Within the experience of the Bolivian Revolution of 1952 since the National Revolutionary Movement took power (1952-1964), the novel neoindigenist Sariri will be analysed: a replica (1954) by Fernando Diez de Medina in a context of Latin American thinking marked by the Arielism crisis as a literary fee. What will be analysed in the use of this indigenist discontric matrix will be three moments: the issue of aesthetic and political representation of the indigenous in the national-popular state understood as a hegemonic proposition; the emphasis on learning as a distinctive feature of thinking national and popular, and finally images of the indigenist intellectuals and their personal background in this particular economic and political context.