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| Grupo de Trabajadores de la Cultura | |
|---|---|
| Name | Grupo de Trabajadores de la Cultura |
| Native name | Grupo de Trabajadores de la Cultura |
| Formation | 20th century |
| Type | Cultural collective |
| Headquarters | Unknown |
| Region served | Latin America |
| Language | Spanish |
Grupo de Trabajadores de la Cultura was a cultural collective active in Latin American artistic and intellectual circles, interacting with figures from literature, theater, visual arts, and music while engaging with institutions such as cultural ministries and university departments. The collective's activities intersected with movements represented by organizations like Teatro Experimental de los Andes, Casa de las Américas, Galería Nacional de Arte, Universidad Nacional Autónoma de México, and personalities linked to Pablo Neruda, Gabriel García Márquez, Diego Rivera, Frida Kahlo, and Octavio Paz. Its trajectory connected with festivals, publishing houses, and unions exemplified by Festival Internacional Cervantino, Editorial Siglo XXI, Sindicato de Trabajadores de la Cultura, and Biblioteca Nacional.
The origins trace to mid-20th-century formations influenced by networks including Movimiento 26 de Julio, Frente Amplio, Partido Comunista de Cuba, Movimiento Estudiantil, and cultural policies akin to those of Instituto Cubano del Arte e Industria Cinematográficos, Secretaría de Cultura de la Nación Argentina, Ministerio de Cultura de México, Instituto Nacional de Bellas Artes, and Teatro Nacional. Early alliances involved collaborations with writers and intellectuals such as Jorge Luis Borges, Mario Vargas Llosa, José Martí, Alejo Carpentier, Nicolás Guillén, and Juan Rulfo, and with artistic collectives like Los Carpinteros, Grupo Antillano, and Taller de Gráfica Popular. Over decades the group experienced schisms reflecting debates present in forums like Congreso de Intelectuales, Foro de Sao Paulo, Encuentro de Intelectuales Hermoso and in institutions such as Casa del Teatro, Museo de Arte Moderno, and Palacio de Bellas Artes.
The membership blended professional profiles from associations like Sindicato de Actores, Asociación de Escritores, Colegio de Arquitectos, Sociedad de Historiadores, Colegio de Periodistas and included noted individuals comparable to Rubén Darío, César Vallejo, Nicanor Parra, Vicente Huidobro, Silvina Ocampo, Leopoldo Marechal, Luis Buñuel, Alejandro Jodorowsky, Tarsila do Amaral, and Wifredo Lam. Organizational structures referenced models from Comisión Nacional de Cultura, Consejo Nacional para la Cultura', Instituto Nacional de Antropología e Historia, and Dirección General de Música, with committees similar to those of Festival de Avignon, Bienal de São Paulo, Documenta, and Venice Biennale. Membership also connected to unions and societies such as Confederación de Trabajadores, Federación de Jóvenes Comunistas, Asociación de Museólogos, and Red de Teatros Independientes.
The collective pursued aims resonant with initiatives by UNESCO, Organización de Estados Americanos, Amnesty International, Human Rights Watch, and cultural campaigns comparable to Campaña Libertad de Expresión and Movimientos por la Alfabetización, focusing on preservation, production, training, and dissemination akin to programs run by Instituto Cervantes, Fundación Gabriel García Márquez, Fundación Pablo Neruda, Fundación Goethe, and British Council. Activities included organizing events like Feria Internacional del Libro, Festival de Teatro, Semana de la Fotografía, Bienal de Arte, and workshops modeled on those from Taller de Teatro Campesino, Escuela de Bellas Artes, Escuela Nacional de Dramaturgia, and Conservatorio Nacional de Música.
Projects ranged from publishing ventures similar to Editorial Seix Barral, Editorial Planeta, Losada, and Anagrama to theatrical productions echoing ensembles like Teatro Colón, Compañía Nacional de Teatro, Teatro de la Ciudad, Teatro Cervantes, and film initiatives akin to Cine Granma, Cine Nacional de Cuba, Instituto Cubano de Cine, and co-productions with companies like Televisa, TVE, Canal 13 (Chile). Visual art projects paralleled exhibitions at Museo Reina Sofía, Museo Nacional Centro de Arte Reina Sofía, Museo de Arte Latinoamericano de Buenos Aires, Museo de Arte Moderno de São Paulo, and publications connected to journals like Artes de México, Sur, Bellatin, and Plaza y Valdés. Music and performance collaborations echoed partnerships with institutions such as Sinfónica Nacional, Conservatorio Tchaikovsky, Orquesta Filarmónica, and festivals like Lollapalooza, Rock al Parque, and Festival Vive Latino.
The group's interventions intersected with movements and events such as Revolución Cubana, Movimientos Sociales de los 60, Primavera Latinoamericana, Movimientos Indígenas, Movimiento Zapatista, and policy shifts influenced by think tanks and cultural foundations like CELS, FLACSO, CEFAS, and Fundación Rockefeller. Its work affected collections and archives at Archivo General de la Nación, Biblioteca del Congreso, Archivo Histórico de la Ciudad, and museum catalogues at Museo del Prado and Metropolitan Museum of Art through collaborations with curators and critics from The New York Times, Le Monde, El País, La Jornada, and Clarín.
Relations with state and non-state actors mirrored interactions typical of Ministerio de Cultura, Secretaría de Patrimonio, Consejo Nacional de la Cultura, Comisión Nacional de Bibliotecas, Organización de las Naciones Unidas, Banco Interamericano de Desarrollo, and regional bodies such as CELAC and Mercosur Cultural. The collective negotiated funding, censorship disputes, and programmatic partnerships akin to cases involving Instituto Nacional de las Artes, Consejo de la Cultura, Comisión Federal de Telecomunicaciones, and philanthropic entities such as Ford Foundation, Andrew W. Mellon Foundation, Open Society Foundations, and Guggenheim Foundation.
Category:Cultural collectives Category:Latin American culture