Pub Date : 2023-01-02DOI: 10.1080/13569325.2023.2194484
Giaime Botti
Architecture in Latin America is cyclically underpinned by the quest to represent multiple identities: international, national, (Latin) American. During the 1930s, although modernist European architects became the reference for Latin American professionals, they were nonetheless of no help in developing national expressions of modernity. Tracing back the debate to the cultural turmoil of that decade with an eye on older topoi on environmental determinism, this article delves into various texts through which the identity of Colombian architectural modernism was constructed. Firstly, it highlights the link between territory, nation, and historical heritage that underpinned the definition of a system of values seen as typically Colombian but, in fact, comparable to that of other countries. Then, it focuses on the construction of Colombian modernism’s identity as opposed to different Latin American experiences, highlighting the role of local and international actors. The article also explains the centrality given to Bogotá and its architecture because of the climatic differences that made the country’s cool highlands similar to Europe and the USA and, therefore, the place where civilisation, development, and modern architecture were possible for the Colombian elites. Ultimately, this text documents an exemplary case, stressing the non-exceptionalism of the different representations of Latin American national modernisms.
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Pub Date : 2023-01-02DOI: 10.1080/13569325.2023.2195963
Chris Batterman Cháirez
In 1892, in the shadow of the tumultuous fall of the Brazilian monarchy and the rise of the First Republic just three years earlier, composer Carlos Gomes premiered his new piece Colombo in Rio de Janeiro. Intended for the 1893 Columbian World Exposition in Chicago, Colombo hagiographically narrates the story of Christopher Columbus and his supposed heroic journey of discovery to the “New World”. However, the piece’s disastrous reception in Rio led to it being left out of the Exposition and in the shadows of the composer’s oeuvre. In this article, I examine the history of Gomes’s Colombo within the context of the nation-building project of Brazil’s First Republic. Interrogating the piece alongside the other forms of cultural production that represented Brazil at the Exposition, I argue that Colombo reveals the uncomfortable and tense mediations between the national and non-national, as necessitated by Brazil’s search for a place within the cosmopolitan modernity of the fin-de-siècle world order. The article traces the construction of an exported image of “Brazil” and the universal, cosmopolitan notion of “Brazilianness” that the composition represents and, in doing so, seeks to nuance the oppositions between periphery/metropole and nationalist/cosmopolitan on which the nineteenth-century nation-state was based.
{"title":"Brazil on the World Stage: Carlos Gomes’s Colombo, the First Republic, and Brazil’s Cosmopolitan Desires","authors":"Chris Batterman Cháirez","doi":"10.1080/13569325.2023.2195963","DOIUrl":"https://doi.org/10.1080/13569325.2023.2195963","url":null,"abstract":"In 1892, in the shadow of the tumultuous fall of the Brazilian monarchy and the rise of the First Republic just three years earlier, composer Carlos Gomes premiered his new piece Colombo in Rio de Janeiro. Intended for the 1893 Columbian World Exposition in Chicago, Colombo hagiographically narrates the story of Christopher Columbus and his supposed heroic journey of discovery to the “New World”. However, the piece’s disastrous reception in Rio led to it being left out of the Exposition and in the shadows of the composer’s oeuvre. In this article, I examine the history of Gomes’s Colombo within the context of the nation-building project of Brazil’s First Republic. Interrogating the piece alongside the other forms of cultural production that represented Brazil at the Exposition, I argue that Colombo reveals the uncomfortable and tense mediations between the national and non-national, as necessitated by Brazil’s search for a place within the cosmopolitan modernity of the fin-de-siècle world order. The article traces the construction of an exported image of “Brazil” and the universal, cosmopolitan notion of “Brazilianness” that the composition represents and, in doing so, seeks to nuance the oppositions between periphery/metropole and nationalist/cosmopolitan on which the nineteenth-century nation-state was based.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"32 1","pages":"83 - 107"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45286778","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 : 2023-01-02DOI: 10.1080/13569325.2023.2185481
Cristóbal Escobar Dueñas
This article examines Lucrecia Martel’s Zama (2017) and her transposition from Antonio Di Benedetto’s book (1956) of the same name. I argue that Martel’s film is able to “de-visualise” the mobility and visuality of Di Benedetto’s text by pushing his elusive images towards higher levels of cinematic abstraction. More broadly, I claim that the film Zama is exemplary of what Martel calls “contamination” – that is, a term the ancient Romans employed to incorporate and transform previous Greek materials into their own cultural texts, which stands here as the filmmaker’s method in rearranging the novel. In this way, the process of de-visualisation which I borrow from Jacques Rancière’s work will be played out in relation to Martel’s politics of script adaptation and her re-imagination of the literary Zama.
{"title":"Zama and the Politics of Contamination: from Di Benedetto’s Novel to Martel’s Film","authors":"Cristóbal Escobar Dueñas","doi":"10.1080/13569325.2023.2185481","DOIUrl":"https://doi.org/10.1080/13569325.2023.2185481","url":null,"abstract":"This article examines Lucrecia Martel’s Zama (2017) and her transposition from Antonio Di Benedetto’s book (1956) of the same name. I argue that Martel’s film is able to “de-visualise” the mobility and visuality of Di Benedetto’s text by pushing his elusive images towards higher levels of cinematic abstraction. More broadly, I claim that the film Zama is exemplary of what Martel calls “contamination” – that is, a term the ancient Romans employed to incorporate and transform previous Greek materials into their own cultural texts, which stands here as the filmmaker’s method in rearranging the novel. In this way, the process of de-visualisation which I borrow from Jacques Rancière’s work will be played out in relation to Martel’s politics of script adaptation and her re-imagination of the literary Zama.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"32 1","pages":"21 - 37"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60082867","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 : 2023-01-02DOI: 10.1080/13569325.2023.2183475
Lauren Mehfoud
Colombian directors Cristina Gallego and Ciro Guerra’s award-winning film Pájaros de verano (2018) has garnered praise for its genre-bending fictional account of Colombia’s 1970s marijuana boom but has not yet been the subject of scholarly analysis. The film’s production methods and ethnographic depictions of the Colombian Wayuu people give an appearance of social commitment to its Indigenous subjects. However, I argue that narratively, it reinforces a false account of the marijuana boom that absolves the mestizo Colombian state of its role in the displacement and marginalisation of the Wayuu people within the context of the Colombia’s drug war. This article critically analyses Pájaros de verano’s racialised representation of drug trafficking and its seemingly contradictory referentiality to both New Latin American Cinema and Hollywood Westerns, demonstrating the film’s ideological investment in upholding dominant narratives about Colombian drug trafficking and the displacement of Indigenous communities.
哥伦比亚导演克里斯蒂娜·加列戈和西罗·格拉的获奖电影Pájaros de verano(2018)因其对哥伦比亚20世纪70年代大麻热潮的虚构描述而获得赞誉，但尚未成为学术分析的主题。这部电影的制作方法和对哥伦比亚瓦尤人的民族志描述，给了它的土著主题一种社会承诺的外观。然而，我认为，从叙事上讲，它强化了对大麻繁荣的错误描述，即在哥伦比亚毒品战争的背景下，免除了哥伦比亚混血儿国家在瓦尤人流离失所和边缘化中的作用。本文批判性地分析了Pájaros de verano对毒品走私的种族化表现，以及它对新拉丁美洲电影和好莱坞西片的看似矛盾的参考，展示了这部电影在维护哥伦比亚毒品走私和土著社区流离失所的主流叙事方面的意识形态投资。
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Pub Date : 2023-01-02DOI: 10.1080/13569325.2023.2197549
Lawrence La Fountain-Stokes
Before the global ascent of reggaetón, there was rap, and before Ivy Queen, Glory, Natti Natasha, Cardi B, Villano Antillano, and Young Miko, there was Lisa M. This essay is an analysis of Lisa M’s musical career in the context of early 1990s debates about women, rap, and society in Puerto Rico, taking advantage of the increased focus on gender and on Puerto Rican women singers demonstrated by works ranging from Frances R. Aparicio’s Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures to Licia Fiol-Matta’s The Great Woman Singer: Gender and Voice in Puerto Rican Music. I analyse Lisa M’s early musical production, particularly songs from her 1992 album Ahora vengo alborotá, and articles and letters to the editor from 1992 and 1993 in El Nuevo Día and Vea to document popular debates about rap and gender in Puerto Rico. I conclude with some reflections about Lisa M’s coming out of the closet in 2010 and her musical reappearance in 2018.
{"title":"Lisa M, “La primera rapera mujer de Puerto Rico y de Latinoamérica”, and Early 1990s Feminist Puerto Rican Hip-Hop Culture","authors":"Lawrence La Fountain-Stokes","doi":"10.1080/13569325.2023.2197549","DOIUrl":"https://doi.org/10.1080/13569325.2023.2197549","url":null,"abstract":"Before the global ascent of reggaetón, there was rap, and before Ivy Queen, Glory, Natti Natasha, Cardi B, Villano Antillano, and Young Miko, there was Lisa M. This essay is an analysis of Lisa M’s musical career in the context of early 1990s debates about women, rap, and society in Puerto Rico, taking advantage of the increased focus on gender and on Puerto Rican women singers demonstrated by works ranging from Frances R. Aparicio’s Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures to Licia Fiol-Matta’s The Great Woman Singer: Gender and Voice in Puerto Rican Music. I analyse Lisa M’s early musical production, particularly songs from her 1992 album Ahora vengo alborotá, and articles and letters to the editor from 1992 and 1993 in El Nuevo Día and Vea to document popular debates about rap and gender in Puerto Rico. I conclude with some reflections about Lisa M’s coming out of the closet in 2010 and her musical reappearance in 2018.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"32 1","pages":"133 - 155"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44384851","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 : 2023-01-02DOI: 10.1080/13569325.2023.2189515
José Ricardo García Martínez
This article explores how the novel Huasipungo (1936) by the Ecuadorean writer Jorge Icaza informs and relates to current problems in the Ecuadorean highlands. The revolts of October 2019 in Ecuador prompted by a 123% increase in the price of gas and oil and the sanctions imposed by the International Monetary Fund relate to previous Indigenous struggles at the beginning of the twentieth century. I propose to revisit Huasipungo and understand anew the novel’s impact and lessons for the turbulent present the Andean region of Ecuador faces. First, I propose to read Huasipungo as a narration that emulates cinematic image production. Second, I suggest this production depicts how modern exploitation captured and reshaped labour. In Huasipungo, I argue, the subsumption of labour to capital relies on something other than a transaction: affect and habit are at the core of subsumption. Finally, I offer a reading of the uprising that closes Icaza’s narrative. Just as Walter Benjamin saw in the fragmented order of cinema the possibility of change, Icaza himself informs us of this possibility without cinema but with its fragmented order. At stake in Huasipungo’s depiction of Indigenous uprising in the Ecuadorean Andes is the possibility of reaffirming a threshold for change.
{"title":"A Fragmented New Order: Cinema, Prose, and Rebellion in Jorge Icaza’s Huasipungo","authors":"José Ricardo García Martínez","doi":"10.1080/13569325.2023.2189515","DOIUrl":"https://doi.org/10.1080/13569325.2023.2189515","url":null,"abstract":"This article explores how the novel Huasipungo (1936) by the Ecuadorean writer Jorge Icaza informs and relates to current problems in the Ecuadorean highlands. The revolts of October 2019 in Ecuador prompted by a 123% increase in the price of gas and oil and the sanctions imposed by the International Monetary Fund relate to previous Indigenous struggles at the beginning of the twentieth century. I propose to revisit Huasipungo and understand anew the novel’s impact and lessons for the turbulent present the Andean region of Ecuador faces. First, I propose to read Huasipungo as a narration that emulates cinematic image production. Second, I suggest this production depicts how modern exploitation captured and reshaped labour. In Huasipungo, I argue, the subsumption of labour to capital relies on something other than a transaction: affect and habit are at the core of subsumption. Finally, I offer a reading of the uprising that closes Icaza’s narrative. Just as Walter Benjamin saw in the fragmented order of cinema the possibility of change, Icaza himself informs us of this possibility without cinema but with its fragmented order. At stake in Huasipungo’s depiction of Indigenous uprising in the Ecuadorean Andes is the possibility of reaffirming a threshold for change.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"32 1","pages":"1 - 19"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41752127","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 : 2023-01-02DOI: 10.1080/13569325.2023.2191177
Manuel R. Cuellar
This article examines the “danza de los mecos”, a dance performed annually by young Nahua men during the carnaval in Tecomate, Veracruz, in honor of Tlacatecolotl/Tlahuelliloc, a deceitful and capricious demon-like figure otherwise known as “el Diablo”. The performance features Indigenous men who dress as devils, wear masks, or dress as women. Drawing on fieldwork, I analyse the performance of the “danza de los mecos” as a critical site in which to examine the embodiment of indigeneity, the enactment of Nahua epistemologies, and the queer gestures that subvert colonial structures of power in contemporary Mexico. By focusing on dancing bodies, I attend to the intricate ways bodily acts transmit memory, knowledge, and imagination through ritual. I explore the role that embodied expressions of indigeneity play in the queering of colonial systems of power, while allowing Indigenous men to simultaneously assert and undermine their masculinity.
{"title":"Los mecos de Veracruz: Queer Gestures and the Performance of Nahua Indigeneity","authors":"Manuel R. Cuellar","doi":"10.1080/13569325.2023.2191177","DOIUrl":"https://doi.org/10.1080/13569325.2023.2191177","url":null,"abstract":"This article examines the “danza de los mecos”, a dance performed annually by young Nahua men during the carnaval in Tecomate, Veracruz, in honor of Tlacatecolotl/Tlahuelliloc, a deceitful and capricious demon-like figure otherwise known as “el Diablo”. The performance features Indigenous men who dress as devils, wear masks, or dress as women. Drawing on fieldwork, I analyse the performance of the “danza de los mecos” as a critical site in which to examine the embodiment of indigeneity, the enactment of Nahua epistemologies, and the queer gestures that subvert colonial structures of power in contemporary Mexico. By focusing on dancing bodies, I attend to the intricate ways bodily acts transmit memory, knowledge, and imagination through ritual. I explore the role that embodied expressions of indigeneity play in the queering of colonial systems of power, while allowing Indigenous men to simultaneously assert and undermine their masculinity.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"32 1","pages":"109 - 131"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46145339","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 : 2023-01-02DOI: 10.1080/13569325.2023.2219209
Alejandra Watanabe Farro, Carla Hernández Garavito, Aldair Mejía, C. Méndez, Carlos Molina-Vital, Mariela Ines Noles Cotito, Nelson E. Pereyra Chávez, A. Smith
This conversation is the result of an event that took place on 18 April 2023, as a collaboration with the Humanities Institute of the University of California, Santa Cruz, that aimed to create a space for collective reflection on the multidimensional crises Peru had been facing since early December 2022 when protests erupted in the wake of former President Pedro Castillo’s unsuccessful attempt to shut down Congress to avert an impeachment and in response to the extreme violence exerted by the Peruvian state under Dina Boluarte’s presidency. For this conversation we take as our starting point the lens of Aldair Mejía, a young Peruvian photojournalist who covered the protests in the country with a perspective focused on justice and intent on challenging the dehumanising representation of the protesters in traditional media. Furthermore, to understand this structural crisis from multidisciplinary perspectives, the event also brought together Peruvian academics from the humanities and the social sciences, who contemplated the historical, social, cultural, economic, and political implications of the current crisis for the future of Peru.
{"title":"Protests in Peru: Interdisciplinary Perspectives on a Structural Crisis","authors":"Alejandra Watanabe Farro, Carla Hernández Garavito, Aldair Mejía, C. Méndez, Carlos Molina-Vital, Mariela Ines Noles Cotito, Nelson E. Pereyra Chávez, A. Smith","doi":"10.1080/13569325.2023.2219209","DOIUrl":"https://doi.org/10.1080/13569325.2023.2219209","url":null,"abstract":"This conversation is the result of an event that took place on 18 April 2023, as a collaboration with the Humanities Institute of the University of California, Santa Cruz, that aimed to create a space for collective reflection on the multidimensional crises Peru had been facing since early December 2022 when protests erupted in the wake of former President Pedro Castillo’s unsuccessful attempt to shut down Congress to avert an impeachment and in response to the extreme violence exerted by the Peruvian state under Dina Boluarte’s presidency. For this conversation we take as our starting point the lens of Aldair Mejía, a young Peruvian photojournalist who covered the protests in the country with a perspective focused on justice and intent on challenging the dehumanising representation of the protesters in traditional media. Furthermore, to understand this structural crisis from multidisciplinary perspectives, the event also brought together Peruvian academics from the humanities and the social sciences, who contemplated the historical, social, cultural, economic, and political implications of the current crisis for the future of Peru.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"32 1","pages":"157 - 175"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43307150","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 : 2022-10-02DOI: 10.1080/13569325.2023.2194711
{"title":"In Memory of Andrea Noble and Iván Ruiz","authors":"","doi":"10.1080/13569325.2023.2194711","DOIUrl":"https://doi.org/10.1080/13569325.2023.2194711","url":null,"abstract":"","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":"31 1","pages":"499 - 500"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43631931","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 : 2022-10-02DOI: 10.1080/13569325.2023.2194643
D. Wood, Rory O’Bryen
In the opening paragraph of her 2000 study of the work of the Italian-American photographer Tina Modotti, Andrea Noble (1968-2017) described writing about photography as, in the first instance, a metaphorical process of unwrapping. Reflecting on an anecdote published in Vogue magazine about a man who appeared at the front desk of the Museum of Modern Art in New York in the early 1950s bearing a large brown paper parcel with a collection of Modotti prints, Noble poses a number of questions as we imaginatively unwrap the package with her: who was this man, why did he make this donation now, what did the prints represent, what would happen to them once inside the museum? Beyond these circumstantial questions, the image of the parcel “conjures up an image of concealment, containment and mystery” (Noble 2000, x). The next stage, though, is an inverse one: a reading process that Andrea describes as “a form of re-wrapping” that requires her not only to appraise the works via critical methodologies but also to interrogate the terms of the original wrapping itself. This new critical re-wrapping is as multifarious as it is incomplete. Firmly committed as she is to both feminist scholarship (strongly influenced by the feminist art historian Griselda Pollock) and to the analysis of Mexican visual culture, Andrea steadfastly refuses to limit her understanding of Modotti’s work to one or other critical or contextual framework. As she co-wrote with Thy Phu and Erina Duganne in her last book, Cold War Camera – a work that turned out to be tragically posthumous on Andrea’s part – and drawing on Walter Benjamin’s idea of the constellation, “the meaning of a photograph (... ) is never finished but exceeds the moment of its taking” (Phu, Duganne, and Noble 2023, 14). In understanding photography and, elsewhere, cinema as complex cultural practices rather than mere objects or artefacts, Andrea seeks to maintain her objects of study in a state of revelatory suspense, as it were: a position from which they can be understood without being labelled, apprehended without being seized. In her short but brilliant career as a self-described “‘reader’ of visual culture” (2000, xi), Andrea Noble was a pre-eminent scholar of Latin American and, in particular, Mexican photography and film. Deftly interweaving close reading,
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