| Titre | La poética de la frontera | |
|---|---|---|
| Auteur | Antonio Prieto Stambaugh | |
 |
Revue | Amerika |
| Numéro | no 17, 2018 Autour de Manuel GONZÁLEZ PRADA (Lima, 5 janvier 1844 – Lima, 22 juillet 1918) | |
| Rubrique / Thématique | Mélanges |
|
| Résumé anglais |
When using the term “border poetics” I have in mind works of visual, literary and performing arts that hail from the US-Mexico border region, to address its complex social, political and intercultural issues. A pioneer in this field was Chicana writer Gloria Anzaldúa, who published her ground-breaking book Borderlands/La Frontera. The New Mestiza, in 1987. Also during the mid-80s the Tijuana/San Diego area saw the creation of the legendary Border Arts Workshop / Taller de Arte Fronterizo (BAW/TAF), a group of Latino, Mexican, and US artists that used conceptual art (especially site-specific performances along the border line) to denounce racist immigration policies and to address the hybrid border culture. Guillermo Gómez-Peña, a founding member of BAW/TAF, moved on to create solo performances such as Border Brujo, and during the mid-1990s co-founded La Pocha Nostra in San Francisco. With the current climate of increased xenophobia and anti-immigrant sentiment in the US, a new generation of artist-activists such as Lukas Avendaño are engaged in border poetics as a vehicle of affirmation and resistance. Source : Éditeur (via OpenEdition Journals) |
|
| Article en ligne | http://journals.openedition.org/amerika/8331 |
