Education

Since 05/2024	PhD Student, International Research Training Group ‘Temporalities of Future’
Since 08/2021	PhD Student, Graduate Program in Latin American Studies, Universidad Nacional Autónoma de México (UNAM).
08/2016 – 10/2019	Master in Social Anthropology, Centro de Investigaciones y Estudios Superiores en Antropología Social (CIESAS) - Southeast/Northeast Program.
08/2006 – 10/2015	BA in Sociology, Faculty of Political and Social Sciences, Universidad Nacional Autónoma de México (UNAM).

 

Work Experience

Since 03/2024	Researcher, International Research Training Group ‘Temporalities of Future’
Since 02/2023	External Advisor of Art Space MUY AC - MUY Gallery, Chiapas, Mexico
Since 05/2015	Curator of the International Festival of Contemporary Music in Various Languages "Estruendo Multilingüe" at the University Museum of El Chopo, UNAM.
Since 05/2020	Creator of the Huums! Sonic Chronotopies Project
02/2022 – 11/2022	Researcher and co-producer as Huums! of the "Aquí estamos ¿nos escuchan?" process with artists associated with the Art Space MUY AC - MUY Gallery, Chiapas, Mexico.
02/2021 – 11/2022	Researcher and co-producer as Huums! of the Virtual Exchange Cycle on Contemporary Sound of Indigenous Peoples' Knowledge, Beneficiary of the Program for the Promotion of Ibero-American Music (Ibermusicas).

Project: "Roaming Sound: Sonic Chronotopies and Aurality in the Contemporary Art of Indigenous Peoples of Latin America"

Supervisor: Dra. Marisa Belausteguigoitia Rius (UNAM)

The proposed research explores the aural expressions of contemporary art among indigenous artists in Latin America. Drawing on an interdisciplinary approach that integrates art anthropology and sound studies, it analyzes the aural strategies employed by indigenous artists in their aesthetic production. The concept of "sound chronotopes" is proposed as a unit of analysis to examine how these expressions challenge hegemonic conceptions of time, contemporaneity, and identity, while also contributing to the construction of alternative futures. Through a participatory and reflective approach, the research investigates the practices of listening, resonance, and co-creation underlying the creation of these sound chronotopes, highlighting their role in the self-representation process of indigenous artists and their resistance against the modern/colonial aural regime.

Chapters:

Ruiz G. Edgar; Pérez H., Joel; Méndez, Saúl (2023): "'Alone with Näwayomo'. Artivism, listening, and territorial defense in contemporary Maya and Zoque art in Chiapas," in: Flor M. Bermúdez and Martín de la Cruz López (eds.), Youth and Digital Technologies: Artistic, Creative, and Educational Experiences. JP Ed. and CESMECA-UNICACH.

Ruiz G., Edgar (2018): "Young bats'i rockers: Appropriating sound and space," in: Meneses Reyes and López Guerrero (Coord.) Youth, Public Space, and Citizenship. Mexico: CEIICH-IIS-UNAM.

Ruiz G., Edgar (2014): "The origins of Vayijel: A spot on the paths of rock," in: López Moya et al (eds.) "Etnorock: The faces of a global music in southern Mexico". Mexico: CESMECA-UNICACH, Juan Pablos Editor.

Articles:

Ruiz G., Edgar (2022): "From bats'i rock and Ocotepunk as youth music scenes to sound experimentalism in contemporary indigenous art," in: Aionograma: Journal on Youth and Contemporary Societies. Year 2, No. 2 ENAH.