This is the world of the parafiction, also known as Latin America. The creation of this world takes us back to the 16th century, when the Europeans decided to make a replica of their land in the Americas. This wasn’t an easy task, and it wasn’t only a physical conflict either. It was also a battle of ideas. It was the battle between the global or formal knowledge vs the local or informal knowledge.
Although, the Europeans managed to dominate the Americas, they didn’t control it completely. There were some gaps that they could not cover. These gaps later became part of the essence of Latin America. This is what Don Santo and I explore. We call it the process of the copy of the copy. We argue that the first steps to decolonization can be found in the process of making copies of copies. Because eventually it will create a new fake original.
However, before we got to this process we needed to investigate the world of the parafiction and its methods first. We pointed out seven steps that occurred in the Americas. For instance, nothing was a coincidence because the colonizers planned everything that came in and out of the Americas. The combination of European saints with local elements was not an accident either. The construction of churches on specific sites, particularly places that were sacred for the locals was planned as well. The creation of myths was also very important because the colonizers used them to make the locals believe that colonization was a spiritual order. They spread these myths by documenting them on paintings called, Ex-Voto paintings. The last two steps focused on the fabrication of traditions and the suppression of the locals’ identity by comparing it with the visual representations of evil.
However, this is where the path to decolonization can actually begin. Because now that we know what steps were taken by the colonizers to insert their culture in the Americas, we can repeat those steps and use them as camouflage to escape from the gaze of the referees and the colonizers themselves.
By copying their methods, we are restarting the colonizers’ world of the parafiction. What a better place to explore this than Latin America since it was invented based on myths and legends. The outcome is a simulacrum. And if it is a simulacrum, it can only be fought or replaced with another layer of simulacrum. But how can we do that if all the tools belong to the colonizers? Wouldn’t this create or make the layer of the colonizer even stronger? Don Santo and I agree that instead of working to try to revert the power of the colonizer, we should work towards a celebration of it. We should continuously copy the copy of its simulacrum until the original’s power collapses. We believe that the solution can be found in the metis. a Greek term that is used to describe intuition and folk knowledge. Because the copy of the copy relies on intuition obtained at a local level, these responses fill out the gaps left by the incomplete or inaccurate copies; gaps that the colonizers filled with stereotypes. However, if we keep repeating the process of copying copies, those inaccuracies eventually will become a positive characteristic in the copy. But we need to be careful not to reject these originals because they are the ones that open the door to access this process.
As we see in the image of Señor de Huanca, which appeared in Cuzco, Peru, this image has managed to reverse the power of the original. If we trace its visual etymology, this image will take us to the popular biblical theme of Christ Gathering his Garments, perhaps closer in its formal qualities to the version of Zurbaran. The image of Señor de Huanca is important not for its similarity to Zurbaran’s version, but for its own local importance, thanks to its inaccuracies, because if we do not interrupt the trajectory of the copy, the copy can lead us to an unexpected world of occurrences. The more the copy is copied, the more it will distance itself from the original, becoming closer to its own original. Señor de Huanca is evidence of this process because it has gained and lost formal qualities. This activity of adding and subtracting has defined its identity and increased its value, a type of value that cannot be monitored by the global knowledge. Because if you touch the painting of Zurbaran you might end up outside of the museum, but if you touch the original copy of Senor de Huanca it might concede you a miracle. So if you want to access the magic world of the parafiction come and touch an original copy of Senor de Huanca and your wish will be granted.
 The image of Señor de Huanca is very popular in Cuzco, Peru. However, this popularity did not stop other images from appearing as well. In fact, one of them is ‘El Señor de la Columna’ or ‘Lord of the Column’. Painted around the 18th century. It is an image that has many similarities with the iconography of the image of Señor de Huanca. Both images also share the same day for their ceremonies. Besides, the ‘Lord of the Column’ has its own myths and its own local identity. According to the stories, ‘Lord of the Column’ was owned by the Ochoa family, therefore the ceremony its called now the ‘Ochoadas’, meaning something like ‘what the Ochoas do’. These coincidences raise the following question: is Lord of the Column a copy of Señor de Huanca or is it a copy of the European versions of the Lord of the Column? However, the peculiar aspect with the Lord of the Column from Cusco is that in 2005 this image was stolen. But its absence did not stop the locals from practicing the ceremony. The people from the locality of Urubamba already commissioned a copy of the Lord of the Column and hope that this is as miraculous as the first one. Http://larepublica.pe. "El Cristo que fue robado." Larepublica.pe. August 30, 2005. Accessed January 13, 2017. http://larepublica.pe/30-08-2005/el-cristo-que-fue-robado.