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.
摘要:本文考察了ros ngela Rennó的摄影装置和Maria Augusta Ramos的纪录片作为当代对殖民主义和新殖民主义遭遇的视觉渲染的抵抗。像Rennó系列的《Vulgo》(1998-1999)和拉莫斯的电影Juízo(2007)这样的作品，通过故意缺少正面的、相互的凝视来表达反抗。这些艺术家的审美决定挑战了固定的身份观念，以及围绕着主导力量和边缘无能为力的二元对立的刻板印象。在巴西漫长的代表性历史中，他们成为巴西身份的另类选择。用John Berger的话来说，Rennó和Ramos将当代的视觉选择“融入到社会和政治记忆中”。在钟钩所表达的视觉政治中，这两位艺术家通过审美干预颠覆了“制度化的统治体系”。在此框架下考察这些艺术家的作品，本文探讨了巴西后独裁时期美学干预的价值。简历:Este enaio analisa as instalações fotográficas de rosngela Rennó e os documentários de Maria Augusta Ramos como representações contemporneas de resistência。Obras como a ssamrie de Rennó instituteculada Vulgo(1998-1999)和documentário Juízo (2007) de Ramos代表oposições intercionais que se estabelecem por meio de uma ausência de olhar recíproco típico de um对抗殖民主义和新殖民主义。由于escolhas has estamicticas dessarstas desafiam noções fixas de identidade，因此，se fernando opções罪过sosoras de identidade brasileira dentro de uma vasta代表 histórica national。Nas palavras de John Berger, Rennó e Ramos criam alternat ncias visuais contemporais neas que se estabelecem“dentro de uma memória sociopolítica”。De acordo com a política visual De bell hooks, essas duas artists subvertem " sistemas instituionais De domina o " atravsamas De suas intervenções estsamticas。与巴西的情况一样，巴西的情况与巴西的情况一样，巴西的情况与巴西的情况一样，巴西的情况与巴西的情况一样。
{"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":"35 1","pages":"24 - 36"},"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}
Resumen: Este artículo explora imágenes del hombre afrolatino aparecidas en aplicaciones telefónicas de citas para gays en el año 2015. Se analizan autoretratos fotográficos y perfiles de escorts que viajan a Chile para ofrecer sus servicios. El artículo aborda, entre otras materias, la estructura ambivalente de las representaciones culturales del hombre afrolatino en Chile considerando el cambio del soporte impreso al digital. Son parte del estudio las formas de interacción que estos dispositivos y plataformas telefónicas promueven, las construcciones de lo afro y lo masculino que hacen los escorts de sí mismos para promocionarse, y las reproducciones de los prejuicios sobre el hombre africano o el mulato. Al mismo tiempo, se argumenta que en la construcción de perfiles virtuales podemos reconocer cierta autonomía en las estrategias y modos de autorepresentación. This article explores images of Afro-Latin men that appeared in gay dating phone applications during 2015. Photographs and profiles of escorts traveling to Chile are analyzed to discuss, among other themes, the ambivalent structure of African cultural representations in Chile, considering the change from printed to digital media, their respective contents, modes of production, and circulation. The article studies the forms of interaction that these devices and platforms encourage, the constructions of the Afro-Latin as stereotype, as well as other methods that escorts use to promote themselves. These profiles reveal how the prejudices of the African man or mulatto are reproduced. At the same time, the article argues that in these virtual profiles we can find autonomous strategies of self-representation.
{"title":"Escorts afrolatinos en la era digital, o el arte de los masajistas","authors":"Sebastián Reyes Gil","doi":"10.7560/SLAPC3503","DOIUrl":"https://doi.org/10.7560/SLAPC3503","url":null,"abstract":"Resumen: Este artículo explora imágenes del hombre afrolatino aparecidas en aplicaciones telefónicas de citas para gays en el año 2015. Se analizan autoretratos fotográficos y perfiles de escorts que viajan a Chile para ofrecer sus servicios. El artículo aborda, entre otras materias, la estructura ambivalente de las representaciones culturales del hombre afrolatino en Chile considerando el cambio del soporte impreso al digital. Son parte del estudio las formas de interacción que estos dispositivos y plataformas telefónicas promueven, las construcciones de lo afro y lo masculino que hacen los escorts de sí mismos para promocionarse, y las reproducciones de los prejuicios sobre el hombre africano o el mulato. Al mismo tiempo, se argumenta que en la construcción de perfiles virtuales podemos reconocer cierta autonomía en las estrategias y modos de autorepresentación. This article explores images of Afro-Latin men that appeared in gay dating phone applications during 2015. Photographs and profiles of escorts traveling to Chile are analyzed to discuss, among other themes, the ambivalent structure of African cultural representations in Chile, considering the change from printed to digital media, their respective contents, modes of production, and circulation. The article studies the forms of interaction that these devices and platforms encourage, the constructions of the Afro-Latin as stereotype, as well as other methods that escorts use to promote themselves. These profiles reveal how the prejudices of the African man or mulatto are reproduced. At the same time, the article argues that in these virtual profiles we can find autonomous strategies of self-representation.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"35 1","pages":"37 - 50"},"PeriodicalIF":0.1,"publicationDate":"2017-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47673098","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 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.
摘要:本文考察了“拉班巴”如何进入墨西哥民族主义、非洲侨民和奇卡诺民族主义的文化政治。作为墨西哥最流行的歌曲之一，“La bamba”为我们提供了一扇窗口，让我们了解学者和文化制作人为音乐赋予种族和地理根源的多种历史偶然方式。1930年至1987年间，墨西哥和美国的知识分子和表演者在他们的民族志、音乐作品和表演、电影和舞蹈中将其描述为土著人、欧洲人、混血儿、黑人、非洲人后裔和非洲加勒比人。这篇文章重新思考了墨西哥身份的学术概念，这些概念定义了这个国家与土著和西班牙根源的关系，并且暗示，如果没有宣布，黑人已经从国家文化中消失了。它认为，在1910年墨西哥革命之后，没有连贯的国家赞助或流行的项目来构建，更不用说消除地方，地区和国家文化中的黑人了。这首歌的非洲血统的旋律、和声和节奏有时被强调，有时被忽略，而知识分子和表演者则努力将文化混合的音乐分类。这些模棱两可使得“拉班巴”从墨西哥民族主义无缝地转移到非洲侨民和墨西哥裔美国人运动的文化倡议。简历:Este artículo examina cómo " La bamba " entró en La cultura política del nacionismo mexicano, La diáspora africana y el nacionismo chicano。墨西哥的墨西哥人más populares，“La bamba”代表了墨西哥的机遇和相似之处múltiples特遣队históricas和生产、文化和raíces种族方面的调查人员geográficas a La música。从1930年到1987年，墨西哥的知识分子通过estadoundenses (describían como indígena)、欧洲的mesestiza、黑人、非洲人后裔通过afro-caribeña ensus informes (etnográficos)、作曲代表通过musicales (películas)、danzas(舞蹈团)获得了成功。Este artículo reconsider 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 cultural nacional。El artículo sostiene que no hubo ningún proproto coherente patrocinado El estado para contrir, sino sólo erradicar lo negro en la culcules local, regional or national despuacos de la Revolución 1910年的墨西哥人。拉斯维加斯笛管音栓,armonias y ritmos afrodescendientes de la cancion里伊兰enfatizados有时佩罗ignorados其它有时mientras洛杉矶intelectuales e解释luchaban穷encontrar una clasificacion para重逢hibrida。在墨西哥民族主义问题和墨西哥裔美国人运动方面，墨西哥裔美国人的问题和墨西哥裔美国人的问题。
{"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":"35 1","pages":"51 - 78"},"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}
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.
{"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":"35 1","pages":"174 - 194"},"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}
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.
{"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":"35 1","pages":"104 - 115"},"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}
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.
{"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":"35 1","pages":"116 - 137"},"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}
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.
摘要:本文通过分析墨西哥博物馆大众艺术展览的关键时刻，探讨了“展示的代理”(agency of display)，从革命刚结束到新自由主义拆除福利国家。它探讨了流行艺术的消费是如何在展览中合理化的，并通过展览来追踪国家话语在不同历史时刻关于什么构成公民身份的转变。在当代关于公民-消费者的争论中，这篇文章表明，大众公民和大众艺术的消费一直是联系在一起的，同时也承认，社会自由主义的出现标志着墨西哥国家、社会和经济关系的一种独特而高度矛盾的转变。为此，文章最后分析了在修订后的民族志画廊、国家博物馆Artesanías的临时展览和国家人类学博物馆的礼品店中展示的流行艺术。
{"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":"35 1","pages":"1 - 23"},"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}
Pub Date : 2017-03-01Epub Date: 2017-01-13DOI: 10.1007/s00431-017-2853-8
Elisabeth Siti Herini, Gunadi, Agung Triono, Asal Wahyuni Erlin Mulyadi, Niprida Mardin, Rusipah, Yati Soenarto, Susan E Reef
Congenital rubella syndrome (CRS) has serious consequences, such as miscarriage, stillbirth, and severe birth defects in infants, resulting from rubella virus infection during pregnancy. However, rubella vaccine has not yet been implemented in Indonesia. This study aimed (1) to estimate the incidence of CRS in Indonesia, (2) describe the clinical features of CRS at our referral hospital, and (3) pilot a CRS surveillance system to be extended to other hospitals. We conducted a 4-month prospective surveillance study of infants aged <1 year with suspected CRS in 2013 at an Indonesian hospital. Infants with suspected CRS were examined for rubella-specific IgM antibody or rubella IgG antibody levels. Of 47 suspected cases of CRS, 11/47 (23.4%), 9/47 (19.1%), and 27/47 (57.5%) were diagnosed as laboratory-confirmed, clinically compatible, and discarded CRS, respectively. The most common defects among laboratory-confirmed CRS cases were hearing impairment (100%), congenital cataracts (72.7%), microcephaly (72.7%), and congenital heart defects (45.5%).
Conclusion: The number of laboratory-confirmed CRS cases among Indonesian infants is high. Furthermore, hearing impairment is the most common clinical feature of CRS in infants. Our findings indicate the importance of implementation of rubella vaccine in Indonesia. Conducting hospital-based surveillance of CRS in other hospitals in Indonesia may be appropriate. What is Known: •Congenital rubella syndrome (CRS) has serious consequences in infants resulting from rubella virus infection during pregnancy. •The incidence of CRS in most developed countries has greatly decreased since implementation of rubella vaccination. •Rubella vaccine has not yet been implemented in many developing countries. What is New: •The number of laboratory-confirmed CRS cases among Indonesian infants was high. •Implementation of rubella vaccine into immunization programs in Indonesia is important because of the high number of CRS cases. •Our study highlights the need for ongoing prospective surveillance of CRS in Indonesia.
{"title":"Hospital-based surveillance of congenital rubella syndrome in Indonesia.","authors":"Elisabeth Siti Herini, Gunadi, Agung Triono, Asal Wahyuni Erlin Mulyadi, Niprida Mardin, Rusipah, Yati Soenarto, Susan E Reef","doi":"10.1007/s00431-017-2853-8","DOIUrl":"10.1007/s00431-017-2853-8","url":null,"abstract":"<p><p>Congenital rubella syndrome (CRS) has serious consequences, such as miscarriage, stillbirth, and severe birth defects in infants, resulting from rubella virus infection during pregnancy. However, rubella vaccine has not yet been implemented in Indonesia. This study aimed (1) to estimate the incidence of CRS in Indonesia, (2) describe the clinical features of CRS at our referral hospital, and (3) pilot a CRS surveillance system to be extended to other hospitals. We conducted a 4-month prospective surveillance study of infants aged <1 year with suspected CRS in 2013 at an Indonesian hospital. Infants with suspected CRS were examined for rubella-specific IgM antibody or rubella IgG antibody levels. Of 47 suspected cases of CRS, 11/47 (23.4%), 9/47 (19.1%), and 27/47 (57.5%) were diagnosed as laboratory-confirmed, clinically compatible, and discarded CRS, respectively. The most common defects among laboratory-confirmed CRS cases were hearing impairment (100%), congenital cataracts (72.7%), microcephaly (72.7%), and congenital heart defects (45.5%).</p><p><strong>Conclusion: </strong>The number of laboratory-confirmed CRS cases among Indonesian infants is high. Furthermore, hearing impairment is the most common clinical feature of CRS in infants. Our findings indicate the importance of implementation of rubella vaccine in Indonesia. Conducting hospital-based surveillance of CRS in other hospitals in Indonesia may be appropriate. What is Known: •Congenital rubella syndrome (CRS) has serious consequences in infants resulting from rubella virus infection during pregnancy. •The incidence of CRS in most developed countries has greatly decreased since implementation of rubella vaccination. •Rubella vaccine has not yet been implemented in many developing countries. What is New: •The number of laboratory-confirmed CRS cases among Indonesian infants was high. •Implementation of rubella vaccine into immunization programs in Indonesia is important because of the high number of CRS cases. •Our study highlights the need for ongoing prospective surveillance of CRS in Indonesia.</p>","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":"30 1","pages":"387-393"},"PeriodicalIF":3.6,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1007/s00431-017-2853-8","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88882276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
目前的研究分析了三部以1978年FIFA世界杯为中心的阿根廷纪录片。三部电影中的第一部是1979年的La fiesta de todos，导演塞尔吉奥Renán，将阿根廷在主场的胜利呈现为全国的庆祝活动。与Renán的宣传电影相反，由国家研究所支持的Cinematografía-other纪录片，如Mundial ' 78, la historia parela(2003)和Mundial 78: Verdad o mentira(2007)，由电影制作人Gonzalo Bonadeo, Diego Guebel, Mario Pergolini和Christian r moli，研究了军事独裁统治对事件的战略操纵和国家队的成功，以展示一个没有侵犯人权的统一国家。后两部电影使用了真实的材料，特别是证词和档案镜头的结合，揭示了魏地拉政府在世界上最受欢迎的体育赛事中发生的社会暴行。
{"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":"34 1","pages":"109 - 127"},"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}
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.
{"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":"34 1","pages":"128 - 146"},"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}
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