This study explored the effects of musical improvisation between dyads of same-sex strangers on subsequent behavioural alignment. Participants–all non-musicians–conversed before and after either improvising music together (Musical Improvisation—MI—group) or doing a motoric non-rhythmic cooperative task (building a tower together using wooden blocks; the Hands-Busy—HB—group). Conversations were free, but initially guided by an adaptation of the Fast Friends Questionnaire for inducing talk among students who are strangers and meeting for the first time. Throughout, participants’ motion was recorded with an optical motion-capture system (Mocap) and analysed in terms of speed cross-correlations. Their conversations were also recorded on separate channels using headset microphones and were analysed in terms of the periodicity displayed by rhythmic peaks in the turn transitions across question and answer pairs (Q+A pairs). Compared with their first conversations, the MI group in the second conversations showed: (a) a very rapid, partially simultaneous anatomical coordination between 0 and 0.4 s; (b) delayed mirror motoric coordination between 0.8 and 1.5 s; and (c) a higher proportion of Periodic Q+A pairs. In contrast, the HB group’s motoric coordination changed slightly in timing but not in degree of coordination between the first and second conversations, and there was no significant change in the proportion of periodic Q+A pairs they produced. These results show a convergent effect of prior musical interaction on joint body movement and use of shared periodicity across speech turn-transitions in conversations, suggesting that interaction in music and speech may be mediated by common processes.

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Este artículo es un estudio de la propuesta artística de Los Diablos Rojos de Víctor Jara, una comparsa de danza-música formada en el año 2009 para homenajear al cantautor en el día de su funeral. Desde esa fecha, la comparsa participa en eventos anuales de conmemoración de los detenidos y ejecutados políticos de la dictadura militar y esporádicamente en otras manifestaciones sociales. Nuestro primer objetivo es explicar la apropiación y transformación que la comparsa hace de la figura del diablo suelto de la fiesta de La Tirana. Consideramos asuntos como vestimenta, coreografía, repertorio musical y roles de género. El segundo objetivo es analizar las propuestas coreográficas y musicales de los Diablos Rojos. A diferencia de aproximaciones desde las ciencias sociales, que tienden a estudiar estos fenómenos como actos de memorialización o activismo social, nuestro enfoque como investigadores de las artes pone al centro el hecho de que las y los responsables de la comparsa son artistas profesionales, con motivaciones, preocupaciones y objetivos artísticos. Para relevar este aspecto analizamos siete de las canciones de Víctor Jara que forman parte del repertorio de danza-música de la comparsa.

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Pese a su vigencia, la dramaturgia de Luis Alberto Heiremans sigue siendo leída de acuerdo con las claves del existencialismo cristiano y el simbolismo que abrazaron los teatros universitarios chilenos en sus tres primeras décadas . La crítica especializada ha desatendido las claves homoeróticas que ofrecen las piezas más divulgadas del autor, ignorando las numerosas marcas textuales que insinúan afectos homosexuales. Heiremans (1928Heiremans ( -1964 continues to be read through the lens of Christian existentialism and symbolism, two qualities espoused by Chilean university theatres during their first three decades of existence . Critics have overlooked the homoerotic elements present in Heiremans' best-known works, effectively ignoring multiple textual markers that suggest homosexual affections. Despite its currency, the dramaturgy of Luis AlbertoWe propose a queer reading of Moscas sobre el mármol (1958) and Arpeggione, the third part of Buenaventura (1962), texts that premiered outside of Chile and that were not included in our programming for decades. Through this lens we explain the ways in which Heiremans' dramaturgy problematizes the challenge of mentioning affects, then criminalized: in one case through failed literary allusions (Moscas sobre el mármol), in the other through the use of musical references (Arpeggione). These works show how the possibilities of queer life were transformed under a state invested in a sanitized version of modernity. This revision opens new aesthetic possibilities and new understandings of Chilean theatre history.