Abstract:At the end of the nineteenth century, talking machines stopped being inaccessible to the popular sectors and became objects of daily Mexican life. It was in this context that dozens of individuals, aware of the popular predilection for recorded music and interaction with sound technologies, decided to request authorization from the city council of Mexico City to rent out their phonographs on public roads. They would receive a penny for each phonogram listened to by their clients. The need of these popular entrepreneurs for an attractive and varied repertoire prompted the emergence of shops and small recording studios in the city. This article attempts to reconstruct this forgotten chapter in the business and cultural history of Mexico. To do this, we will not only reveal the identities of the phonographers, the objects they rented, and the places they traveled but also the accusations they faced for the spread of hearing diseases and the reproduction of obscene songs. In general, this research highlights the methodological relevance of an approach that rethinks the past, having as its central axis the study of the processes of commercialization and consumption of sounds in the daily life of cities.
{"title":"Fonógrafos ambulantes en tiempos de don Porfirio: Hacia una historia popular de los sonidos (Ciudad de México, 1894–1903)","authors":"Jaddiel Díaz Frene","doi":"10.7560/slapc4104","DOIUrl":"https://doi.org/10.7560/slapc4104","url":null,"abstract":"Abstract:At the end of the nineteenth century, talking machines stopped being inaccessible to the popular sectors and became objects of daily Mexican life. It was in this context that dozens of individuals, aware of the popular predilection for recorded music and interaction with sound technologies, decided to request authorization from the city council of Mexico City to rent out their phonographs on public roads. They would receive a penny for each phonogram listened to by their clients. The need of these popular entrepreneurs for an attractive and varied repertoire prompted the emergence of shops and small recording studios in the city. This article attempts to reconstruct this forgotten chapter in the business and cultural history of Mexico. To do this, we will not only reveal the identities of the phonographers, the objects they rented, and the places they traveled but also the accusations they faced for the spread of hearing diseases and the reproduction of obscene songs. In general, this research highlights the methodological relevance of an approach that rethinks the past, having as its central axis the study of the processes of commercialization and consumption of sounds in the daily life of cities.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47291643","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}
Abstract:This article analyzes the construction, representation, and meaning of the personal relationship between painter Frida Kahlo and singer Chavela Vargas in the graphic novel La casa azul (Alba 2014) by the Catalan artist Tyto Alba. I explore how Alba re-creates and interprets the relationship between these two prominent popular culture figures based on Chavela’s memoirs Y si quieres saber de mi pasado (Vargas 2002) and Frida Kahlo’s Diario. Autorretrato íntimo (Kahlo 1995). In this analysis, I found particularly relevant the role played by dreams, daydreams, and imagination—all pillars of the surrealist movement to which Alba pays homage in La casa azul—as tools in the construction of the story and, more importantly, in the creation of Chavela’s subjectivity. Ultimately, I argue that Tyto Alba construes Frida as a metaphorical mirror in which Chavela sees herself and constructs her own personal identity.
摘要：本文分析了加泰罗尼亚艺术家泰托·阿尔巴（Tyto Alba）的平面小说《阿祖尔之家》（La casa azul，2014）中画家弗里达·卡罗（Frida Kahlo）和歌手查维拉·瓦尔加斯（Chavela Vargas）之间个人关系的构建、表现和意义。我根据Chavela的回忆录《Y si quieres saber de mi pasado》（Vargas 2002）和Frida Kahlo的《日记》，探讨了Alba如何重新创造和解释这两位著名的流行文化人物之间的关系。Autorretratoíntimo（卡罗，1995年）。在这篇分析中，我发现梦、白日梦和想象所扮演的角色尤其相关，这些都是阿尔巴在《阿祖之家》中所致敬的超现实主义运动的支柱，是构建故事的工具，更重要的是，也是创造查维拉主体性的工具。最终，我认为Tyto Alba将Frida理解为Chavela看待自己并构建自己个人身份的隐喻镜子。
{"title":"Y si quieres saber de mi pasado y La casa azul: Imaginación y sensibilidad surrealista en Chavela Vargas","authors":"Sofía Ruiz-Alfaro","doi":"10.7560/slapc4103","DOIUrl":"https://doi.org/10.7560/slapc4103","url":null,"abstract":"Abstract:This article analyzes the construction, representation, and meaning of the personal relationship between painter Frida Kahlo and singer Chavela Vargas in the graphic novel La casa azul (Alba 2014) by the Catalan artist Tyto Alba. I explore how Alba re-creates and interprets the relationship between these two prominent popular culture figures based on Chavela’s memoirs Y si quieres saber de mi pasado (Vargas 2002) and Frida Kahlo’s Diario. Autorretrato íntimo (Kahlo 1995). In this analysis, I found particularly relevant the role played by dreams, daydreams, and imagination—all pillars of the surrealist movement to which Alba pays homage in La casa azul—as tools in the construction of the story and, more importantly, in the creation of Chavela’s subjectivity. Ultimately, I argue that Tyto Alba construes Frida as a metaphorical mirror in which Chavela sees herself and constructs her own personal identity.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46862850","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}
Abstract:In this article, I analyze a Welsh festival inspired by Chilean artist Víctor Jara and the government of Popular Unity (1970–1973). Using the theory of cultural performance, and based on interviews with participants and observations of some activities carried out in the festival, I argue that the festival is a space that simultaneously acts both to suspend and to create political normativity. On the one hand, the politics of the festival proposes a transgression of the political normativity and hegemony of neoliberalism in the United Kingdom and the West. On the other hand, the festival reinforces a political identity inspired by progressive, anti-neoliberal movements and governments in Latin America. These processes of subversion and reinforcement are mutually interconnected since the reinforcement of the political normativity of social progressist governments and movements in Latin America is constituted as a form of transgression of the neoliberal, conservative political agenda that is currently hegemonic in the contemporary British government and in some Latin American countries.
{"title":"Transmisión y reactivación del legado de Víctor Jara y la Unidad Popular en un festival político en Gales","authors":"Ignacio Rivera-Volosky","doi":"10.7560/slapc4101","DOIUrl":"https://doi.org/10.7560/slapc4101","url":null,"abstract":"Abstract:In this article, I analyze a Welsh festival inspired by Chilean artist Víctor Jara and the government of Popular Unity (1970–1973). Using the theory of cultural performance, and based on interviews with participants and observations of some activities carried out in the festival, I argue that the festival is a space that simultaneously acts both to suspend and to create political normativity. On the one hand, the politics of the festival proposes a transgression of the political normativity and hegemony of neoliberalism in the United Kingdom and the West. On the other hand, the festival reinforces a political identity inspired by progressive, anti-neoliberal movements and governments in Latin America. These processes of subversion and reinforcement are mutually interconnected since the reinforcement of the political normativity of social progressist governments and movements in Latin America is constituted as a form of transgression of the neoliberal, conservative political agenda that is currently hegemonic in the contemporary British government and in some Latin American countries.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47484919","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}
Abstract:This article presents the search results for the discursive and visual (re)presentations of San Basilio de Palenque, its food, and people in the Travel Channel’s Bizarre Foods America TV show with Andrew Zimmern. This was a qualitative work that used multimodality and visual anthropology to analyze the relationships between text (verbal), image, and cinematographic elements. It is the conjunction of the three elements that generates a series of (re)presentations and (re)constructions of Palenque and its inhabitants that far exceed the intention of the program: to talk about rich and unique cuisine. Food appears as a rhetorical device through which privilege manages to legitimize the practice of desiring and consuming the Other. Bizarre Foods and what is shown in the episode become an excuse to address issues such as authenticity, the consumption of ethnicity, and the romanticization of poverty.
{"title":"Cocinando las alegrías: Imagen y discurso en Bizarre Foods America","authors":"Kristell Andrea Villarreal Benítez","doi":"10.7560/slapc4105","DOIUrl":"https://doi.org/10.7560/slapc4105","url":null,"abstract":"Abstract:This article presents the search results for the discursive and visual (re)presentations of San Basilio de Palenque, its food, and people in the Travel Channel’s Bizarre Foods America TV show with Andrew Zimmern. This was a qualitative work that used multimodality and visual anthropology to analyze the relationships between text (verbal), image, and cinematographic elements. It is the conjunction of the three elements that generates a series of (re)presentations and (re)constructions of Palenque and its inhabitants that far exceed the intention of the program: to talk about rich and unique cuisine. Food appears as a rhetorical device through which privilege manages to legitimize the practice of desiring and consuming the Other. Bizarre Foods and what is shown in the episode become an excuse to address issues such as authenticity, the consumption of ethnicity, and the romanticization of poverty.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46450014","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}
Abstract:The NaCo apparel company in Tijuana, Mexico, created a line of clothing and accessories that traded on a bilingual and bicultural identity construction in the late 1990s and 2000s. An examination of this clothing and its connection to the slang term naco reveals interesting aspects of the way national and ethnic discourses construct identity through the flow and consumption of transnational products. They are indicative of how these identities and the consumption of these products produce different identity narratives in the presence of the particular national configurations of race and ethnicity in Mexico and the United States. In an increasingly globalized world where people and cultural products move with increasing ease, NaCo products demonstrate that borders continue to exercise an enormous influence on these same products and how they are consumed. NaCo’s clothing and its consumption as a cultural act point to the enduring influence and importance of the nation, its identity narratives, and cultural codes as a locus of individual identity construction.
{"title":"¡Nakíssimo! Transnational Identities, Cultural Tourism, and the Aesthetics of Consumption in NaCo Clothing","authors":"Andrew M. Gordus","doi":"10.7560/slapc4102","DOIUrl":"https://doi.org/10.7560/slapc4102","url":null,"abstract":"Abstract:The NaCo apparel company in Tijuana, Mexico, created a line of clothing and accessories that traded on a bilingual and bicultural identity construction in the late 1990s and 2000s. An examination of this clothing and its connection to the slang term naco reveals interesting aspects of the way national and ethnic discourses construct identity through the flow and consumption of transnational products. They are indicative of how these identities and the consumption of these products produce different identity narratives in the presence of the particular national configurations of race and ethnicity in Mexico and the United States. In an increasingly globalized world where people and cultural products move with increasing ease, NaCo products demonstrate that borders continue to exercise an enormous influence on these same products and how they are consumed. NaCo’s clothing and its consumption as a cultural act point to the enduring influence and importance of the nation, its identity narratives, and cultural codes as a locus of individual identity construction.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42576490","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}
Abstract:In 1984 in the border town of Ciudad Juárez, Mexico, a cobalt radioactive therapy machine was dismantled, melted, and forged into iron materials that created a binational nuclear fallout emergency known as the “cobalt 60 accident,” the worst atomic incident in Latin America to date. I study this accident from the perspective of the desert as a site for “wastelanding”—as being a place rendered pollutable and discardable. Ciudad Juárez has been seen as America’s backyard, a city hungry for scrap-heap materials. I analyze cultural products, such as a documentary, videos, and two novels that describe the incident, highlighting the corruption and lack of an exhaustive report that confronts the official versions and conspiracy theories.
{"title":"The Desert as Junkyard: The Perils of Proximity in the Documentary Deadly Metal and Two Novels Concerning the Cobalt 60 Accident in Ciudad Juárez","authors":"Martinez Camps","doi":"10.7560/slapc4106","DOIUrl":"https://doi.org/10.7560/slapc4106","url":null,"abstract":"Abstract:In 1984 in the border town of Ciudad Juárez, Mexico, a cobalt radioactive therapy machine was dismantled, melted, and forged into iron materials that created a binational nuclear fallout emergency known as the “cobalt 60 accident,” the worst atomic incident in Latin America to date. I study this accident from the perspective of the desert as a site for “wastelanding”—as being a place rendered pollutable and discardable. Ciudad Juárez has been seen as America’s backyard, a city hungry for scrap-heap materials. I analyze cultural products, such as a documentary, videos, and two novels that describe the incident, highlighting the corruption and lack of an exhaustive report that confronts the official versions and conspiracy theories.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46294507","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}
Abstract:This article proposes a close listening to women’s voices in Chile today. Subverting the assumption that the study of voices leads preferably to the description of individual subjectivities, this article aims to interrogate the collective dimension of vocal sound through the study of the performance A Rapist in Your Path. Its impact on the feminist movement is examined by paying attention to two versions in which vocal sounds articulate specific notions of identity, both of which challenge the conventional ordering of gender. It is the vocal timbre that disrupts this order, allowing us to hear the voices of Mapuche women shouting in their language and extreme metal singers sonically embodying violence. Thus, diverting the attention from the lyrics and movement to the sound itself, the articulation between this denunciation of rape culture and forms of inequality experienced by women in Chile becomes evident.
{"title":"Feminist Performance as Challenging Voice-Body Regimentation","authors":"Laura Jordán González","doi":"10.7560/slapc4107","DOIUrl":"https://doi.org/10.7560/slapc4107","url":null,"abstract":"Abstract:This article proposes a close listening to women’s voices in Chile today. Subverting the assumption that the study of voices leads preferably to the description of individual subjectivities, this article aims to interrogate the collective dimension of vocal sound through the study of the performance A Rapist in Your Path. Its impact on the feminist movement is examined by paying attention to two versions in which vocal sounds articulate specific notions of identity, both of which challenge the conventional ordering of gender. It is the vocal timbre that disrupts this order, allowing us to hear the voices of Mapuche women shouting in their language and extreme metal singers sonically embodying violence. Thus, diverting the attention from the lyrics and movement to the sound itself, the articulation between this denunciation of rape culture and forms of inequality experienced by women in Chile becomes evident.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46044751","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":"“Cuando yo quiera has de volver”: Configuraciones de masculinidad y feminidad en las canciones de Juan Gabriel para Rocío Dúrcal","authors":"Julio Uribe Ugalde","doi":"10.7560/slapc4002","DOIUrl":"https://doi.org/10.7560/slapc4002","url":null,"abstract":"","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46702285","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":"Old Gringo y la frontera fílmica de Carlos Fuentes","authors":"Marcos Pico Rentería","doi":"10.7560/slapc4004","DOIUrl":"https://doi.org/10.7560/slapc4004","url":null,"abstract":"","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44875126","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}
Abstract:This article compares the interracial romance between a mulato man and a white woman that is central to the plot of the 2016 Colombian telenovela La esclava blanca with the one present in Sab (1841), written by Gertrudis Gómez de Avellaneda and usually considered the first antislavery novel written in Spanish. It argues that La esclava seeks to create collective imaginaries in which viewers recognize themselves and their aspirations. Furthermore, borrowing from Doris Sommer's proposal that literary romances can serve as metaphors for nations, the article makes a case that La esclava repeats some of the romance elements of Sab in order to denounce slavery, establish a parallel between the condition of enslavement of Afrodescendants and women, and propose the need for a more inclusive family/nation. The telenovela also incorporates new messages of racial equality in an effort to allow modern-day national and international Afro audiences to recognize themselves in the telenovela. However, ultimately the telenovela neutralizes the racial messages that could be perceived as threatening to white audiences in order to attract the widest audience possible and, in doing so, proposes a problematic reconstruction that privileges white people in the historical memory of abolition in Colombia.
摘要:本文比较了2016年哥伦比亚电视剧《白色的爱情》(La esclava blanca)中一名黑白混血男子与一名白人女子之间的跨种族浪漫故事，并将其与被认为是西班牙第一部反奴隶制小说的Gertrudis Gómez de Avellaneda于1841年创作的《Sab》(Sab)中的故事进行了比较。它认为La esclava试图创造集体的想象，让观众认识到自己和他们的愿望。此外，借由Doris Sommer关于文学浪漫可以作为国家隐喻的建议，本文认为La esclava重复了Sab的一些浪漫元素，以谴责奴隶制，建立非洲后裔和妇女被奴役状况之间的平行关系，并提出需要一个更具包容性的家庭/国家。这部电视剧还加入了种族平等的新信息，以使现代国内和国际的非洲观众在电视剧中认识到自己。然而，最终，为了吸引尽可能广泛的观众，这部电视剧中和了可能被认为对白人观众构成威胁的种族信息，并在这样做的过程中，提出了一种有问题的重建，即在哥伦比亚废除奴隶制的历史记忆中给予白人特权。
{"title":"La perpetuación de la problemática racial con el uso del romance interracial como intertexto metafórico entre la novela Sab y la telenovela La esclava blanca","authors":"Valérie Benoist","doi":"10.7560/slapc4007","DOIUrl":"https://doi.org/10.7560/slapc4007","url":null,"abstract":"Abstract:This article compares the interracial romance between a mulato man and a white woman that is central to the plot of the 2016 Colombian telenovela La esclava blanca with the one present in Sab (1841), written by Gertrudis Gómez de Avellaneda and usually considered the first antislavery novel written in Spanish. It argues that La esclava seeks to create collective imaginaries in which viewers recognize themselves and their aspirations. Furthermore, borrowing from Doris Sommer's proposal that literary romances can serve as metaphors for nations, the article makes a case that La esclava repeats some of the romance elements of Sab in order to denounce slavery, establish a parallel between the condition of enslavement of Afrodescendants and women, and propose the need for a more inclusive family/nation. The telenovela also incorporates new messages of racial equality in an effort to allow modern-day national and international Afro audiences to recognize themselves in the telenovela. However, ultimately the telenovela neutralizes the racial messages that could be perceived as threatening to white audiences in order to attract the widest audience possible and, in doing so, proposes a problematic reconstruction that privileges white people in the historical memory of abolition in Colombia.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42263227","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}
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