Estridentismo and Sonido Trece: The Avant-Garde in Post-Revolutionary Mexico

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Abstract

The aftermath of the Mexican Revolution (1910–1920) saw the discussion around the nation’s cultural identity return to the political sphere. In the midst of a revived artistic fever, directed at an institutional level by José Vasconcelos, estridentismo (Stridentism) – the literary and artistic avant-garde movement founded by the poet Manuel Maples Arce – and Sonido 13 – composer Julián Carrillo’s microtonal music theory – were not part of the official debate. This essay offers a reinterpretation of these artistic movements through a critical approach to the zeitgeist that dominated the avant-garde during the first three decades of the twentieth century. Thus, I relate the practices and theories of Carrillo and Maples Arce to international avant-garde figures and movements such as Filippo Tommaso Marinetti and Italian Futurism. Taking recourse to Luigi Russolo’s suono-rumori (sound-noises) and his avant-garde considerations on sounds in Nature, this essay sheds light on Stridentism’s and Sonido 13’s responses to the emergence of modern soundscapes. Thus, it re-evaluated the current critical and historical narratives by reintroducing these two often dismissed movements into the Mexican cultural panorama of the period.

Details

Original languageEnglish
Title of host publicationInternational Yearbook of Futurism Studies
Subtitle of host publicationFuturism in Latin America
EditorsGünter Berghaus, Mariana Aguirre, Rosa Sarabia, Renée M. Silverman, Ricardo Vasconcelos, Sze Wah Lee
Publication statusPublished - Apr 2017

Publication series

NameInternational Yearbook of Futurism Studies
PublisherWalter de Gruyter
Volume7
ISSN (Print)2192-0281
ISSN (Electronic)2192-029X

Keywords

  • Estridentismo, Futurism, Mexican Revolution, microtonal music, soundscape studies, luigi russolo, The Art of Noise, Julian Carrillo, Manuel Maples Arce, Sonido Trece, Stridentism