| Sumario: | Among the most outstanding repertoires of collective action in the 'revolt' that took place in the spring of 2019 in Chile, were the exercises of dismantlement and the demand for indigenous presence. And this is curious because the official history of Chile has sought, in many ways, to deny 'the Indian' of the total story. The 'other' emerges only as a past fragment, while the bodies and biographies of the elite flood books and cities with their monumental presence. So, what does the dismantlement of this elite history and the vindication of the denied indigenous presence indicate to us? Are we perhaps facing a popular revolt with decolonizing overtones? What initial conclusions about the evolution of national identities can be drawn from these political and aesthetic repertoires? We believe that, after the actions of discarding, scratching or saturating the public monumentality, a deep criticism is projected towards the homogenizing narratives of the nineteenth century nation. Today, 'whiteness', as a cultural script of the nation, is put under tension. Finally, we believe that, along with the criticism of the continuities of a racist story of the nation, there emerges a search for the elaboration of new identitarian and cultural scripts. It emerges, imagined from that erased indigenous condition, as a variegated construction of the political community emerging from silencing of five centuries. This is where the decoloniality of the social outbreak is incubated.
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