This article addresses the issue of the body as a symbolic support, starting with the photograph of a Mapuche vedette, published in the newspaper "La Cuarta" in February 1992 in the context of the land conflict in Quinquen IX region. In this photograph "Solange Star" appears, posing half-naked in front of the camera with a Trarilonko (silver headband that is used as a complement to traditional Mapuche clothing) and a Iculla (cape that is part of the Mapuche female dress to cover the back). The idea is to carry out an analysis of the photography from the interpretation of these icons (Trarilonko and Iculla) that are left exposed, those that make known the ethnic belonging of the photographed, but in a reworked way, as its use contrasts with the traditional, using the half-naked body as a support, an act in which the photographed woman vindicates her identity in relation to her work activity (vedette), generating a double identity discourse. On the other hand, observing the photograph leads us to reflect on its montage and the image that is shown as spectators, giving an account of the actors involved in its construction. Finally, the anthropological interpretative analysis of photography allows us to deconstruct the image in its multiple senses and visualize the symbols as an important part from which we can know the dynamism of ethnic identity, subject to diverse contexts that reproduce over time.