Julieth Morales Aranda (Silvia, Cauca, 1992) is a Colombian artist from the Misak community. Her work questions the role of women within her Indigenous community and the construction of identity through mestizaje, examining the tensions and encounters between ancestral and Western culture. To do so, she draws on the social, political, religious, and cultural rituals of the Misak people, highlighting their bodily and artistic expressions through performance, video, weaving, photography, screen printing, and installation. Her practice deliberately steps away from the anthropological or exoticizing gaze often applied to contemporary Indigenous art, as well as from a nostalgic return to a past frozen in time: Morales belongs to a generation of professional Indigenous artists who move between the urban and the rural, reclaiming traditions by their own choice. She describes herself as Misak by birth and mestiza by context, given that her work has developed through a constant movement between the Indigenous and the urban. 

She is a professor of contemporary Indigenous art at the Faculty of Creation at Universidad del Rosario and holds a master's degree in fine arts from Universidad del Cauca. Among her notable works are Chumbe (Pørtsik in the Misak language), a performance based on the traditional practice of wrapping newborns so they grow straight and strong; and Srusral Mora Kup (young women spinning, 2018), a piece that reclaims weaving as a collective and memory-bearing act. In 2019 she received the VII Sara Modiano Prize for Cruceros, a performative work developed together with women from her community. She has undertaken international artist residencies, including one in Wellington, New Zealand, where she drew connections between Misak textile traditions and those of the Māori people. She lives and works in Cauca, Colombia.