Art and Culture

“Jesús Díaz, 1941–2002: The Unintentional Deviationist.”

By Yvon Grenier
March 28, 2017

My article on Cuban writer and filmmaker Jesús Díaz (1941-2002) is part of a broader research project on cultural policy, participation and censorship in Cuba.1 I raise two questions. First, what is the role of cultural agents in the production of both stability and change in Cuba, and concomitantly, what does the regime do to coopt actors and control the production of politico-cultural forms? Second, when and how do writers and artists actually push for more ‘space’ and deploy their expressive powers in a way that challenges the statu quo?

Palabra de los bordes que transita a través: la oralitura como posible apertura político-cultural

By Luis Alfonso Barragán Varela
March 8, 2017

Pensar el lugar de la literatura indígena en el contexto de la Literatura Colombiana, así como dentro de los momentos estéticos de la poesía en el presente siglo, es un ejercicio crítico que plantea un gran desafío, pues implica re-trazar nuestra cartografía cultural y abrir una práctica historiográfica distinta a la que se ha construido hasta hoy.

Desterritorializando el espacio sonoro: electrodomésticos y la crítica del milagro chileno

By Irene Depetris Chauvin
February 22, 2017

Considerando el período que se inicia con el golpe de estado de 1973, que puso fin al experimento socialista de Salvador Allende e inició la violenta dictadura de Augusto Pinochet, buena parte de los estudios sobre música popular chilena se ha focalizado de manera casi exclusiva en el estudio de la “canción de protesta”, música cuyas letras reflejan un explícito mensaje político y social.

Intoxicated Writing: Mexican Onda writers and the Drug Experience in 1960s Mexico

By Hugo M. Viera
February 1, 2017

In the late 1960s, as the Latin American Boom masters exported magic realist narratives to the international literary market, young Mexican Onda writers imported the international counterculture into their writing in an attempt to question paradigms of self, representation, and language. Among the signifiers that codified the 1960s counterculture, the drug experience, along with rock music, opened possibilities for social and literary experimentation.

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