This course examines the links between anti-establishment and aesthetic praxis in Latin America since 1930. Topics are organised in two modules, painting, and music and theatre, and studied in terms of changes in political, social and economic processes, with particular emphasis on Chile, Argentina, and Mexico. A general overview on Latin American music and theatre developments during the 20th Century includes a study of classic and popular music. Field study at performances and exhibits in Santiago and Valparaiso.
Prerequisites:
None
Method of presentation:
Lectures, seminar, field study.
Field study:
This course includes trips to the Chilean Palace of Fine Arts, the OpenMuseum in Valparaíso, and visits to private art galleries.
Required work and form of assessment:
Each module is worth 30% of the final grade for a total of 90%:
Module One: Group Presentation (30%); Group Paper (70%);
Module Two: Exam (50%); Class Participation (25%) Response Paper (25%);
Module Three: Group Presentation (30%); Group Paper (70%);
Final Group Presentation (10%)
content:
1. Introduction: Framework of the course.
Objectives, methodology, required assessment, field trips and evaluation of each module. General overview of the Arts influence in Chilean and Latin American social and political developments. This class will be done with the 3 involved teachers: painting, cinema, and music and theatre.
Painting
2. Chilean painting in the early 20th century: The generation of 1928. Héctor Cáceres, Ana Cortés, Armando Lira, Inés Puyó
3. Searching for a national identity: The generation of 1940. Class will take place at the Chilean Palace of Fine
Arts. Artists: Israel Roa, Sergio Montecino, Carlos Pechaza., Ximena Cristi, Fernando Morales Jordán, Arturo Pacheco Altamirano
4. Expressions of social, religious, philosophical and political distress in Chilean paintings. Field trip to the Open Museum in Valparaíso, to watch the first experience to create an “living museum” in Latin America. Artists: Gregorio de la Fuente, Pedro Lobos
5. Contemporary Chilean Painting. New expressions and public sites: graffiti.
Field trip to private art galleries in Santiago downtown to view the following painters.
Artists: Roberto Matta, Mario Carreño, Nemesio Antúnez and Enrique Zañartu, .Ernesto Barreda, Ramón
Vergara Grez, Matilde Pérez and Alejandro Siña, Roser Bru, José Balmes, Gracia Barrios
6. Evaluation of the module
Groups of three students choose one of the previous suggested painters to prepare a 10-minute oral presentation and write a paper of 20 pages. Contents must include a short biography of the painter, social and political context where he/she developed the piece, the meaning of this piece of art and in particular, to register their own personal impressions.
Music and Theatre in Latin America and Chile
7. An overview on Latin American music history. Development in Argentina, Mexico, Chile. Analysis of the strong European influence.
8. Chilean music in the second half of the 20th century.
New music: Introduction of electronic and acoustic elements.
Identification process of “the Latin music” as part of the social and political movement to make worthier Latin culture.
9: An overview of theatre in Chile and Latin America. The most important plays.
10: Chilean popular music and theatre involved in anti-establishment protest. Companies, players and actors, circus and theatre.
11: Evaluation of Music and Theatre Module
Students work in groups of three and choose one of the previous suggested topics. Each group has to organise a 10 minutes length oral presentation (30%) and write a collective paper of 20 pages (70%). Evaluation finishes with broad discussion and conclusions.
12: Final Presentations
Students divide into three groups. Each group makes a 20-minute oral presentation on one of the three modules, pointing out anti-establishment art expressions discovered in the course through painting, cinema, music and theatre. Final discussion and general conclusions over the course.
Required readings:
Painting
Taller Experimental, Cuerpos Pintados, Fundacion América, Mayo 1998.
Investigación realizada por el Departamento de Inventario del Patrimonio Cultural. Arte, lo mejor en la historia de la Pintura y escultura en Chile, Antártica, S.A.
Music and Theater
Gerard, Be Hague. La música en América Latina, Editorial Monte Avila, Caracas, 1983. Samuel, Claro y Jorge Urrutia, Historia de la música en Chile. Editorial Orbe, Santiago, 1973. Samuel, Claro. Panorama de la música experimental en Chile, rmch xviii / 83, enero – marzo, 1963.
Aisthesis N° 23, Instituto de Estética, Facultad de Filosofía, Pontificia Universidad Católica de Chile, Santiago, 1990.
This course examines the links between anti-establishment and aesthetic praxis in Latin America since 1930. Topics are organised in two modules, painting, and music and theatre, and studied in terms of changes in political, social and economic processes, with particular emphasis on Chile, Argentina, and Mexico. A general overview on Latin American music and theatre developments during the 20th Century includes a study of classic and popular music. Field study at performances and exhibits in Santiago and Valparaiso.
None
Lectures, seminar, field study.
This course includes trips to the Chilean Palace of Fine Arts, the OpenMuseum in Valparaíso, and visits to private art galleries.
Each module is worth 30% of the final grade for a total of 90%:
Module One: Group Presentation (30%); Group Paper (70%);
Module Two: Exam (50%); Class Participation (25%) Response Paper (25%);
Module Three: Group Presentation (30%); Group Paper (70%);
Final Group Presentation (10%)
1. Introduction: Framework of the course.
Objectives, methodology, required assessment, field trips and evaluation of each module. General overview of the Arts influence in Chilean and Latin American social and political developments. This class will be done with the 3 involved teachers: painting, cinema, and music and theatre.
Painting
2. Chilean painting in the early 20th century: The generation of 1928. Héctor Cáceres, Ana Cortés, Armando Lira, Inés Puyó
3. Searching for a national identity: The generation of 1940. Class will take place at the Chilean Palace of Fine
Arts. Artists: Israel Roa, Sergio Montecino, Carlos Pechaza., Ximena Cristi, Fernando Morales Jordán, Arturo Pacheco Altamirano
4. Expressions of social, religious, philosophical and political distress in Chilean paintings. Field trip to the Open Museum in Valparaíso, to watch the first experience to create an “living museum” in Latin America. Artists: Gregorio de la Fuente, Pedro Lobos
5. Contemporary Chilean Painting. New expressions and public sites: graffiti.
Field trip to private art galleries in Santiago downtown to view the following painters.
Artists: Roberto Matta, Mario Carreño, Nemesio Antúnez and Enrique Zañartu, .Ernesto Barreda, Ramón
Vergara Grez, Matilde Pérez and Alejandro Siña, Roser Bru, José Balmes, Gracia Barrios
6. Evaluation of the module
Groups of three students choose one of the previous suggested painters to prepare a 10-minute oral presentation and write a paper of 20 pages. Contents must include a short biography of the painter, social and political context where he/she developed the piece, the meaning of this piece of art and in particular, to register their own personal impressions.
Music and Theatre in Latin America and Chile
7. An overview on Latin American music history. Development in Argentina, Mexico, Chile. Analysis of the strong European influence.
8. Chilean music in the second half of the 20th century.
New music: Introduction of electronic and acoustic elements.
Identification process of “the Latin music” as part of the social and political movement to make worthier Latin culture.
9: An overview of theatre in Chile and Latin America. The most important plays.
10: Chilean popular music and theatre involved in anti-establishment protest. Companies, players and actors, circus and theatre.
11: Evaluation of Music and Theatre Module
Students work in groups of three and choose one of the previous suggested topics. Each group has to organise a 10 minutes length oral presentation (30%) and write a collective paper of 20 pages (70%). Evaluation finishes with broad discussion and conclusions.
12: Final Presentations
Students divide into three groups. Each group makes a 20-minute oral presentation on one of the three modules, pointing out anti-establishment art expressions discovered in the course through painting, cinema, music and theatre. Final discussion and general conclusions over the course.
Painting
Taller Experimental, Cuerpos Pintados, Fundacion América, Mayo 1998.
Investigación realizada por el Departamento de Inventario del Patrimonio Cultural. Arte, lo mejor en la historia de la Pintura y escultura en Chile, Antártica, S.A.
Music and Theater
Gerard, Be Hague. La música en América Latina, Editorial Monte Avila, Caracas, 1983. Samuel, Claro y Jorge Urrutia, Historia de la música en Chile. Editorial Orbe, Santiago, 1973. Samuel, Claro. Panorama de la música experimental en Chile, rmch xviii / 83, enero – marzo, 1963.
Aisthesis N° 23, Instituto de Estética, Facultad de Filosofía, Pontificia Universidad Católica de Chile, Santiago, 1990.