The Other Side of Bolivian Modernity. “Vuelve Sebastiana” and the Reconfiguration of Space-Time Coordinates to Think the Nation

Jaime Omar Salinas Zabalaga


This article discusses the film Vuelve Sebastiana (1953) by Jorge Ruiz, focusing on its ideological and aesthetic aspects. The analysis establishes connections between the idea of “nation” in the context of cultural transformation prompted by the economic and social policies of the National Revolution of 1952 and the way the Chipaya community is represented. The central argument is that "Vuelve Sebastiana" can be read not only in relation to the new national identity but as an expression of a new national imaginary regarding the indigenous communities of the Altiplano. The author proposes that "Vuelve Sebastiana" represents the nation through the temporal and spatial cartographies of a modern nation-building project, making visible some of its tensions and contradictions and allowing us to explore the imaginary that has redefined the relationship between the State and the indigenous communities of the Altiplano throughout the  second half of the 20th century.


Bolivian cinema; indigenism; Jorge Ruiz; MNR; national imaginary; National Revolution of 1952; Vuelve Sebastiana



  • There are currently no refbacks.

Copyright (c) 2018 Jaime Omar Salinas Zabalaga

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.

This journal is published by the University Library SystemUniversity of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press.

BSJ Logo ISSN 1074-2247 (print) 2156-5163 (online)