Créer contre l’oubli ou la censure de la mémoire uruguayenne

During its last dictatorship the murgas, like all forms of artistic entertainment, were closely monitored by a state-controlled censorship. After the 1984 elections, the Uruguayan dictatorship came into demise when the Colorado Party claimed victory. In this more permissive democratic environment, m...

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Main Author: Dorothée Chouitem
Format: Article
Language:English
Published: UMR 5136- France, Amériques, Espagne – Sociétés, Pouvoirs, Acteurs (FRAMESPA) 2018-02-01
Series:Les Cahiers de Framespa
Subjects:
Online Access:https://journals.openedition.org/framespa/4629
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author Dorothée Chouitem
author_facet Dorothée Chouitem
author_sort Dorothée Chouitem
collection DOAJ
description During its last dictatorship the murgas, like all forms of artistic entertainment, were closely monitored by a state-controlled censorship. After the 1984 elections, the Uruguayan dictatorship came into demise when the Colorado Party claimed victory. In this more permissive democratic environment, murgas had claimed, by 1985, an important place in the Uruguayan entertainment stages, celebrating its long-lost liberties. If the immediate social context influences murga productions, how can a new way of communication, in theory without political controls, reflect current historic structures? How can the binomial memory vs silence be crystallized in artistic productions? How did the murga, through its government-subsidized entertainment productions, contravene a legal framework whose main objective was to dilute the Uruguayan collective memory and promote silence ?
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publishDate 2018-02-01
publisher UMR 5136- France, Amériques, Espagne – Sociétés, Pouvoirs, Acteurs (FRAMESPA)
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spelling doaj-art-9f43b72ddc944850b866ad2b0a97faef2025-08-20T02:47:22ZengUMR 5136- France, Amériques, Espagne – Sociétés, Pouvoirs, Acteurs (FRAMESPA)Les Cahiers de Framespa1760-47612018-02-012610.4000/framespa.4629Créer contre l’oubli ou la censure de la mémoire uruguayenneDorothée ChouitemDuring its last dictatorship the murgas, like all forms of artistic entertainment, were closely monitored by a state-controlled censorship. After the 1984 elections, the Uruguayan dictatorship came into demise when the Colorado Party claimed victory. In this more permissive democratic environment, murgas had claimed, by 1985, an important place in the Uruguayan entertainment stages, celebrating its long-lost liberties. If the immediate social context influences murga productions, how can a new way of communication, in theory without political controls, reflect current historic structures? How can the binomial memory vs silence be crystallized in artistic productions? How did the murga, through its government-subsidized entertainment productions, contravene a legal framework whose main objective was to dilute the Uruguayan collective memory and promote silence ?https://journals.openedition.org/framespa/4629ImpunityTabladoCensorshipMemory
spellingShingle Dorothée Chouitem
Créer contre l’oubli ou la censure de la mémoire uruguayenne
Les Cahiers de Framespa
Impunity
Tablado
Censorship
Memory
title Créer contre l’oubli ou la censure de la mémoire uruguayenne
title_full Créer contre l’oubli ou la censure de la mémoire uruguayenne
title_fullStr Créer contre l’oubli ou la censure de la mémoire uruguayenne
title_full_unstemmed Créer contre l’oubli ou la censure de la mémoire uruguayenne
title_short Créer contre l’oubli ou la censure de la mémoire uruguayenne
title_sort creer contre l oubli ou la censure de la memoire uruguayenne
topic Impunity
Tablado
Censorship
Memory
url https://journals.openedition.org/framespa/4629
work_keys_str_mv AT dorotheechouitem creercontreloublioulacensuredelamemoireuruguayenne