“Situates key films, poetry, popular songs, and fiction at the crossroad of Latin America’s decolonial theory and Ranciere’s ‘aisthesis.’ Incisively delving into the conditions of production corresponding to the multimedia texts analyzed, this book produces a compelling discussion of ‘decolonial aesthetics.’”—Sara Castro-Klarén, author of The Narrow Pass of Our Nerves: Writing, Coloniality and Post-Colonial Theory
Bringing Latin American popular art out of the margins and into the center of serious scholarship, this book rethinks the cultural canon and recovers previously undervalued cultural forms as art. Juan Ramos uses “decolonial aesthetics,” a theory that frees the idea of art from Eurocentric forms of expression and philosophies of the beautiful, to examine the long decade of the 1960s in Latin America—a time of cultural production that has not been studied extensively from a decolonial perspective.
Ramos looks at examples of “antipoetry,” unconventional verse that challenges canonical poets and often addresses urgent social concerns. He analyzes the militant popular songs of nueva canción by musicians such as Mercedes Sosa and Violeta Parra. He discusses films that use visually shocking images and melodramatic effects to tell the stories of Latin American nations. These art forms, he argues, appeal to an aesthetic that involves all the senses. Instead of being outdated byproducts of their historical moments, they continue to influence Latin American cultural production today.
Juan G. Ramos, associate professor of Spanish at College of the Holy Cross, is coeditor of Decolonial Approaches to Latin American Literatures and Cultures.