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| Asociación Nacional de Actores | |
|---|---|
| Name | Asociación Nacional de Actores |
| Native name | Asociación Nacional de Actores (ANDA) |
| Formation | 1934 |
| Founder | Víctor Ruiz Ibarra |
| Headquarters | Mexico City |
| Location | Mexico |
| Membership | actores, actrices, doblajistas |
Asociación Nacional de Actores is a Mexican trade union and professional association representing performers in film, television, radio, theatre and dubbing. Founded in the 1930s during the Golden Age of Mexican cinema, it has operated alongside institutions such as the Comisión Nacional de los Derechos Humanos, the Instituto Mexicano de Cinematografía, and broadcasting entities like Televisa and TV Azteca. The association interacts with cultural organizations including the Academia Mexicana de Artes y Ciencias Cinematográficas, the Consejo Nacional para la Cultura y las Artes, and governmental bodies such as the Secretaría de Cultura (México).
The association emerged in the 1930s influenced by figures from the film industry like Joaquín Pardavé, Pedro Infante, María Félix, Dolores del Río, and managers of studios such as Producciones Rodríguez and Cinematográfica Astor. Early milestones involved labour disputes with studio executives, producers like Luis Buñuel during his Mexican period, and institutions like Unión de Trabajadores de América Latina. Throughout the 1940s and 1950s the organization navigated the expansion of radio networks including XEW-AM and the growth of motion picture awards administered by the Ariel Awards committee of the Academia Mexicana de Artes y Ciencias Cinematográficas. In subsequent decades it confronted transformations driven by television entrepreneurs such as Emilio Azcárraga Milmo and later Ricardo Salinas Pliego, technological change in dubbing linked to companies like Telefilm, and regulatory shifts involving the Instituto Federal de Telecomunicaciones.
The association is governed by a board and executive committee composed of elected performers and administrators including presidents who have been public figures, union leaders, and actors like Silvia Pinal, Jorge Ortiz de Pinedo, Antonio Aguilar, Ignacio López Tarso, and Jacobo Zabludovsky in advisory roles. Its internal divisions coordinate theatre, cinema, television, dubbing and radio, and specialized commissions liaise with institutions such as the Instituto Nacional de Bellas Artes y Literatura and municipal cultural departments of Ciudad de México. Regional delegations maintain presence in states with prominent production hubs like Jalisco, Nuevo León, and Veracruz, working with local theaters such as the Teatro de la Ciudad Esperanza Iris and film festivals including the Festival Internacional de Cine en Guadalajara.
The association negotiates collective agreements with producers, broadcasters, and studios including Televisa, TV Azteca, independent producers, and streaming platforms competing in markets alongside Netflix and Amazon Prime Video. It administers social welfare programs similar to those run by organizations like the Instituto Mexicano del Seguro Social for artists, mediates disputes involving agents and casting directors, and certifies performers for pension schemes associated with unions such as the Sindicato de Trabajadores de la Música. Cultural promotion activities align with festivals and institutions including the Festival Internacional Cervantino, the Museo Nacional de Arte, and educational outreach in collaboration with universities like the Universidad Nacional Autónoma de México and Centro de Capacitación Cinematográfica.
The association advocates rights for performers concerning remuneration, residuals, working conditions, and intellectual property, engaging with legislation debated in the Cámara de Diputados (México) and regulations overseen by the Secretaría del Trabajo y Previsión Social. It negotiates minimum rates, session guarantees, and protections for dubbing artists in contracts with television networks and production companies, and participates in disputes resolved through labor boards such as the Junta Federal de Conciliación y Arbitraje. High-profile negotiations have occurred in the context of major productions with directors like Alejandro González Iñárritu, Alfonso Cuarón, and Guillermo del Toro, and during periods of industry disruption involving companies such as Televisa and international co-productions with studios like Warner Bros..
Training programs and workshops are offered in acting techniques, voice work, and screen performance through partnerships with institutions like the Centro Universitario de Estudios Cinematográficos, the Escuela Nacional de Arte Teatral, and private studios associated with artists such as Ignacio López Tarso and Salma Hayek. Services include legal assistance, health benefits, pension advice, and audition listings coordinated with casting agencies and production firms including Casa Azul and independent companies active in festivals like the Morelia International Film Festival. The association also provides archives and documentation resources that complement holdings at the Cineteca Nacional.
The association has faced controversies involving high-profile expulsions, disputes over royalties and residuals with broadcasters such as Televisa and TV Azteca, and internal governance conflicts mirrored in other unions like the Sindicato de Trabajadores del Pogo; episodes have led to legal challenges before courts like the Suprema Corte de Justicia de la Nación and public debates involving personalities such as Yalitza Aparicio, Diego Luna, Gael García Bernal, and older stars contesting pension allocations. Conflicts around dubbing credits have involved international franchises and companies such as Disney and Universal Pictures, while labor actions have included strikes, pickets, and negotiations mediated by actors’ networks and civil society organizations including Amnistía Internacional (sección México).
The association organizes and participates in awards, tributes, and commemorative events honoring careers of performers like Cantinflas, Pedro Infante, María Félix, Dolores del Río, Jorge Negrete, and contemporary figures recognized at ceremonies connected to the Ariel Awards and municipal cultural calendars. It curates retrospectives in venues such as the Palacio de Bellas Artes and the Teatro de la Ciudad Esperanza Iris, maintains collaborations with festivals like the Festival Internacional de Cine de Morelia and the Festival Internacional de Cine en Guadalajara, and supports initiatives to preserve film heritage alongside the Filmoteca UNAM and the Cineteca Nacional.
Category:Trade unions in Mexico Category:Performing arts organizations in Mexico