Latin America 2060: consolidation or crisis?

This repository item contains a single issue of the Pardee Center Task Force Reports, a publication series that began publishing in 2009 by the Boston University Frederick S. Pardee Center for the Study of the Longer-Range Future.Latin America has produced vigorous ideas throughout its history, expressed in narratives about its struggles and successes, or its weaknesses and failures. Together, these have shaped a multi-faceted vision of the region and its peoples. Some of its expositors, finding the story to be neither complete nor precise, work toward reformulations, some quite radical. Such generation of knowledge in different fields seems destined to yield a variety of distinct outcomes, at least in part because some of the emerging social and cultural movements are not yet very well structured. This Task Force Report project seeks to harness ideas about the region’s future into a coherent and policy useful discourse. A Workshop and a Task Force meeting was held at Boston University on November 18-19, 2010. A select group of invited experts – a mix of academic scholars and practitioners – were asked to turn their ideas into short ‘Think Pieces’ essays. Each Think Piece focuses on a specific topical issue for the region as a whole, instead of looking only at particular countries. These Think Piece essays are compiled and edited by the Task Force coordinator and published by the Pardee Center as a Task Force Report

LA POSESIÓN COMO SUBJETIVIDAD POLÍTICA EN O CONTESTADO– RESTOS MORTAIS DE SYLVIO BACK

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Elegua's Surrealist shroud: Surrealism and Afro-Cubanism in the Negrista works of Alejo Carpentier and Wifredo Lam

The Cuban writer Alejo Carpentier (1904--1980) and painter Wifredo Lam (1902--1982) draw upon Surrealism in their representations of an Afro-Cuban religiosity in their early Negrista works. Through a comparison of Carpentier's ¡Ecue-Yamba-O! (1933) and "Historia de lunas" (1933) with a selection of Lam's works of the 1940's---"The Jungle" (1942), "The Eternal Presence" (1945), "The Wedding" (1947), and "The Visitor" (1950)---this analysis uncovers how both writer and artist use collage and a surrealist mood in representing certain aspects of Afro-Cuban religiosity, specifically Abacua ceremonial incantations, Itutu, and trance or possession. This thesis also attempts to unmask the limitations of these techniques as a representational paradigm in limning the Afro-Cuban

Fadiga, Goce, Funky Butt--Three Views on Polyrhythm

This essay examines three instances in which polyrhythm serves as a metaphor for thinking through relations of difference.  In the thought of Mário de Andrade, polyrhythm serves as a mechanism for situating musical creation within a logic of production and accumulation.  In the work of the Cuban writer Antonio Benítez Rojo, polyrhythm becomes a model for thinking about the Caribbean and its geography in relation to the performing arts.  Finally, in early twentieth-century New Orleans, the musical feel associated with polyrhythm would contribute to a highly sexualized rhythmic feel that relates musical intensity to the smell of dancers’ bodies