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A POSTCAPITALIST PARADIGM:
THE COMMON GOOD OF HUMANITY
36:4(1991). p. 118.
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bios, 2008).
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figure goes beyond the limits of established genders. With regard to the human
and, more strictly speaking, when it turns into a human, it appears to be masculine,
while as the m achakuy runa, and with regard to the ants - its family too - it is femi
nine. In Spanish we use the feminine article la when referring to the runa being as
snake.
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then he goes off. The young hunter, returning honne, comes across an
enormous snake sleeping on the road, which - without thinking - he
hits with a branch until he realises that chicha is coming from one of its
wounds. When he gets home, his wife notices a strange attitude in her
husband and intuits that something has happened with her father; she
takes her daughter in her arms and runs into the jungle. There she finds
the lifeless body of her father, the machakuy runa. Sobbing, she takes
him to the ukuy ants' house. Soon her husband arrives and demolishes
the ants' house in an attempt to take her home, although his wife re
peatedly implores him not to do it because they are her family. The
young hunter, who loves his wife very much, persists in demolishing
the ants' house as he tries to get her back, but does not achieve his aim:
his wife turns into a ukuy ant and disappears, together with his daughter,
into the depths of the labyrinth that is the ants' house. The hunter re
turns home, inconsolable, without his wife and without his daughter.
What might this story have to tell us about the collective imagination of
the Amazon peoples in a historical time marked by the advent of oil ex
ploration and growing environmental concerns?
Without attempting a detailed interpretation, it can be taken as a possi
ble way into understanding a different collective way of life. Thus, the
first thing that stands out is a symbiosis between spheres that the West
defines as nature and the social world; that is, not only in the sense that
nature is where social life is reproduced but that it is a continuum that
includes nature as an integral part of social life.
In effect, the young creature who appears on the road is an ant (ukuy)
who becomes a woman in order to live with the young hunter.^'^ The
relationship that unfolds in the human sphere lasts by virtue of respect
for the norms of the relationship with nature. In this sense, the story
also embodies a normative universe, not just in the sense of a simple
system of rules, but fundamentally as the world in which the rules live
Here we make use of the concept of becoming without further elaboration; for a
theorisation of this concept it is important to refer to Deleuze y Guatari. MU M esetas (Valencia: Pre-Textos, 2002).
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and acquire meaningJ'^ While the young woman lives in the human di
mension of nature, her father moves between these two spheres of life.
The young hunter enjoys this relationship through the generous gesture
of sharing his food with the young woman and respect for her father. It
is important to draw attention here to this act of reciprocity, which we
will return to below. This symbiosis becomes more complex if attention
is paid to the "kinship network" established between the ukuy ants, the
machakuy runa, the young wife and her daughter: the girl establishes a
profound link between the human and nature, in its diversity of life
forms, incompatible among themselves from a viewpoint outside the
universe represented in the tale.
This coexistence, which seems solid to begin with, ends abruptly in
tragedy. The young hunter, on severing the life of the machakuy (runa),
causes a rupture in the process of becoming that guarantees the har
monic culture-nature continuum. The tragedy is that this happens with
out there being a deliberately destructive intention. On the contrary, the
destruction of the ants' house to get his wife back constitutes a singular
event that prompts reflection on the general relationship between or
ganisms and their mutual environments and, in particular, on gender re
lations, paying more specific attention to the value of the feminine voice
within a social order in which the masculine monologue reigns. In the
context of the story, the ability to discern and heed the feminine voice
is put to the test; it is a condition for maintaining a harmonic relationship
in a social world which includes and extends the social sphere with the
non-human, ignoring her voice leads to rupture. The hunter's forgetting
of the warning issued by his wife before he goes out hunting cannot be
understood in any other way. But even more serious is his destruction
of the ants' house without heeding his wife's outcries. It can be inferred
from the story that the young hunter loves his wife and wants her back,
but his deafness and the centrality of his ego end up destroying not only
On the relationship between the law and narrative, see Robert Cover's sugges
tive article, "Nomos and Narrative", in Narrative, Violence, and the Lav/. Martha
Minow, Michel Ryan and Austin Sarat, eds. (Ann Arbor; The University of Michigan
Press, 1995).
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his home but the close relationship between the human order and na
ture embodied in his wife and her kinship network integrating the human
and non-human worlds. Love boils over, forgets its transitory nature and
becomes an act of destruction and self-destruction.
In this interpretation, a central concept for visualising the dissolution of
borders between the human and the non-human is, as already indicated,
that of becoming which, in Deleuzian code relating to material bodies,
is defined by reference to the ways in which these can become other.
We know that we are playing with problematic concepts that have pre
cision within a cultural history and complex intellectual tradition. Thus a
deeper comprehension of the knowledge entailed in the story should
ponder an alternative epistemology that puts the categories culture-na
ture, human-non-human under suspicion, and explores the ways in
which the locus of the runa (machakuy-runa) is understood, lived and
imagined with regard to its vital surroundings. However, the nature of
the present work does not permit such an exercise. But I would like to
point out that a normative universe can be perceived in the body of the
story, the rupture of which triggers the tragic outcome of the events.
With which, it can be flagged up that cultural entities do not exist with
out institutional forms and normative universes, and that their prescrip
tions do not exist outside the narratives that locate and give them
meaning. Bearing this schematic approach to the tale in mind, we will
go on to explore forms of reciprocity within Andean tradition and from
them the process of epistemological invention of the sumak kawsay. It
is important to remain aware of two aspects: first, the reciprocal act that
leads to the founding of a family, a broad and complex system of kinship
between the hunter and the young woman which underlies their way
of life; and second, that the story, far from depicting a romantic vision
of the Kichwa world, ends in tragedy, demonstrating the fragility of the
relationships represented therein.
minka/minkanakuy as the foundation of sumak kawsay
Houtart does a good job of describing the depth and implications of the
global crisis of capitalism. His text summarises some of the many critical
voices that prove the unfeasibility of intra-systemic solutions and devel300
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Minga is a mutual practice which simply calls for collective work. In this
sense, people talk of "minga to mend the community school", of "minga
decoration of the city" or even, of "Global minga".^^The essential sense
in such cases is collectively to look after an asset of common interest.
It effectively amounts to the combination of a collective will to preserve
a public good, or rather we could say, what are conceived of as "com
mon goods", on different social and geographical scales. This is the
sense underlying the proliferation of working practices generically des
ignated by the word minga. We can speak of a global minga to achieye
the declaration of the Common Good of Humanity. However, consid
ered in its sociocultural context, minga is a much more complex institu
tion with deep historical roots and multiple dimensions: social and
economic, ecological and ritual, political and normative. Etymologically,
it comes from the Kichwa verbal root minka-^^ which means to en
trust)), to take care of something)). From this point of view minka des
ignates collective work, though not just any collective work but that
which is done as an act of solidarity, be it towards a person, a family or
a larger community. Community and individuality include the relationship
with the place and other forms of life living there, as we saw in the tale
of the hunter. Nor is this a question of just any kind of solidarity: the
practice of minka goes beyond the sense of solidarity understood as a
momentary adhesion to the cause of others. On the contrary, the act of
taking care of something implies responsibility to look after it, a respon
sibility that makes sense in the construction of the social, such as in re
lationships and interactions that transcend the human (the ukuy ants,
the machakuy runa). Minka entails a normative and continuous social re
sponsibility derived from assuming the care of something or someone
as a permanent mode of coexistence. Thus, on the everyday social level.
I refer to a rallying cry formulated in English: Global M inga in D efense o f M o th e r
Earth and H e r Peoples, O ctober 12-16, available at: http://intercontinentalcry.org/
global-minga-in-defence-of-mother-earth-and-her-peoples/
The orthographical difference is to differentiate the use of the word in Spanish
and Kichwa. In the context of Spanish it is written minga; while in the Kichwa con
text it is written minka-, the verbal root or action to which other meanings can be
added by using suffixes; the hyhen indicates this semantic opening.
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nomic and political systems, and that their ethical bases are being un
dermined. All the same, their contents, the forms and the normative uni
verse of these practices can be explored with the aim of regaining,
reconstructing and reinventing them in the light of present and future
needs and expectations. This needs to be a critical exercise of theoret
ical imagination and of historical commitment to deny any attempt at
conceptual reification. It also implies a political and epistemological
struggle against the denial of contemporariness that capitalism deploys
against ail forms of criticism of its cultural fundamentals. The concept
of sumak kawsay, as imagined in political discourse, is a recent inven
tion, it is a category that cites a way of life that needs to sink its roots
into the practices of minkanakuy underlying the modes of production
and multiple relations of collective life in the Andes. Otherwise, it runs
the risk of ending up domesticated and reduced to its aesthetic dimen
sion, and subsumed in the capitalist symbolism of cultural democracy.
The idea of the Common Good of Humanity, as formulated by Houtart,
poses many questions and challenges. In my view its very definition
could lead to misunderstandings. If it is a radically different collective
way of life which humanity should reach, I do not understand why we
should call it the Common Good of Humanity, in a historical time of
grotesque global political impostures. The military interventions with the
destruction and death that came in their wake in Iraq, Afghanistan and
Libya, in the name of liberty, democracy and the "protection of civilians",
illustrate how socially and politically desirable concepts can be appropri
ated and used by the imperial powers. For its part, the United Nations,
with its immovable power structures, has demonstrated not only its in
effectiveness in preventing wars but also something much more wor
rying: its usefulness for legitimising the military interventions of the big
powers at a global level. The Common Good of Humanity series shows
us a form of declaration to which this discussion certainly aspires, but it
is much more important to work on the creation of new collective sub
jectivities that move away from the liberal ethos that sees individuals in
perpetual competition among themselves and from the collectivism that
distorts the solidarity-based liberty of minkanakuy.
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