Academic Books by Claudio Palomares-Salas
Oxford University Press, 2025
Mexican Canto Nuevo: Music, Politics, and Resistance explores the vibrant history of Canto Nuevo,... more Mexican Canto Nuevo: Music, Politics, and Resistance explores the vibrant history of Canto Nuevo, a musical and cultural movement that influenced Mexican music, politics, and culture from the 1960s to the late 1980s. Author Claudio Palomares-Salas delves into every aspect of Canto Nuevo's evolution, from its origins during the 1968 student movement to its peak and eventual decline two decades later.
Palomares-Salas offers a comprehensive, rigorous, and easy-to-follow path to understand Canto Nuevo in all its complexity, discussing Canto Nuevo's nomenclature and temporality, the Marxist-humanist principles that defined the movement's lyrical production and governed the lives of its participants, as well as the folklorization processes that were at the core of Canto Nuevo's origins and development. He examines Canto Nuevo's relationship with other militant song movements, such as Chilean Nueva Canción, Cuban Nueva Trova, and Uruguayan Canto Popular, reasserting Mexican Canto Nuevo in current academic discussions on the pan-Latin American Nueva Canción movement of the 1960s-1980s. The chapters offer much-needed chronological analysis of main events, peñas, artists' organizations, record labels, festivals, and albums that allow the reader to make sense of the politics, aesthetics, and goals of a broad and multifaceted movement that spanned over two decades. Notably, Palomares-Salas clarifies the complex relationship between the Mexican state and Canto Nuevo, clearly explaining the climate of hostile tolerance in which it developed. The book thoroughly explores the work of the movement's most prominent and influential singers, singer-songwriters, and groups, among them Los Folkloristas, Judith Reyes, José de Molina, León Chávez Teixeiro, Óscar Chávez, Los Nakos, Margarita Bauche, Enrique Ballesté, Amparo Ochoa, La Peña Móvil, Gabino Palomares, and several others.
A crucial academic resource and a must-read for those passionate about Mexican and Latin American music, politics, and culture, readers will gain a chronological perspective on key events, artists, and organizations that defined the politics and aesthetics of the Canto Nuevo movement.
Brill, 2020
The Spatiality of the Hispanic Avant-Garde: Ultraísmo & Estridentismo, 1918-1927 is a thorough ex... more The Spatiality of the Hispanic Avant-Garde: Ultraísmo & Estridentismo, 1918-1927 is a thorough exploration of the meanings and values Hispanic poets and artists assigned to four iconic locations of modernity: the city, the cafés, means of transportation, and the sea, during the first decades of the 20th century. Joining important studies on Spatiality, Palomares-Salas convincingly argues that an unsolvable tension between place and space is at the core of the Hispanic avant-garde cultural production. A refreshing, transatlantic perspective on Ultraism and Stridentism, the book moves the Hispanic vanguards forward into broader, international discussions on space and modernism, and offers innovative readings of well-known, as well as rarely studied works.
Peer-Reviewed Articles by Claudio Palomares-Salas
International Yearbook of Futurism Studies, 2023
The members of Infrarealism, a neo-avant-garde literary movement founded in Mexico in the mid-197... more The members of Infrarealism, a neo-avant-garde literary movement founded in Mexico in the mid-1970s, considered themselves to bet he inheritors of historical avant-garde groups such as Dada, Surrealism and Mexican Stridentism. It is logical to assume that Futurism also played an important role in shaping the movement's ideas; however, their connection has barely been explored. This essay investigates how Futurism influenced first Infrarealism and then the poetry and prose of Roberto Bolaño, who acquired international renown as a novelist after Infrarealism disbanded. We argue that Futurism was at the centre of Infrarealist sensibility and activity, if not in an explicit then at least in an implicit manner, with the intention of showing that Infrarealism was a clear example of Neo-Futurism, but one that re-elaborated Futurist concepts from a Latin American perspective.
International Yearbook of Futurism Studies, 2019
Andrew A. Anderson's new study on the Ultraist movement is an instant classic. Scholars of this S... more Andrew A. Anderson's new study on the Ultraist movement is an instant classic. Scholars of this Spanish avant-garde have long been relying on a couple of texts to find historical context to their investigations. Among these texts are Gloria Videla's El ultraísmo: Estudios sobre movimientos poéticos de vanguardia en España (Ultraism: Studies on Poetic Avant-garde Movements in Spain, 1963) as well as the indispensable essays by Juan Manuel Bonet, such as "Baedecker del Ultraismo" (1996) and his introduction to Las cosas se han roto (Things Have Broken, 2012), the most complete anthology of Ultraist poetry to date. 1 Anderson's book El momento ultraísta: Origenes, fundación y lanzamiento de una vanguardia (The Ultraist Moment: Origins, Foundation and Launch of a Vanguard, 2017) joins the ranks of these texts. It will be indispensable for any serious examination of the origins of the Spanish and Hispanic avant-gardes. The book focusses on 1919, the year this vanguard was born. Anderson methodically explains how Ultraism developed its self-consciousness and achieved moderate recognition in Spanish literary circles. His research is vast and impressive. Moreover, his ample bibliography, along with his review of all sorts of primary textsletters, interviews, press reports, essays, magazinesand critical literature, offers scholars interested in the early stages of Ultraism everything they might need. In the first part of the book, Anderson covers the early manifestations of avant-garde activity in Spain from 1916 until the rise of the Ultraist movement in 1919. In doing so, the study traces the life, works and influence of four precursors of the Hispanic vanguard: Ramón Gómez de la Serna (1888-1963),
Music and Politics, 2018
The civil wars, military coups, dictatorships, and revolutions that marked the histories of Cuba,... more The civil wars, military coups, dictatorships, and revolutions that marked the histories of Cuba, Argentina, Chile, Brazil, and Uruguay during the second half of the twentieth century propelled the socially-engaged singers of the Nueva Canción to stardom, granting them a privileged place in the emotional tales of the nation. 1 In Mexico, the story was different. Without a clearly articulated narrative of oppression and violence, the voices of resistance did not find a place in the national affective imagination. While figures such as Silvio Rodríguez and Mercedes Sosa managed to convince a sector of the Mexican public to stand in solidarity with the oppressed peoples of Latin America, figures such as Amparo Ochoa, Óscar Chávez, and Gabino Palomares did not succeed-apparently-in convincing the Mexican public that there were also reasons to protest in Mexico. 2 The story of modern Mexican troubadours is absent from the annals of history. It exists as scattered references in newspapers, as anecdotes, and as a collection of songs sung in a disorganized manner by a group relegated to the margins of the cultural landscape. It is, nevertheless, a story of resistance whose heroes-singers, songwriters, and performers-spent the decades between 1960 and 1990 denouncing poverty and corruption, condemning governmental violence, marching side by side with students, activists, women, workers, and peasants, and supporting civil rights and grassroots movements both nationally and internationally. The story of these musicians has remained unknown for too long. This article attempts to reignite academic interest in this story with the goal of encouraging future critical and theoretical studies regarding socially-engaged Mexican singers and songwriters from the 1960s through the 1990s. It focuses on the life and work of one of the main exponents of the Mexican protest song, singer-songwriter Gabino Palomares (b. 1950), whose work is essential to our understanding of the contemporary cultural history of Mexico. 1 Note on translation: The translator has retained the original terms Nueva Canción and Canto Nuevo in Spanish for the sake of clarity. Both terms can be translated into English as "New Song." 2 On the social and musical characteristics of the New Song, which contributed to its growth and acceptance all over Latin
International Yearbook of Futurism Studies, 2017
When Marinetti (1876-1944) visited Buenos Aires in 1926, his best time had passed. Not only was F... more When Marinetti (1876-1944) visited Buenos Aires in 1926, his best time had passed. Not only was Futurism a dated aesthetic, but Marinetti himself was almost fifty years old, which was shamefully old for the preacher of a doctrine that had once stated: "The oldest among us are thirty; so we have at least ten years in which to complete our task. When we reach forty, other, younger, and more courageous men will very likely toss us into the trash can, like useless manuscripts. And that's what we want!"¹ The first of Marinetti's nine lectures in Buenos Aires took place on 11 June at the Coliseo Theatre. The event was entitled El futurismo bajo sus diversos aspectos en los países en que imperan las escuelas de vanguardia (Futurism: Its Various Aspects in the Countries Where the Avant-garde Schools Hold Sway)² and elicited a great deal of interest, not because of its relevance to local aesthetic debates, but rather because the press-mainly the popular journal Crítica-had fuelled expectations regarding a potential scandal due to the Italian poet's association with Fascism. The Argentine press rallied against Marinetti, mocking and attacking him as an ambassador of tyranny. Only the poets gathered around the avant-garde magazine Martín Fierro-who were generationally indebted to the poet-saved Marinetti from the porteño press, but even they made sure to distance themselves from his political leanings.³ To the general disappointment, the Buenos Aires lectures took place in relative calm. Marinetti behaved in a conciliatory way, affirming constantly that he was not a Fascist, and concentrating exclusively on preaching the 'novelties' of his more-than-a-decade old aesthetic. Two months after the first lecture, the avant-garde magazine Valoraciones: Revista bimestral de humanidades, crítica y polémica (Assessments: Bimonthly Magazine of Human Culture, Criticism and Controversy, 1923-28) published an issue featuring drawings by important local writers such as Oliverio Girondo,
International Yearbook of Futurism Studies, 2017
Bulletin of Hispanic Studies, 2017
Resumen La hija del judío (1848), primera novela histórica mexicana, fue un intento por re-escrib... more Resumen La hija del judío (1848), primera novela histórica mexicana, fue un intento por re-escribir el pasado colonial yucateco y dotar a la efímera República de Yucatán (1841-1848) de un texto fundacional. Sierra O'Reilly decidió ignorar la presencia indígena de la península y optó por utilizar al sujeto judío como el 'otro' de su historia. Esta elección se alineó con toda una tradición de novelas históricas europeas que utilizaban la expulsión de los judíos sefarditas de España a finales del siglo XV como modelo de comparación para definir la actitud nacional frente a las minorías. En este ensayo, explico de qué manera La hija del judío utiliza al sujeto judeo-español como un medio para re-imaginar el mito nacional y para re-interpretar la historia de la península yucateca con vistas a una utopía nacional de la cual los propios judíos estuvieron excluidos.
Letras Hispanas, May 9, 2015
The essay analyses the history of the Café Europa and its relevance in the Stridentist movement. ... more The essay analyses the history of the Café Europa and its relevance in the Stridentist movement. It also explores the construction of the Café de Nadie's myth. The difference between these two places-one material, the other mythical-has often been approached in a superficial way. This has caused a semantic mistake in which the discourses created by the Stridentist group-legitimated through its literary and visual production-have been taken as historical truths. The aim of the article is to contribute to a better understanding of Stridentism as a historical avant-garde, by demystifying the Café de Nadie. Stating the differences between history and fiction, we attempt to prevent the mistake of giving the same meaning to two different signifiers.
Graffylia, 2014
Urbe y Hélices: narrativas visuales de la vanguardia Urbe & Hélices: visual narratives of the ava... more Urbe y Hélices: narrativas visuales de la vanguardia Urbe & Hélices: visual narratives of the avant-garde Claudio Palomares Salas 1 Resumen El texto revisa dos de los libros más importantes de la vanguardia hispana: Hélices (1923) de Guillermo de Torre y Urbe: súper-poema bolchevique en 5 cantos (1924) de Manuel Maples Arce, enfocándose en las narrativas visuales presentes en la obra de los pintores que los ilustraron: Jean Charlot, Rafael Barradas, Norah Borges y Daniel Vázquez Díaz. Se explica aquí cómo la obra plástica de la vanguardia produjo una narrativa común, independientemente de los textos que ilustró. Si las imágenes que acompañaban a muchos de los textos decimonónicos buscaban representar lo escrito, las imágenes que se observan en el arte ultraísta y estridentista responden más bien a las exigencias estéticas de la utopía maquinista que caracterizó al periodo. El arte de la vanguardia rara vez fue autónomo. El artículo intenta probar que a pesar de la aparente libertad con la que los artistas ilustraron los textos, la gran mayoría de ellos tuvieron que subordinar su arte a una causa mayor, no la causa de la pintura o la poesía, sino la causa del progreso, la tecnología y la revolución.
Fiction by Claudio Palomares-Salas
La violencia más allá de los ríos , 2023
Cuento parte de la antología "La violencia más allá de los ríos." Ed. Alejandro Estivil, Ángel Mo... more Cuento parte de la antología "La violencia más allá de los ríos." Ed. Alejandro Estivil, Ángel Mota, Antolina Ortiz.
Lugar Común Editorial, 2019.
Lugar Común Editorial, 2016
Lugar Común Editorial, 2013
Prefacio de Luis Eduardo Aute
Book Reviews by Claudio Palomares-Salas
International Yearbook of Futurism Studies, 2022
A review of The Spatiality of the Hispanic Avant-Garde by Renée M. Silverman
Bulletin of Spanish Studies, 2023
Review of Roberto Bolaño in Context. Edited by Jonathan B. Monroe. Cambridge: Cambridge
Universit... more Review of Roberto Bolaño in Context. Edited by Jonathan B. Monroe. Cambridge: Cambridge
University Press. 2022. xxii + 375 pp.
Talks by Claudio Palomares-Salas
Entrevista con Javier Cercas duerante la entrega del premio Metrópolis Bleu en Montreal, 2021.
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Academic Books by Claudio Palomares-Salas
Palomares-Salas offers a comprehensive, rigorous, and easy-to-follow path to understand Canto Nuevo in all its complexity, discussing Canto Nuevo's nomenclature and temporality, the Marxist-humanist principles that defined the movement's lyrical production and governed the lives of its participants, as well as the folklorization processes that were at the core of Canto Nuevo's origins and development. He examines Canto Nuevo's relationship with other militant song movements, such as Chilean Nueva Canción, Cuban Nueva Trova, and Uruguayan Canto Popular, reasserting Mexican Canto Nuevo in current academic discussions on the pan-Latin American Nueva Canción movement of the 1960s-1980s. The chapters offer much-needed chronological analysis of main events, peñas, artists' organizations, record labels, festivals, and albums that allow the reader to make sense of the politics, aesthetics, and goals of a broad and multifaceted movement that spanned over two decades. Notably, Palomares-Salas clarifies the complex relationship between the Mexican state and Canto Nuevo, clearly explaining the climate of hostile tolerance in which it developed. The book thoroughly explores the work of the movement's most prominent and influential singers, singer-songwriters, and groups, among them Los Folkloristas, Judith Reyes, José de Molina, León Chávez Teixeiro, Óscar Chávez, Los Nakos, Margarita Bauche, Enrique Ballesté, Amparo Ochoa, La Peña Móvil, Gabino Palomares, and several others.
A crucial academic resource and a must-read for those passionate about Mexican and Latin American music, politics, and culture, readers will gain a chronological perspective on key events, artists, and organizations that defined the politics and aesthetics of the Canto Nuevo movement.
Peer-Reviewed Articles by Claudio Palomares-Salas
Fiction by Claudio Palomares-Salas
Book Reviews by Claudio Palomares-Salas
University Press. 2022. xxii + 375 pp.
Talks by Claudio Palomares-Salas
Palomares-Salas offers a comprehensive, rigorous, and easy-to-follow path to understand Canto Nuevo in all its complexity, discussing Canto Nuevo's nomenclature and temporality, the Marxist-humanist principles that defined the movement's lyrical production and governed the lives of its participants, as well as the folklorization processes that were at the core of Canto Nuevo's origins and development. He examines Canto Nuevo's relationship with other militant song movements, such as Chilean Nueva Canción, Cuban Nueva Trova, and Uruguayan Canto Popular, reasserting Mexican Canto Nuevo in current academic discussions on the pan-Latin American Nueva Canción movement of the 1960s-1980s. The chapters offer much-needed chronological analysis of main events, peñas, artists' organizations, record labels, festivals, and albums that allow the reader to make sense of the politics, aesthetics, and goals of a broad and multifaceted movement that spanned over two decades. Notably, Palomares-Salas clarifies the complex relationship between the Mexican state and Canto Nuevo, clearly explaining the climate of hostile tolerance in which it developed. The book thoroughly explores the work of the movement's most prominent and influential singers, singer-songwriters, and groups, among them Los Folkloristas, Judith Reyes, José de Molina, León Chávez Teixeiro, Óscar Chávez, Los Nakos, Margarita Bauche, Enrique Ballesté, Amparo Ochoa, La Peña Móvil, Gabino Palomares, and several others.
A crucial academic resource and a must-read for those passionate about Mexican and Latin American music, politics, and culture, readers will gain a chronological perspective on key events, artists, and organizations that defined the politics and aesthetics of the Canto Nuevo movement.
University Press. 2022. xxii + 375 pp.