in Taiwan, New Caledonia, and New Zealand / Aotearoa.

The Journey of ȻELÁSTENOT

The Journey of CELASTENOT is a look into my language learning journey and the passion behind the path I have chosen for my communities, for my families, and for myself as an Indigenous woman, mother, child, and grandchild.

A Girl Activist Inventory

In March 2019, I had the pleasure of giving a talk at Peter Green College at the University of British Columbia that I called “The Politics and Possibilities of Girl-led and Youth-led Arts-based Activism to Address Gender Violence.” I wanted to highlight in particular the activist work of numerous groups of Indigenous girls and young women in a current project and the youth AIDS activist work of the Fire and Hope project in South Africa but I also wanted to place this work in the context of girls’ activism and youth activism more broadly. To do this I started out with a short activity called “Know your Girl Activist” during which I showed PowerPoint photos of some key girl and young women activists of the last few years, and asked the audience if they could identify them. The activists included two Nobel Prize Peace Prize winners, Malala Yousafzai (2014) and Nadia Murad (2018) along with Autumn Pelletier, the young Indigenous woman from Northern Ontario, Canada, well known for her work on water activism, and, of course, Greta Thunberg, now a household name but then, in 2019, already well known for her work on climate change activism. To my surprise only some of these activists were recognized, so, during the Q and A session, when I was asked if there is a history of girls as activists I could see that this question indicated clearly the urgent need for this special issue of Girlhood Studies which was only just in process then. Now, thanks to the dedication of the two guest editors of this special issue, Catherine Vanner and Anuradha Dugal and the wide range of superb contributors, I can point confidently to girls’ activism as a burgeoning area of study in contemporary feminism rooted in feminist history.

Malintzin: The Buried Voice of the Spanish Conquest

The Mexican Conquest is one of the most significant events in world history. However, for centuries, the dominant narrative has been a Eurocentric portrayal that presumes Hernán Cortés and other conquistadors to be heroic, noble, and competent to maneuver through México with little to no opposition. Additionally, it silences Indigenous voices of the 1519 Spanish Conquest and omits the acknowledgment of Indigenous contributions to Spanish success. Matthew Restall’s Seven Myths of the Spanish Conquest pushes against the dominant Eurocentric narrative of the Conquest. In particular, Restall brings an Indigenous woman, Malintzin, the interpreter of Hernán Cortés, to the forefront. With support from translated Nahuatl texts and pictographs and sixteenth-century Spanish sources, Malintzin’s voice becomes visible. Two core Indigenous sources that molded Restall’s arguments are the Florentine Codex, a Mexica source created a generation post-Conquest, and the Lienzo de Tlaxcala, representing an Indigenous ally perspective. Through these sources, Malintzin emerges as a central figure with a multi-skill set of quick language acquisition, the ability to navigate high-risk scenarios, interpreting with cultural mediation and sensitivity, plus the utilization of different linguistic registers. Her skills allowed her to make a conscious decision to become Cortés’ interpreter and proved to be indispensable when it comes to Spanish-Indigenous communication during the Conquest.

An Indigenous Woman in the Apocalyptic City: Exploring the Multifaceted Urban Panorama in Louise Erdrich’s Future Home of the Living God

An Indigenous Woman in the Apocalyptic City: Exploring the Multifaceted Urban Panorama in Louise Erdrich’s Future Home of the Living God

Transitar: cuerpo y resistencia. Una mirada micropolítica a la experiencia trans

La expresión “No hay nada más político que las tetas de una trans” evidencia una politización del cuerpo, un acto de rebeldía y resistencia al transgredir el orden establecido. Este ejercicio es guiado por el relato de una transfeminista, Ana Lu Laferal, y una mujer trans indígena, Geraldín, quienes desde sus narraciones nos ayudarán a entender: ¿Qué pasa cuando los individuos se desmarcan del ideal hegemónico heterosexual del cuerpo definido según ciertas características biológicas?, ¿es el cuerpo para las personas trans una herramienta de agenciamiento político? Todo con el fin de comprender cómo configuran la subjetividad y capacidad de agenciamiento político las personas trans, desde el empoderamiento sobre su cuerpo y a partir de este, como primer espacio de resistencia. Así mismo, una de las estrategias empleadas para mostrar la experiencia trans es el uso de un lenguaje abarcador, como apuesta para visibilizar otras formas de ser y defender el derecho al autorreconocimiento. En definitiva, se indaga por otras formas de lo político que se constituyen desde la otredad, la subjetividad, y lo individual, en las que se usa el cuerpo como medio y fin.

Editorial Comment: Transnational Performances and Ad Hoc Communities

Editorial Comment: Transnational Performances and Ad Hoc Communities Sean Metzger Drafting words into sentences into paragraphs into pages is for many scholars a solitary task, but I tend to dwell on the social aspects of this process: collective generation of ideas, debate with interlocutors, citation, and revision with audiences and co-creators both real and imagined. Therefore, I come to Theatre Journal as coeditor energized by the possibilities of collaboration. I am especially committed to passing on the mentor-ship of former editor Harry J. Elam Jr., who drove me when I first submitted an article to this journal toward a particular kind of rigor: articulating with precision and verve new ideas that advance knowledge across multiple fields of inquiry. In this issue, four authors who have never previously published full-length essays in these pages expand the transnational dimensions of theatre and performance studies. Colleen Daniher’s essay examines E. Pauline Johnson, a Mohawk writer whose poetry performances attracted large audiences at the turn of the nineteenth to the twentieth centuries. Daniher reads Johnson’s embodied recitations of her verse within the context of American Delsartism to argue that Johnson’s gestures worked in combination with her costumes to negotiate Indigenous self-fashioning with the contemporary sociopolitical movements of white settler women. Moving across and between processes of myth-making for Canadian and Indigenous subjects, Johnson deconstructs such binary formations to suggest how an Indigenous modern woman might be seen. Daniher turns to the extant portraits of the Cochran Studio in Ontario to support her article’s claims. She contends that attention to gesture and photography may shape performance historiography in order to complicate stories of nation, gender, and race and see through their fissures rather than accepting those terms as grounds from which an analysis might begin. The attention to women and their contestation of national projects continues in the essay by S.E. Jackson, who takes us to Germany where she explores the tensions among different actresses’ embodiments, directorial materializations, and textual variants of the Lulu plays. Jackson’s historically wide-ranging analysis focuses on three post-millennial productions within the context of Germany’s Regietheater tradition. In each of the performances, the dramaturgy works in excess of Wedekind (understood as what Michel Foucault would have called an “author function”). The three examples all pair a well-known leading actress with a celebrated male director: Lulu / Pandora’s Box / A Monster-Tragedy by Frank Wedekind / Urfassung at Thalia Theatre in 2004 (Fritzi Haberlandt and Michael Thalheimer); Lulu Tragödie in 5 Aufzügen mit einem Prolog at the Berliner Ensemble in 2011 (Angela Winkler and Robert Wilson); and Lulu at the Volksbühne in 2019 (Lilith Stangenberg and Stefan Pucher). Each female lead complicated and sometimes contradicted textual and/or directorial authority to different ends. The intense foregrounding of different production elements in each case leads Jackson to mark a dramaturgy of excess that illuminates how actresses might obtain creative agency in and/or be circumscribed by the tradition and ever-expanding meanings of [End Page ix] Lulu and the source texts from which she emerges. Jackson articulates the stakes of gender for reading and performing plays particularly within the German-language dramatic canon. Daniher and Jackson also speak to feminism writ large. The two essays call attention to how women performing onstage matter especially during periods of societal upheaval. The texts demand that we consider what happens when women serve as fulcrums for national traditions or as emblems of the state, whether Canadian, German, or Haudenosaunee. Ali-Reza Mirsajadi’s essay picks up concerns with textual migrations and their transformations through embodied production. Written in part as a response to Stephen Greenblatt’s article “Shakespeare in Tehran,” Mirsajadi’s writing focuses on three recent Iranian productions of Hamlet as he provides a survey of Shakespeare’s Persian uptake to debunk some of Greenblatt’s suggestions. The essay offers a critique of the politicization of Muslim art through flows of neoliberalism. Like Jackson, Mirsajadi also investigates a trio of productions to illustrate different aesthetic forms and the ways in which they express the antinomies of cultural politics. Shohran Ahmadzadeh’s Hamlet (2014) directed by Arash Dadgar, Mohammad...

Interlude: Little brother

In "interlude: little brother," a work of autobiographical criticism, Yurok-Diné scholar Natalie Knight recalls her experiences growing up in a white rural community in western Washington state with her two black siblings, all three children adopted by white parents. Knight felt an obligation to protect her little brother from the anti-Black racism he encountered on a daily basis at his school and in their town by exposing him to books, films, and music by Black creators whose perspectives reflected his experiences. Yet Knight, a young Indigenous woman, did not receive the same kind of guidance or protection. Through reading works by Black and Red Power Indigenous authors Knight found a way to put into words and contextualize her experiences. At the same time, the antagonisms between activist works and European traditions of philosophy, political science, and history, combined with the invisibility of Indigenous intellectual traditions in these discourses, created a profound sense of dissonance in Knight. Finding ways to navigate these traditions of thought within a framework of social justice energizes Knight's search for a language and critical framework that addresses her experiences and provides context for the histories she carries.

Presença indígena na história: reflexões em torno da Igreja de São Domingos Gusmão (Niterói, Rio de Janeiro)

O artigo aborda a história da Igreja de São Domingos Gusmão, localizada no atual bairro de São Domingos, município de Niterói, Rio de Janeiro. O templo – atualmente tombado pela Prefeitura de Niterói – remonta ao século XVII, e dará ensejo para refletirmos sobre a presença indígena na história. A origem da igreja envolve uma mulher indígena, hoje pouco conhecida: Violante do Céu Soares e Souza. Violante era descendente do líder temiminó Araribóia, bem mais conhecido na história fluminense. Ao abordar esse caso, tenho como objetivo evidenciar a participação fundamental de homens e mulheres indígenas na história. Tal objetivo justifica-se pelo fato de que, tradicionalmente, pessoas e povos indígenas foram desconsiderados ou subestimados enquanto sujeitos históricos.

MIGRAÇÃO DA MULHER INDÍGENA PARA A CIDADE DE BOA VISTA-RR

O processo de migração de mulheres indígenas roraimenses para a cidade de Boa Vista tem ocasionado mudanças em suas práticas culturais. Esse deslocamento tem provocado um distanciamento da cultura, dos costumes, das crenças e dos valores adquiridos no núcleo familiar, já que essas mulheres passam por experiências que rompem com as relações pessoais e sociais, levando-as à construção de novas identidades. A discussão aqui delineada dá-se no sentido de compreendermos quais são os motivos que levam as mulheres indígenas a se deslocarem para a capital, e porque suas práticas culturais são modificadas com o contato com o não indígena. Além disso, observamos que não tem sido tarefa fácil para a mulher indígena assumir sua identidade perante o não índio em função do preconceito, do uso da língua, da crença ou das práticas culturais. Nesse sentido, para alcançarmos nossos objetivos, a metodologia adotada foi a história oral, que busca mostrar, através dos relatos dessas mulheres, que as relações étnico-culturais ainda são bastante desiguais em Roraima e no Brasil, porque há um despreparo de parte da sociedade para se lidar com as diferenças no tocante às práticas culturais específicas.

Colonização sobre as mulheres indígenas

Este artigo busca apresentar uma reflexão, partindo do ponto de vista de uma mulher indígena, ativista que defende os direitos indígenas e de mulheres, de forma interpretativa e desde uma perspectiva de mulheres indígenas. O nosso objetivo é apontar como ações de colonização, partindo das igrejas não-indígenas violaram o direito de práticas culturais de mulheres Baniwa, no contexto de cuidado com o corpo, justificadas por “tabus e coisas do diabo”. Isso é resultado do contato violento com os povos indígenas, que sofreu uma contraposição. Para expor essa resistência e resiliência, se faz necessário uma reflexão, partindo das falas de mulheres entrevistadas, chamando atenção para a prática silenciosa de violência que violou o direito de uso de conhecimentos milenares e ciência indígena. No final, deixamos a mensagem: até que ponto as igrejas não-indígenas são boas ou ruins na vida de mulheres, refletindo nessa normalização de práticas nas comunidades indígenas.

Roma: Silence, Language, and the Ambiguous Power of Affect

FQ's new books editor Carla Marcantonio reflects upon her experience serving as Netflix's official translator for Yalitza Aparicio, the Indigenous Mexican woman who plays the housekeeper in director Alfonso Cuarón's Roma. Marcantonio explores themes that emerged over the course of the film's promotional campaign, ranging from the expected (the film's social impact and depiction of a makeshift matriarchy) to those less discussed, such as the film's significant political context and critique of patriarchy, masculinity, and violence. In closing, she offers a counter-argument to the interpretation that Cuarón denies Cleo her agency by limiting her spoken lines, arguing that Cuarón's masterful use of cinematic language allows Cleo's voice to come through loud and clear.

Screenings

FQ Columnist Paul Julian Smith discusses the Mexican limited series, Malinche, which tracks the Spanish conquest of Mexico and destruction of the Mexica (Aztec) Empire from the perspective of the conquistador Hernán Cortés's interpreter, the indigenous woman Malinche. He explains how the series differs from other televisual accounts of the conquest of Mexico in both its emphasis on the domestic lives of women and its use of multiple indigenous languages. He concludes by comparing the series to a recent film about the colonial experience by another Latin American female director—Zama by Lucrecia Martel.

Elimination, in the Feminine

This essay analyzes the gendered ways in which settler states produce and manage their relationships to Indigenous women's deaths. I seek to complement Indigenous feminists’ critiques of the rhetoric of crime that predominates in conversations about murdered and missing Indigenous women, as well as Indigenous feminists’ analyses of the state's own masculinist violence. I argue the emotional–managerial performances by which contemporary settler states seek to exculpate and distance themselves from this violence repeat and intensify long histories of settler feminism. Rather than examining the figure of the murdered Indigenous woman, this essay interrogates her counterpart, the white settler woman who serves as a synecdoche for her country: modern, feeling, feminist, and most of all, just. I ground my analysis in a recent book of poetry by Rachel Zolf, Janey's Arcadia (2014), which uses experimental poetic techniques to re-present a nineteenth- and early twentieth-century textual archive that makes clear how actively and how zealously white women participated in the settlement of the Canadian prairies. In re-presenting historical texts through intentionally dissonant poetry, Zolf contests historical and contemporary constructions of Canada's benevolence in general, and of white settler women's innocence in particular. Zolf shows that articulations of settler women's empowerment serve to naturalize colonization, stripping it of its violence and framing settlement, and the state that carries it out, as beneficial to Indigenous people. I argue this book performs the rhetorically difficult task of describing the violence performed by white women in furtherance of Indigenous dispossession. Janey's Arcadia shows that cruelty toward Indigenous women is not the sole purview of individual male criminals who perform unthinkable acts. Instead, it demonstrates that the settler colonial project of eliminating Indigenous peoples can be performed in a distinctly feminine – and even feminist – register.

Voicing The Silences: Women In Contemporary Pakistani Fiction In English

Indigenous women of Pakistan have long been struggling with the patriarchal norms. Categorization of their existence in the conventional oppressions connotes diversified victimization. Grappling with such assorted repressions and articulating the subsequent silences, women writers of Pakistan and the social activists are incessantly engaged to empower women from societal peripheries. The selected fiction exposes how the indigenous woman is controlled and exploited on the name of religio-cultural rhetoric. The present article outlines the historical developments in changing the social positioning of women after independence by highlighting the urgency of raising women consciousness in the academic sphere to form an alliance for collective identity. This article evaluates Ice Candy Man (1988), My Feudal Lord (1994) and Trespassing (2003) to explore the changing images of indigenous Pakistani women after partition. It aims to highlight the struggle and resistance of female characters against the patriarchal propriety of Pakistani society. The study is significant to highlight the struggles of women writers to articulate the silences of assorted exploitation buried under the hegemony of socio-historical discourses. The study concludes that through female characterization the women writers organize specific academic movement of awakening that provides situational analysis to relate with the turbulences of the fictional world to correspond the real challenges.

Recasting La Malinche's Role as Symbolic Mother in Eugenio Aguirre's Isabel Moctezuma

This essay seeks to situate Eugenio Aguirre's novel, Isabel Moctezuma, in the ongoing intertextual debate over the place of la Malinche in Mexican history and consciousness. As the title of the novel suggests, the protagonist is not Malinche, but rather another indigenous woman, the first-born daughter of the Aztec emperor, Moctezuma II. While Isabel is a lesser-known figure and little has been hypothesized about her in literary texts, the same cannot be said of her antithesis in the novel, Malinche, the indigenous adolescent who served as Cortes's interpreter and concubine during the Conquest of the Aztec Empire. In a broad range of literary works, Malinche has been cast as everything from traitor to victim to powerful mother-figure of mestizo Mexico. In his (in)famous mid-twentieth century essay, Octavio Paz declares her la Chingada, a willing (thus treasonous) victim who betrays her children, the Mexican people. While many writers have sought to vindicate Malinche from such accusations, I argue that Aguirre's novel marks a return to Paz's vision of Malinche by casting her as the monstrous double of the novel's protagonist and, in so doing, proposing the adoption of a new symbolic mother: Isabel Moctezuma.

The Poetry of Climate Change in the Global South

Translator’s note: Naiá is an indigenous woman who fell in love with the moon. The pirabutão is a common name for the flat-whiskered catfish, or Pinirampus pirinampu, found in the Amazon, Essequibo, Orinoco, and Paraná basins. Though translators usually convert gendered pronouns in Romance languages into gender-neutral pronouns, I decided to retain them to reflect that Kambeba is describing an indigenous cosmology in which elements such as water and the moon are personified. Márcia Kambeba, of the Omágua/ Kambeba indigenous people in Brazil, is the author of Ay kakyri Tama – Eu moro na cidade (2013). She’s a writer, composer, poet, activist, photographer, performer, and public speaker on indigenous and Amazonian subjects. With a master’s degree in geography, she offers workshops and storytelling throughout Brazil and abroad. Tiffany Higgins is a poet, translator, and writer on the environment and Brazil. Her writing appears in Granta, Guernica, Poetry, and elsewhere. Visit worldlit.org to read more by Kambeba and Higgins on poetics, politics, and indigenous rights and to listen to a recording of this poem in Portuguese/Tupi. The Poetry of Climate Change in the Global South by Tiffany Higgins I N BRAZIL, INDIGENOUS WRITERS tend not to foreground the concept of global climate, or even the environment, as a separate category. Instead, they write about nature and culture as woven together, describing their spiritual vision of earth and ancestry (antithetical to nonindigenous extractivism) as well as indigenous rights—the protection of which is essential to the protection of their forest homelands. Brazilian indigenous writings don’t fit neatly into US/European formulations of climate and environment . I believe for this reason that they’re essential for broadening conceptions of possible solutions, which would include acting as allies for peoples on the most vulnerable edges of extraction and integrating urgent issues of cultural survival into any climate discussion . In a utilitarian perspective, Brazilian forests produce “environmental services” for the globe in the form of carbon sequestration. Brazilian indigenous peoples are guardians of the forest as they protect their preserves at a rate exponentially higher than neighboring areas that are logged, mined, and burned for agribusiness—so they’re vital to climate regulation. If we value their climate contributions , we should support their political struggles for cultural and territorial continuance (for starters, such indigenous-led organizations as coiab, apib, and coica). In the poem featured here, Márcia Wayna Kambeba makes use of the fact that in Portuguese, tempo can mean both “time” and “weather” and that clima means both “weather” and “climate.” She uses these flexible meanings to convey how actions in her Amazonian home that affect local weather, obstructing ancient cultural practices, are connected to the wider climate. The poem also implies that the problem of climate will only be solved by a return to ancient knowledge, a way of relating to an earth animated by enchanted spirits, and a set of cultural practices that indigenous elders possess. Kambeba writes mostly in Portuguese, but she embeds Tupi words purposefully and consciously. She is aware that her nonindigenous readers would not understand many of these Tupi words, but her choice seems to be to challenge readers to come to face indigenous culture via indigenous languages. I asked Kambeba about why she uses Tupi rather than her own language. She explained that the Kambeba language is in the Tupi-Guarani linguistic family. Rather than use Kambeba terms, which only indigenous people of her small ethnic group would know, she chooses to use Tupi words so that tens of thousands of indigenous peoples will be able to understand her and feel united in a common identity through the poetic performances she gives. The United Nations has designated 2019 as the International Year of Indigenous Languages. KAMBEBA BIO PHOTO© AGÊNCIA PARA' TOP PHOTO: MÁRCIA KAMBEBA WORLDLIT.ORG 71 ...

Percepciones y prácticas sobre salud-enfermedad y muerte de una madre emberá chamí, una aproximación etnográfica

This article explores the perceptions about health-illness and death of an Embera Chami mother, a Colombian indigenous woman who experienced the illness of one of her children. The research was carried out through a qualitative interpretative type case study with an ethnographic approach. The data analysis was classified by categories and subcategories structuring the information in this way. Mother Embera Chami's perception of the concept of health, illness and death, are constructs formed through her experiences with a child with cancer, cultural beliefs, Western medicine and the process of Acculturation of her community. The present work as health professionals allowed an enriching cultural approach identifying the cultural diversity of patients in the Colombian context to which they are confronted, customs and worldview, the need to apply cross-cultural care and palliative care as an essential part of the attention of patients with chronic diseases. Understanding the situation of the other helps to broaden the perspectives of management regarding care by reaching cultural agreements that benefit the health of the indigenous population.