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Elite Art WorldsPhilanthropy, Latin Americanism, and Avant-garde Music$
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Eduardo Herrera

Print publication date: 2020

Print ISBN-13: 9780190877538

Published to Oxford Scholarship Online: October 2020

DOI: 10.1093/oso/9780190877538.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use.date: 28 January 2022

From Musical Pan Americanism to Latin Americanism

From Musical Pan Americanism to Latin Americanism

Chapter:
(p.130) 6 From Musical Pan Americanism to Latin Americanism
Source:
Elite Art Worlds
Author(s):

Eduardo Herrera

Publisher:
Oxford University Press
DOI:10.1093/oso/9780190877538.003.0007

This chapter demonstrates that a significant shift in identity politics took place at CLAEM when a younger generation of composers advantageously adopted a regional identification as “Latin American avant-garde composers” in an art world that was largely European and U.S.-centric. The discourse of musical Latin Americanism that emerged among these composers shared ideas with earlier proponents of hemispheric solidarity but with a renewed, critical, and much more strategic regional identification, solidified by the social networks nurtured at CLAEM. This chapter explores the emergence of a shared discourse of Latin Americanism as a professional strategy and as musical style among the graduates of the Center and the short and long-term consequences that this had for the contemporary music scene in the region.

Keywords:   solidarity networks, CLAEM, Latin Americanism, Pan Americanism, regionalism, nationalism, Blas Emilio Atehortúa, Marlos Nobre, Alberto Villalpando, Coriún Aharonián, decoloniality

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