Indianism in Latin American Art-Music Composition of the 1920s to 1940s: Case Studies from Mexico, Peru, and Brazil

2006 ◽  
Vol 27 (1) ◽  
pp. 28-37 ◽  
Author(s):  
Gerard. Béhague
Keyword(s):  
Case Studies ◽  
Latin American ◽  
Music Composition ◽  
American Art ◽  
Art Music ◽  
Latin American Art

The Closing and Lasting Impact of CLAEM

2020 ◽  
pp. 162-176
Author(s):  
Eduardo Herrera
Keyword(s):  
Latin American ◽  
Classical Music ◽  
Social Bonds ◽  
American Art ◽  
Art Music ◽  
Lessons Learned ◽  
Latin American Art ◽  
American Composers ◽  
Avant Garde ◽  
The Impact

This chapter evaluates the conditions leading to the closing of CLAEM and the impact the center as a whole had on the Latin American art music scene. Touching upon the three main themes of the book, the chapter discusses the lessons learned and the weaknesses revealed from the most significant philanthropic incursion into avant-garde art music in Latin America, and the lasting legacy of a generation of fellowship holders, both in terms of their embrace or rejection of the avant-garde, and their adoption of an identification as Latin American composers based on strong and intimate social bonds. It argues that the impact that the relatively short-lived center had during the following fifty years on the classical music of the region was the result of calculated philanthropic efforts, the embodied and multi-faceted embrace of avant-garde ideas, and the conscious and strategic construction and identification of Latin American composers.

John Harrison, Alberto Ginastera, and the Creation of CLAEM

2020 ◽  
pp. 45-60
Author(s):  
Eduardo Herrera
Keyword(s):  
Latin American ◽  
Rockefeller Foundation ◽  
American Art ◽  
Art Music ◽  
Latin American Art ◽  
Alberto Ginastera ◽  
Institutional Forces ◽  
Abstract Level ◽  
The Creation

This chapter explores the creation of CLAEM through a series of vignettes that use the interactions between Rockefeller Foundation officer John P. Harrison and the famous composer Alberto Ginastera to show how institutional forces, usually imagined on a seemingly abstract level, actually come into play on the ground through the exchanges of specific people. The chapter demonstrates how Harrison played a fundamental role in the creation of CLAEM and heading several inroads of the Rockefeller Foundation into Latin American art music during the early 1960s. The narrative constructed in this chapter around the creation of CLAEM sets up several issues that will be further explored in the rest of the book in relation to the Rockefeller Foundation, the Di Tella Family, and the mission and vision of CLAEM.

Appropriating the Improper: The Problem of Influence in Latin American Art

ARTMargins ◽  
2014 ◽  
Vol 3 (2) ◽  
pp. 31-59
Author(s):  
Carla Macchiavello
Keyword(s):  
Latin American ◽  
American Art ◽  
Political Art ◽  
Latin American Art ◽  
Art Forms

This paper centers on the problem of influence in Latin American art analyzing some of the changes its conceptualization underwent during the 1970s and 1980s. Taking the case of Chilean conceptual practices during Augusto Pinochet's dictatorship known as “escena de avanzada,” particularly the art actions of the collective CADA, and the isolationist discourses woven around it, this article attempts to reconnect what has been regarded as original political art forms to larger networks of relations where the question of what is proper to Latin American art was disputed.

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