STUDIES IN LATIN AMERICAN POPULAR CULTURE最新文献

{"title":"Resisting the Dominant Gaze: Prison Works by Brazilian Artist Rosângela Rennó and Filmmaker Maria Augusta Ramos","authors":"M. Harrison","doi":"10.7560/SLAPC3502","DOIUrl":"https://doi.org/10.7560/SLAPC3502","url":null,"abstract":"Abstract: This article examines photographic installations by Rosângela Rennó and documentaries by Maria Augusta Ramos as contemporary representations of resistance to visual renderings of the colonialist and neocolonialist encounter. Works such as Rennó’s series Vulgo (1998–1999) and Ramos’s film Juízo (2007) express resistance through the deliberate absence of a frontal, reciprocated gaze. These artists’ aesthetic decisions serve to challenge fixed notions of identity and typecasting around binary opposites of dominant-powerful and marginal-powerless. They become transgressive alternatives to Brazilian identity in the country’s vast history of representation. In the words of John Berger, Rennó and Ramos incorporate contemporary visual alternatives “into social and political memory.” Within the visual politics articulated by bell hooks, these two artists subvert “institutionalized systems of domination” by way of aesthetic interventions. In examining these artists’ works in this framework, this article explores the value of aesthetic interventions in the context of postdictatorship Brazil. Resumo: Este ensaio analisa as instalações fotográficas de Rosângela Rennó e os documentários de Maria Augusta Ramos como representações contemporâneas de resistência. Obras como a série de Rennó intitulada Vulgo (1998–1999) e o documentário Juízo (2007) de Ramos representam oposições intencionais que se estabelecem por meio de uma ausência de olhar recíproco típico de um confronto colonial ou neocolonial. As escolhas estéticas dessas artistas desafiam noções fixas de identidade, se tornando opções transgressoras de identidade brasileira dentro de uma vasta representação histórica nacional. Nas palavras de John Berger, Rennó e Ramos criam alternâncias visuais contemporâneas que se estabelecem “dentro de uma memória sociopolítica”. De acordo com a política visual de bell hooks, essas duas artistas subvertem “sistemas institucionais de dominação” através de suas intervenções estéticas. Ao situar as obras dessas artistas através deste mapeamento, este ensaio aborda o significado dessas intervenções estéticas no contexto do Brasil pós-ditadura.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47096735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Among Races, Nations, and Diasporas: Genealogies of “La bamba” in Mexico and the United States","authors":"Theodore W. Cohen","doi":"10.7560/SLAPC3504","DOIUrl":"https://doi.org/10.7560/SLAPC3504","url":null,"abstract":"Abstract: This article examines how “La bamba” entered into the cultural politics of Mexican nationalism, the African diaspora, and Chicano nationalism. As one of Mexico’s most popular songs, “La bamba” provides a window into the multiple historically contingent ways in which scholars and cultural producers assign racial and geographic roots to music. Between 1930 and 1987, Mexican and US intellectuals and performers characterized it as indigenous, European, mestizo, black, African-descended, and Afro-Caribbean in their ethnographic accounts, musical compositions and performances, films, and dance. This article rethinks scholarly conceptions of Mexican identity that define the nation in relation to its indigenous and Spanish roots and that imply, if not declare, that blackness has disappeared from national culture. It contends that there was no coherent state-sponsored or popular project to construct, let alone erase, blackness from local, regional, and national cultures after the Mexican Revolution of 1910. The song’s African-descended melodies, harmonies, and rhythms were sometimes emphasized and other times ignored while intellectuals and performers struggled to classify culturally mixed music. These ambiguities allowed “La bamba” to move seamlessly from Mexican nationalism to the cultural initiatives of the African diaspora and the Chicano Movement. Resumen: Este artículo examina cómo “La bamba” entró en la cultura política del nacionalismo mexicano, la diáspora africana y el nacionalismo chicano. Una de las canciones mexicanas más populares, “La bamba” presenta una oportunidad para analizar las múltiples contingencias históricas en las que los investigadores y productores culturales asignan raíces raciales y geográficas a la música. Entre 1930 y 1987, los intelectuales e intérpretes mexicanos y estadounidenses la describían como indígena, europea, mestiza, negra, afrodescendiente y afro-caribeña en sus informes etnográficos, composiciones y representaciones musicales, películas y danzas. Este artículo reconsidera las concepciones eruditas de la mexicanidad que definen la nación en proporción a sus raíces indígenas y españolas que insinúan, si es que no declaran abiertamente la desaparición de lo negro en la cultura nacional. El artículo sostiene que no hubo ningún proyecto coherente patrocinado por el estado para construir, sino sólo erradicar lo negro en la cultura local, regional o nacional después de la Revolución Mexicana de 1910. Las melodías, armonías y ritmos afrodescendientes de la canción eran enfatizados a veces pero ignorados otras veces mientras los intelectuales e intérpretes luchaban por encontrar una clasificación para la música híbrida. Estas ambigüedades permitieron que “La bamba” se trasladara sin problemas del nacionalismo mexicano a las iniciativas de la diáspora africana y el Movimiento Chicano.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45826813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Visual Witness: A Critical Rereading of Graciela Iturbide’s Photography","authors":"N. Gardner","doi":"10.7560/SLAPC3510","DOIUrl":"https://doi.org/10.7560/SLAPC3510","url":null,"abstract":"Abstract: This article underlines the importance of Latin American photography at a time when the visual turn of Hispanism is increasingly evident. At the time of writing, Graciela Iturbide is one of the foremost living photographers in Latin America. This article reengages with Iturbide’s work using notions of photography as witness and drawing on photography scholar Ariella Azoulay’s structure of the civil contract of photography—in addition to concepts from other visual experts—to identify and underline the several fundamental elements to which Iturbide’s photography testifies. To achieve this result, this article studies her first solo visual narrative, Los que viven en la arena.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47126156","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Economic Impact of Popular Culture in Cali, Colombia","authors":"Julio César Ana Isabel Alonso C., A. Gallego","doi":"10.7560/SLAPC3506","DOIUrl":"https://doi.org/10.7560/SLAPC3506","url":null,"abstract":"The term “popular culture” has not yet been clearly defined; however, there are already efforts to quantify its impact on the economy. Cusic and Faulk (2009) computed the gross domestic product of popular culture, which is divided into several economic activities in the information sector and in the arts, entertainment, and recreation sector. This article follows Cusic and Faulk’s definition to make explicit the contribution of each activity to Cali’s economy. Our results imply that the main components of popular culture in Cali are gambling and sporting activities; however, recreation also plays an important role. The gambling activities are mainly constituted by the sales of a small-bets game played on a daily basis by more than half of adults in Cali. A limitation of our approach to calculating the gross domestic product of popular culture is that we do not adopt an explicit social sciences definition. This article presents a detailed description of the industries included in the calculation of the gross domestic product of popular culture. The data presented here can be organized to present the economic impact of popular culture.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48740442","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reimagining Nicaragua’s Volcanto Tradition through the Music of Perrozompopo","authors":"Megan Thornton","doi":"10.7560/SLAPC3507","DOIUrl":"https://doi.org/10.7560/SLAPC3507","url":null,"abstract":"Volcanto music is a specific label for Nicaraguan testimonial music, coined after the 1979 left-wing triumph of the Frente Sandinista de Liberación Nacional (FSLN, or Sandinistas). This protest music, with its roots in the Latin American Nueva Canción genre, has evolved over the years from folkloric and rural music with socially committed lyrics to one with hybrid sounds and global influences. Ramón Mejía, better known as Perrozompopo, is one of Nicaragua’s most celebrated contemporary singer-songwriters who has continued the volcanto tradition with his hybrid compilations. As the nephew of Carlos Mejía Godoy, Nicaragua’s most influential composer of volcanto music, Perrozompopo has social and musical advantages because he will always be associated with the volcanto tradition; however, his focus on urban spaces and contemporary social problems somewhat distances his songs from the more traditional protest music steeped in rural folklore. His alternative urban rock style and socially committed lyrics, therefore, encourage listeners to reimagine the volcanto tradition. By drawing on Josh Kun’s theoretical concept of audiotopia, this article argues that Perrozompopo infuses Nicaraguan volcanto music with global sounds, creating a hybrid musical style with audio(u)topian longings for a more just society.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41447646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Gifting the Cultural-Capitalist State: Consuming Popular Art and Performing Citizenship in Mexico’s Museums","authors":"M. Coffey","doi":"10.7560/SLAPC3501","DOIUrl":"https://doi.org/10.7560/SLAPC3501","url":null,"abstract":"Abstract: This article explores the “agency of display” by analyzing key moments in the exhibition of popular art in Mexico’s museums from the immediate postrevolutionary period through the neoliberal dismantling of the welfare state. It explores how the consumption of popular art has been rationalized in and through exhibitions to track the shift in state discourses regarding what constitutes citizenship at different historical moments. Situated within contemporary debates over the citizen-consumer, this article shows that popular citizenship and the consumption of popular art have always been linked while also acknowledging that the advent of social liberalism marks a distinct and highly paradoxical transformation of relations of state, society, and economy in Mexico. To that end, the article concludes by analyzing displays of popular art in the revised ethnographic galleries, a temporary exhibition by the Fondo Nacional de Fomento a las Artesanías, and the gift store at the National Museum of Anthropology.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48422341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"¿La fiesta de todos o pocos?: Representaciones fílmicas del Mundial ‘78 de la Argentina","authors":"P. T. Ridge","doi":"10.7560/SLAPC3406","DOIUrl":"https://doi.org/10.7560/SLAPC3406","url":null,"abstract":"The current study analyzes three argentine documentary films that center on the 1978 FIFA World Cup. The first of the three, La fiesta de todos (1979), directed by Sergio Renán, presents the Argentine victory on home turf as a countrywide celebration. Contrary to Renán’s propagandistic film—backed by the Instituto Nacional de Cinematografía—other documentaries such as Mundial ‘78, la historia paralela (2003) and Mundial 78: Verdad o mentira (2007), from filmmakers Gonzalo Bonadeo, Diego Guebel, Mario Pergolini, and Christian Rémoli, examine the military dictatorship’s strategic manipulation of the event and the national team’s success in order to project a unified country devoid of human rights abuses. The latter films’ use of authentic materials, specifically the incorporation of testimony and archival footage, reveals the social atrocities of Videla’s government taking place in the middle of the world’s most popular sporting event.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2016-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339589","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Natureza e ambiente na literatura de cordel brasileira","authors":"Carlos Nogueira","doi":"10.7560/SLAPC3407","DOIUrl":"https://doi.org/10.7560/SLAPC3407","url":null,"abstract":"This article approaches ecological thought in Brazilian cordel literature, which, by relating areas like nature, environment, religion, technology, science, teaching, citizenship, and the denouncing of inequalities and injustices against people, as well as living and nonliving beings, has already configured a cycle that the Brazilian School has been giving more and more attention to.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2016-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339626","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sacrifice, Faith, Mestizo Identity: Three Views of Che’s “New Man”","authors":"Gregory Stephens","doi":"10.7560/SLAPC3409","DOIUrl":"https://doi.org/10.7560/SLAPC3409","url":null,"abstract":"Abstract:This article revisits Che Guevara’s concept of the new man through close readings of the book and film Motorcycle Diaries and Steven Soderbergh’s film Che: Part One (2008). Although I also briefly engage Che’s Episodes of the Cuban Revolutionary War and use Richard Dindo’s film Ernesto Che Guevara: The Bolivian Diary (1996) as a framing device, my primary focus is a critical analysis of the origins of the utopian myth of the new man.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2016-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339645","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cutting Cárdenas: Revising the Revolutionary Family in 1980s Mexico","authors":"M. Huska","doi":"10.7560/SLAPC3401","DOIUrl":"https://doi.org/10.7560/SLAPC3401","url":null,"abstract":"Abstract:In 1987 the historical telenovela Senda de gloria (Path of Glory) debuted to the delight of audiences and illustrated a fundamental link between telenovelas and national identity. The series, a coproduction between Televisa, Mexico’s largest media conglomerate, and the Instituto Mexicano del Seguro Social (IMSS), weaves the melodramatic tale of the Álvarez family into the backdrop of the 1910 Mexican Revolution, specifically from the 1917 constitution to Lázaro Cárdenas’s nationalization of oil in 1938. This article employs the discourse of the “revolutionary family” to understand both the plot and the production of Senda de gloria, as well as the political context of 1980s Mexico. Furthermore, the article explores IMSS as part of the revolutionary family and its involvement in the production of relatively costly telenovelas. Senda demonstrates how Mexican heroes and villains were recast in the neoliberal turn after 1988, and in this political and economic transition, the very history that the PRI employed to legitimize its power instead discredited the party and underscored its illegitimacy.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2016-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}