Central America - What is national identity? 3 The...

Info iconThis preview shows pages 1–2. Sign up to view the full content.

View Full Document Right Arrow Icon
What is national identity? 3 The political coalition that directed state initiatives during the 1980s The revolutionary project viewed the previous cultural landscape as skewed by an orientation towards foreign cultural models 4 Many statements made by the political leadership, cultural activists, and sympathetic artists articulated the view that Nicaragua’s “cultural popular” compromised authentic forms of expression that had been repressed and neglected under the weight of imported cultural models, much as its constituency, the popular classes, had been economically and politically marginalized The United States government’s attempts to reassert control over Nicaragua after Somoza’s fall worked together to grant folk expression an inherent connotation of asserting the nation’s cultural and political independence. Some Sandinista cultural activists held to a romantic nationalist conceptualization that tapping into this imagined wellspring would be instrumental in shaping a socioeconomically transformative experience 5 the FSLN neither strove for such a totalizing hegemony over the nation’s culture nor undertook to reconfigure existing “cultura popular” Also, there was never a master plan to create a “national folk music” or “arranged folklore” 6 Unlike the Soviet Union and Central and Eastern Europe, private record labels continued to record and produce at the same time the government launched its own label and recording studio All forms of ideological framing for folklore performances within state activities diminished through the 1980s along with government-funded cultural initiatives, a decline brought on by the gradual destruction of the economy 7 individuals supported a traditional form of expressive culture, while the government strived to extend and reestablish a form’s previous visibility Following this was the inauguration of the Center for Popular Culture, which approached musicians and encouraged them to perform again during the usual saint’s day celebrations 8 Opposition to governmental efforts did not arise from an ideological position opposed to state involvement in a traditional expressive form “perse,” but came from the desire to stop cultural interventions that might reflect well upon the particular administration in power at the time 9 One organization was the Sandinista Association of Cultural workers, which offered minimal economic support for some of the more politically engaged and urban-based artists Pretty much all this material being produced came from social classes and parts of the country that had been marginalized up to that time 10 Promotion of centralized Managua-based folk troupes engendered friction with existing, non-governmental performance groups in the Masaya region where the dance has historically been located This brought forth debates between the Managua-based groups and traditional dance leaders in the Masaya area
Background image of page 1

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
Image of page 2
This is the end of the preview. Sign up to access the rest of the document.

This note was uploaded on 09/29/2011 for the course MUS 303M taught by Professor O'brien during the Spring '07 term at University of Texas at Austin.

Page1 / 6

Central America - What is national identity? 3 The...

This preview shows document pages 1 - 2. Sign up to view the full document.

View Full Document Right Arrow Icon
Ask a homework question - tutors are online