imagining the afro-uruguayan : belonging by vannina sztainbok … · 2013-11-07 · imagining the...
Post on 25-Jul-2020
1 Views
Preview:
TRANSCRIPT
Imagining the Afro-Uruguayan Conventillo: Belonging
and the Fetish of Place and Blackness
by Vannina Sztainbok
Table of Figures
Figure 1 Conventillo Medio Mundo in 1975
2
Figure 2 Map of Barrio Sur and Palermo
3
Figure 3 Depiction of daily life in a conventillo
4
Figure 4
Conventillo ruins 5
Figure 5 Clotheslines and children
6
Figure 6 Clotheslines
7
Figure 7 Carlos Páez Vilaró (1997) Artefactos
8
Figure 8 Carlos Páez Vilaró (1950) mi primer oleo
9
Figure 9 Carlos Páez Vilaró (undated) Ansina
10
Figure 10 Carlos Páez Vilaró (undated) Lavanderas
11
Figure 11 Carlos Páez Vilaró (undated) Candombe
12
Figure 12 Rosa Luna commemorative stamp
13
Figure 13 Traditional Afro-Uruguayan carnival characters
14
Figure 14 Rosa Luna photo
15
Figure 15 Caricature of Rosa Luna
16
Figure 16 Last “call of the drums”
17
2
Figure 1: Conventillo Medio Mundo courtyard, 1975
Photo by Alvaro Sanjurjo
Source: Sanjurjo Toucon, A. (2002). Conventillo Medio Mundo. Montevideo: n.a.
3
4
Figure 3: Daily life in Barrio Sur and Palermo
Top: Calle Ansina in Barrio Palermo, 1960
Bottom: Conventillo Medio Mundo, 1950
Source: Páez Vilaró, C. (1999). Arte y parte. Buenos Aires: Artes Gráfica Integradas S.A.
5
Figure 4: Conventillo Ruins 2006 Medio Mundo
Ansina
Photos: Vannina Sztainbok
6
Figure 5: Children and clotheslines Conventillo Medio Mundo
Photo by Alvaro Sanjurjo, circa 1975
Sanjurjo Toucon, A. (2002). Conventillo Medio Mundo. Montevideo: n.a.
7
Figure 6: Children by the clotheslines and laundress in foreground Medio Mundo courtyard
Photo by: Alvaro Sanjuro, circa 1975
Source: Sanjurjo Toucon, A. (2002). Conventillo Medio Mundo. Montevideo: n.a.
8
Figure 7: Artefactos (Artifacts)
Sculptures by: Carlos Páez Vilaró
Source: Páez Vilaró, C. (1999). Arte y parte. Buenos Aires: Artes Gráficas Integradas
S.A.
9
Figure 8: Inaugurando mi caja de pomos, surgió mi primer oleo (My first oil painting emerged initiating my paints)
Painting by: Carlos Páez Vilaró (1950)
Source: Páez Vilaró, C. (1999). Arte y parte. Buenos Aires: Artes Gráficas Integradas
S.A.
10
Figure 9: Mi visión de la calle Ansina, una noche de llamadas (My vision of Ansina Street on the night of the call of the drums)*
Painting by Carlos Páez Vilaró (undated)
Source: Páez Vilaró, C. (1999). Arte y parte. Buenos Aires: Artes Gráficas
Integradas S.A.
*The full effect of the painting is diluted in the reproduction. The painting is spread out
over two pages, making it difficult to fully capture the perspective, since the separation of
pages causes a distortion in the vanishing point.
11
Figure 10: Lavanderas del arroyo (Laundresses of the creek)
Carlos Páez Vilaró (undated)
Source: Páez Vilaró, C. (1999). Arte y parte. Buenos Aires: Artes Gráficas Integradas
S.A.
12
Figure 11: Candombe de Amague
Painting by: Carlos Páez Vilaró
Source: Páez Vilaró, C. (1999). Arte y parte. Buenos Aires: Artes Gráficas Integradas
S.A.
13
Figure 12: Rosa Luna commemorative stamp
Source: Ministerio de Educación y Cultura (2007) Día del Patrimonio 2007: Culturas
Afrouruguayas.
Rosa Luna out of costume (undated photo)
Photographer: Carlos Amérigo
Source: Luna, R. (1988). Sin tanga y sin tongo. Montevideo: Ediciones del Taller.
14
Figure 13: Traditional Afro-Uruguayan Carnival Characters
El Escobillero (The Broom Man)
Painting by: Leonel Pérez Molinari
Source: Olivera Chirimini, T., & Varese, J. A. (2000). Los candombes de reyes: Las
llamadas. Montevideo: El Galeón.
15
Figure 14: Rosa Luna in 1964 (top) and undated (but later) below
Source: Source: Ministerio de Educación y Cultura (2007) Día del Patrimonio 2007:
Culturas Afrouruguayas.
16
Figure 15: Caricature of Rosa Luna
Illustrator: Eduardo Sarlós
Source: Luna, R. (1988). Sin tanga y sin tongo. Montevideo: Ediciones del Taller.
17
Figure 16: Last “call of the drums” in Ansina
Source: Olivera Chirimini, T., & Varese, J. A. (2000). Los candombes de reyes: Las
llamadas. Montevideo: El Galeón.
top related