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Extractivist archaeological practices have been carried out in the Atacama Lickanantay territory, Antofagasta region, northern Chile, ever since the 19th century, excluding or denying the voice and/or participation of members of the local indigenous community. However, the beginning of the 21st century saw a change in this sense bringing new experiences of collaboration between Atacameños and archaeologists. Our goal is to reflect on the definitions and applications of collaborative methodologies in archaeological projects, through discussion focusing on the global, through the national and finally the local, from where we approach a particular collaborative project. The research, conducted between early 2021 and mid 2024, studies the history of the collection and patrimonialization of indigenous bodies in the Atacameño Lickanantay territory, and socializes this information among the local communities. Based on this work, we conclude that all research in the territory must involve and be authorized by the Atacameño communities. Also, we consider that the Atacameños should stop being the object of research and instead become researchers who lead or collaborate in the studies within their communities and in their territory. The originality of this paper lies precisely in the fact that it brings a global discussion of contemporary archaeology to a concrete case. [ABSTRACT FROM AUTHOR]

The purpose of this article is to explore the concept of research-creation and its applicability within anthropology, focusing on the creation of plastic-sensorial artifacts as a valid source of knowledge. To this end, we first present a bibliographical review to contribute to the articulation of a field of methodological experimentation within anthropology, highlighting its interdisciplinary nature and the dialogue with other knowledge from sociology, design, and media arts. Next, we present and critically discuss the concept of research-creation, indicating its relevance in conducting research whose results go beyond the textual, while producing knowledge that is inscribed in plastic-sensory artifacts. Three interconnected dimensions are proposed to understand a process of research-creation from anthropology: a methodological one, referring to the creation of records or data during fieldwork; a curatorial one, concerning at the possible combinations of the collected material; and a third public dimension, focusing on the circulation and agency of the outcomes of these research-creations. Finally, we investigate and describe an ethnographic case study with family members of people deprived of their liberty in Chile, a collaborative research-creation process that culminated in a sound installation. [ABSTRACT FROM AUTHOR]