Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Between the second half of the 19th century and the beginning of the 20th century, we find an important list of operas created by Latin American composers, among which a large number of nationalist styles stand out. Considering these works, the present work aims to recognize the complexity of the hegemony regarding Latin American opera as a cultural phenomenon, as well as the irrational-rational tension that makes this company possible. According to the analysis of works, they are mainly divided into two groups: those that narrate independence or state construction and those that identify indigenous or subordinate figures to confirm identity, both national and continental. At the end of the article, it is recognized that Latin American opera responds to complex power relations and national and international hegemonies, which make effective, on the one hand, the feeling of community and, on the other, that of national and identity identities.

Artistic mediation is a practice that has been developed for years in the district of Concepción. Mainly by groups and artistic organizations, but it has also been established as a policy of formal and governmental institutions. The present study seeks to identify the different ways in which mediation operates through ethnography and participant observation. How it is perceived by each of them and contrast this with the theoretical reflection developed by the author Carmen Mörsch, approaching to reveal the local praxis of the actors involved, mediators, public, cultural institutions and art work.

In the field of consumption and social representations that cinema has caused. This article, through the analysis of the saga of "Star Wars" and franchise cinema in the last decade, seeks to recognize the behavior of the viewer according to the notion of fetishism of the merchandise created by franchise cinema, the case of I study the saga of "Star Wars". For this, the discussion will be framed in the concept of cultural industry, based on the chronological order of appearance of the saga. The analysis shows how marketing techniques have installed a cinema - show that places the public in the mass culture, caused by the fetishism of merchandise. By way of conclusion, the article points out the installation of a merchandise fetishism that seems to exacerbate a franchise cinema in which the “Star Wars” saga is framed.

Despite numerous investigations in the field of Chilean opera, most of them of historicist nature; there are still scarces, or almost null, those that explore in contemporary operatic productions, probably due to the deficit of exponents and works because of costs that an assembly of these characteristics implies. The present work tries to carry out an analysis of the contemporary Chilean opera of the 21st century, proposing a crossing of readings between musical languages and aesthetics of the works as a reflection and product of identities in the context of Neomodernity. Through three types of analysis, we will conclude that the sensitive perception of this state of culture is an aesthetic phenomenon insofar as it accounts for and produces processes of identity subjectivation, and in that condition, aesthetics is the meeting point between art / music and politics. The analyzed works propose interpretations of reality, on the one hand in the extra-musical, and on the other hand, through the cultural imposition that musical languages that the composers assume as their own carry. The latter will justify, as will be explained later, the use of hybrid and eclectic forms in contemporary opera and the development of a latent musical / cultural movement based on "self-exoticism".

In this paper, the process in the development of an animated micro-film made with the aim of fostering a sense of belonging and roots to a community is described. As case of study, this project is focused on users of the Fraccionamiento Urbivilla del Cedro, a housing complex located in one of the southeastern peripheries of Ciudad Juárez, México. The proposal in micronarrative format arises from the adjustments, generated by the SARS-COV2 pandemic, to a social design project called ColorEs Finca Bonita, which is focused on resignifying urban landscapes through urban graphics. The methodology for the construction of the micro-film is based on a qualitative study of user-centered design, with ethnographic tools, where the researcher assumed the role of participant observer, as well as a perspective that considers the activities in the urban public space. This made it possible to verify a diversity of identities and a series of socio-economic practices, where the main one is the stablishment of an informal market. Practices that respond to the appropriation of an urban design that does not favor its inhabitants, most of them workers in the manufacturing industry, in a city characterized by urban fragmentation and expansion towards the peripheries. In short, the production of the micro-film focuses on visualizing spatial and identity representations to favor the construction of imaginaries and a sense of roots in a public space.

This work presents a performer´s guide for the approach of the piano sonate op. 45, written by the Argentinean composer Tito Francia. With the approach of this piece, this work addressed the contrast or permanence of the artist's compositional elements, detecting basics of tradition versus innovation, typical of a musical generation influenced by its context. A contribution is made, from the performer´s perspective of the work, describing its technical peculiarities, its possibilities of resolution, and its conceptual interpretation, articulated with social and historic aspects of its conception as well.

This article is the second part of an approach to the literature of dissent in Cuba in the 70s. This time, some brief analyzes of three novels that were considered for the corpus due to the controversy that revolved around their authors, are presented, but also, because its themes have been little explored. Likewise, these novels are the least known of each author's literary production. “Arturo, the brightest star” (1971), by Arenas; “View of the dawn in the tropics” (1974), by Cabrera Infante and “In my garden graze the heroes” (1981), by Heberto Padilla, come together in this work to expose the dissident literature of a decade that culminates with the Mariel exodus.

The article is part of the studies on imaginary, identities and social relations and aims to recognize the bands of music from Rio de (Brazil) beyond their interpretations and repertoire, seeking to understand and reflect on their imaginary and social relationships, taking as a case of I study the Sociedade Musical Beneficente Euterpe Friburguense. To achieve this objective, methodologically, a cross-reference search for information was developed in previously constructed databases: correspondence and news archives of local newspapers, a list of the scores collection and 14 interviews. Thus, we verify that the band's past has great importance in the elaboration of its imagination, intertwining feelings of identity and family. Social relations and their changes are manifested in the exaltation of its importance for the city and in the rivalry with the Friburguense Peasant Beneficent Musical Society.

Considerando el panorama de la música de concierto en Chile desde comienzos del siglo XX hasta sus finales, donde la perspectiva americanista transitó desde un nacionalismo criollo hasta el concepto de americanismo universal, vemos que, a pesar del conservadurismo de la sociedad chilena, los compositores lograron establecer ciertos hitos de vanguardia musical en el continente. Estos hitos se muestran con claridad en las nuevas sonoridades que hoy nos acompañan y que se han hecho parte de los cambios políticos y culturales de nuestro territorio y de toda Latinoamérica, desarrollo musical que se ha hecho cargo  de una estética latinoamericana que sostiene sus valores en la identificación con las músicas nacionales tanto folclóricas, como indígena y criollas.    

Reseña.Título original: The Lighthouse. Dirección: Robert Eggers. Guion: Robert Eggers, Max Eggers. Fotografía: Jarin Blaschke. Diseño de producción: Craig Lathrop. Montaje: Louise Ford. Música: Mark Korven. Reparto: Willem Dafoe, Robert Pattinson. Año: 2019. País: Estados Unidos. Duración: 110 min.