Carlos Chávez and Paul Strand

Krippner, James; Saavedra, Leonora

doi:10.1515/9781400874200-015

Carlos Chavez and His World 2015

DOI: 10.1515/9781400874200-015

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Carlos Chávez and Paul Strand

James Krippner¹,

Leonora Saavedra²

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“…Paul Strand travelled to Mexico at Chávez's behest to escape a failing marriage; Copland spent summers sprawled on the beach with Victor Kraft; Colin McPhee ran from the intertwining pressures of depression and sexual confusion. 70 Even Martha Graham may have had such an idea in mind when she applied for a Guggenheim to collect dances in Mexico in 1932; at that time Louis Horst was her lover and travelling companion, a situation that required some delicacy at home, where Horst was known to be married to someone else. 71…”

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Identity and the Neoclassical Ideal in Martha Graham and Carlos Chávez'sDark Meadow

Gibson¹

2020

Twentieth-Century Music

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If the ideal artistic collaboration is one of shared vision, open communication, and exquisite professionalism then Martha Graham and Carlos Chávez strayed far from it in the making of Dark Meadow (1946). As this article documents, their relationship was full of antagonism, misunderstanding, disdainful gossip, and regret on both sides. Three sources of conflict are examined: 1) a misunderstanding between the two collaborators on the meaning and utility of Greek allusions in art created conflicting aesthetic expectations for a dance with a plot derived from Greek mythology; 2) both artists defied the modernist community's expectations about how each of them should perform their gender identity as artists; and 3) similarly, the press's consistent Othering of Chávez in racist, nationalist terms was contagious, influencing Graham's beliefs about what Mexican music could or should be. Despite significant obstacles, Chávez and Graham produced a work that continues to represent the mid-century Modernist aesthetic.

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confidence: 99%

Identity and the Neoclassical Ideal in Martha Graham and Carlos Chávez'sDark Meadow

Gibson¹

2020

Twentieth-Century Music

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Marxismo y socialismo mexicano en Redes, de Paul Strand y Carlos Chávez, con música de Silvestre Revueltas

Saavedra

2021

Historia Mexicana

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Redes (1934-1935), película mexicana ideada y filmada por el fotógrafo modernista Paul Strand, es reconocida como obra fundamental –panfletaria para algunos– del cine mexicano. Entre músicos se le conoce por la música que para la banda sonora compuso Silvestre Revueltas. Redes fue producida de acuerdo a lineamientos educativos generados en la SEP por Narciso Bassols (1931-1934), secretario, y Carlos Chávez, director del Departamento de Bellas Artes (1933-1934). La película se ocupa de las tribulaciones de un grupo de pescadores pobres y explotados de Veracruz; pero Redes es un film no sólo sobre sino, sobre todo, para los trabajadores. El objetivo de este trabajo consiste en colocar la creación intelectual y física de Redes en el contexto de las ideas políticas y sociales de Bassols, Chávez y, como resultado de su cercanía con éstos, Strand. Más particularmente, mostraré cómo el argumento de la película y su misma cinematografía siguen fielmente la teoría clásica marxista sobre el capitalismo y la explotación y enajenación del trabajador en él, atendiendo a la visión colectivista de la sep de Bassols. Utilizando documentos de archivo, hago un recuento de la radicalización política de Strand en México, muestro la clara autoría intelectual del fotógrafo (a pesar de que el film se presenta en los créditos como obra del director Fred Zinnemann), discuto los lineamientos de la SEP dentro de los cuales Strand trabajó y hago una lectura marxista del film para señalar su mensaje político específico. Eduardo Contreras Soto y James Krippner han mostrado que la asociación de Revueltas con el proyecto de Redes fue tardía y la música, creada a posteriori. Aquí discuto solamente la utilización en la banda sonora de significadores musicales que facilitan la lectura política del filme por parte del espectador-trabajador, canalizan su respuesta emocional y anclan su percepción en un contexto específicamente mexicano.

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Carlos Chávez and Paul Strand

Cited by 2 publications

References 0 publications

Identity and the Neoclassical Ideal in Martha Graham and Carlos Chávez'sDark Meadow

Identity and the Neoclassical Ideal in Martha Graham and Carlos Chávez'sDark Meadow

Marxismo y socialismo mexicano en Redes, de Paul Strand y Carlos Chávez, con música de Silvestre Revueltas

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