Latin America in the 1960s and 1970s underwent a profound and often violent process of social change. From the Cuban Revolution to the massive guerrilla movements in Argentina, Uruguay, Peru, Colombia, and most of Central America, to the democratic socialist experiment of Allende in Chile, to the increased popularity of socialist-oriented parties in Uruguay, or para-socialist movements, such as the Juventud Peronista in Argentina, the idea of social change was in the air. Although this topic has been explored from a political and social point of view, there is an aspect that has remained fairly unexplored. The cultural-and especially musical-dimension of this movement, so vital in order to comprehend the extent of its emotional appeal, has not been fully documented. Without an account of how music was pervasively used in the construction of the emotional components that always accompany political action, any explanation of what occurred in Latin America during that period will be always partial. This book is an initial attempt to overcome this deficit. In this collection of essays, we examine the history of the militant song movement in Chile, Uruguay, and Argentina at the peak of its popularity (from the mid-1960s to the coup d'etats in the mid-1970s), considering their different political stances and musical deportments. Throughout the book, the contribution of the most important musicians of the movement (Violeta Parra, Victor Jara, Patricio Manns, Quilapayun, Inti-Illimani, etc., in Chile; Daniel Viglietti, Alfredo Zitarrosa, Los Olimarenos, etc., in Uruguay; Atahualpa Yupanqui, Horacio Guarany, Mercedes Sosa, Marian Farias Gomez, Armando Tejada Gomez, Cesar Isella, Victor Heredia, Los Trovadores, etc., in Argentina) are highlighted; and some of the most important conceptual extended oeuvres of the period (called "cantatas") are analyzed (such as "La Cantata Popular Santa Maria de Iquique" in the Chilean case and "Montoneros" in the Argentine case). The contributors to the collection deal with the complex relationship that the aesthetic of the movement established between the political content of the lyrics and the musical and performative aspects of the most popular songs of the period.

Latin America in the 1960s and 1970s underwent a profound and often violent process of social change. From the Cuban Revolution to the massive guerrilla movements in Argentina, Uruguay, Peru, Colombia, and most of Central America, to the democratic socialist experiment of Allende in Chile, to the increased popularity of socialist-oriented parties in Uruguay, or para-socialist movements, such as the Juventud Peronista in Argentina, the idea of social change was in the air. Although this topic has been explored from a political and social point of view, there is an aspect that has remained fairly unexplored. The cultural-and especially musical-dimension of this movement, so vital in order to comprehend the extent of its emotional appeal, has not been fully documented. Without an account of how music was pervasively used in the construction of the emotional components that always accompany political action, any explanation of what occurred in Latin America during that period will be always partial. This book is an initial attempt to overcome this deficit. In this collection of essays, we examine the history of the militant song movement in Chile, Uruguay, and Argentina at the peak of its popularity (from the mid-1960s to the coup d'etats in the mid-1970s), considering their different political stances and musical deportments. Throughout the book, the contribution of the most important musicians of the movement (Violeta Parra, Victor Jara, Patricio Manns, Quilapayun, Inti-Illimani, etc., in Chile; Daniel Viglietti, Alfredo Zitarrosa, Los Olimarenos, etc., in Uruguay; Atahualpa Yupanqui, Horacio Guarany, Mercedes Sosa, Marian Farias Gomez, Armando Tejada Gomez, Cesar Isella, Victor Heredia, Los Trovadores, etc., in Argentina) are highlighted; and some of the most important conceptual extended oeuvres of the period (called "cantatas") are analyzed (such as "La Cantata Popular Santa Maria de Iquique" in the Chilean case and "Montoneros" in the Argentine case). The contributors to the collection deal with the complex relationship that the aesthetic of the movement established between the political content of the lyrics and the musical and performative aspects of the most popular songs of the period.

The Latin American Cultural Studies Reader brings together thirty-six field-defining essays by the most prominent theorists of Latin American cultural studies. Written over the past several decades, these essays provide an assessment of Latin American cultural studies, an account of the field’s historical formation, and an outline of its significant ideological and methodological trends and theoretical controversies. With many essays appearing in English for the first time, the collection offers a comprehensive view of the specific problems, topics, and methodologies that characterize Latin American cultural studies vis-à-vis British and U.S. cultural studies.Divided into sections preceded by brief introductory essays, this volume traces the complex development of Latin American cultural studies from its roots in literary criticism and the economic, social, political, and cultural transformations wrought by neoliberal policies in the 1970s. It tracks the impassioned debates within the field during the early 1990s; explores different theoretical trends, including studies of postcolonialism, the subaltern, and globalization; and reflects on the significance of Latin American cultural studies for cultural studies projects outside Latin America. Considering literature, nationalism, soccer, cinema, postcolonialism, the Zapatistas, community radio, and much more, The Latin American Cultural Studies Reader is an invaluable resource for all those who want to understand the past, present, and future of Latin American cultural studies. Contributors. Hugo Achugar, Eduardo Archetti, John Beverley, José Joaquín Brunner, Antonio Candido, Debra A. Castillo, Antonio Cornejo Polar, Román de la Campa, Ana Del Sarto, Roberto Fernández Retamar, Juan Flores, Jean Franco, Néstor García Canclini, María Gudelia Rangel Gómez, Adrián Gorelik, John Kraniauskas, Neil Larsen, Ana López, Jesús Martín-Barbero, Francine Masiello, Daniel Mato, Walter D. Mignolo, Carlos Monsiváis, Mabel Moraña, Alberto Moreiras, Renato Ortiz, José Rabasa, Angel Rama, Gustavo A. Remedi, Darcy Ribeiro, Nelly Richard, Alicia Ríos, Beatriz Sarlo, Roberto Schwarz, Irene Silverblatt, Graciela Silvestri, Armando Rosas Solís, Beatriz González Stephan, Abril Trigo, George Yúdice