A myth, a legend, a time? The social construction of exceptionality in the case of the artist, clown-travesti-literary, Batato Barea

In Buenos Aires in the 1980s, a countercultural movement made its way at the ends of the military dictatorship and the years of democratic spring, when a certain repressive inertia still persisted. From the dark basements emerged a so-called underground that involved artistic disciplines such as dan...

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Autor principal: Suarez, Marina
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Humanidades. Escuela de Historia 2023
Materias:
Underground
Mythification
Batato Barea
Post-dictatorship
Mitificación
Posdictadura
Acceso en línea:https://revistas.unc.edu.ar/index.php/RIHALC/article/view/41256
Aporte de:
Revistas de la UNC de Universidad Nacional de Córdoba
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record_format ojs
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-10
container_title_str Revistas de la UNC
language Español
format Artículo revista
topic Underground
Mythification
Batato Barea
Post-dictatorship
Underground
Mitificación
Batato Barea
Posdictadura
spellingShingle Underground
Mythification
Batato Barea
Post-dictatorship
Underground
Mitificación
Batato Barea
Posdictadura
Suarez, Marina
A myth, a legend, a time? The social construction of exceptionality in the case of the artist, clown-travesti-literary, Batato Barea
topic_facet Underground
Mythification
Batato Barea
Post-dictatorship
Underground
Mitificación
Batato Barea
Posdictadura
author Suarez, Marina
author_facet Suarez, Marina
author_sort Suarez, Marina
title A myth, a legend, a time? The social construction of exceptionality in the case of the artist, clown-travesti-literary, Batato Barea
title_short A myth, a legend, a time? The social construction of exceptionality in the case of the artist, clown-travesti-literary, Batato Barea
title_full A myth, a legend, a time? The social construction of exceptionality in the case of the artist, clown-travesti-literary, Batato Barea
title_fullStr A myth, a legend, a time? The social construction of exceptionality in the case of the artist, clown-travesti-literary, Batato Barea
title_full_unstemmed A myth, a legend, a time? The social construction of exceptionality in the case of the artist, clown-travesti-literary, Batato Barea
title_sort myth, a legend, a time? the social construction of exceptionality in the case of the artist, clown-travesti-literary, batato barea
description In Buenos Aires in the 1980s, a countercultural movement made its way at the ends of the military dictatorship and the years of democratic spring, when a certain repressive inertia still persisted. From the dark basements emerged a so-called underground that involved artistic disciplines such as dance, performance, live painting, theater, poetry and even video art and other forms of expression. Batato Barea, who defined himself as a clown-travesti and literary, was a ubiquitous and catalys figure of the 80's underground. Born in 1961 in a town in the province of Buenos Aires, Barea moved to the capital and since the late 70s began to train in different disciplines. Since then, he met artists with whom he formed creative groups and casts, fostered collaborative projects and even transformed his own body into a work of art. His disruptive figure and his unique stagings - anchored in amateurism and the vindication of humor and the popular culture- captured the attention of audiences and the sympathy of his peers. Early, in 1991, and at the peak of his career, he died of AIDS. After his death, his revered figure became "the myth of the underworld", a legend that time only enhanced. In this paper we ask ourselves: How does an exceptional figure like Batato Barea emerge in the field of art? Who exalted him and what memories did they privilege of him?
publisher Facultad de Filosofía y Humanidades. Escuela de Historia
publishDate 2023
url https://revistas.unc.edu.ar/index.php/RIHALC/article/view/41256
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AT suarezmarina unmitounaleyendaunaepocalaconstruccionsocialdelaexcepcionalidadenelcasodelartistaclowntravestiliterariobatatobarea
AT suarezmarina mythalegendatimethesocialconstructionofexceptionalityinthecaseoftheartistclowntravestiliterarybatatobarea
first_indexed 2023-06-08T23:54:55Z
last_indexed 2023-06-08T23:54:55Z
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spelling I10-R10-article-412562023-06-01T11:28:39Z A myth, a legend, a time? The social construction of exceptionality in the case of the artist, clown-travesti-literary, Batato Barea ¿Un mito, una leyenda, una época? La construcción social de la excepcionalidad en el caso del artista, clown-travesti-literario, Batato Barea Suarez, Marina Underground Mythification Batato Barea Post-dictatorship Underground Mitificación Batato Barea Posdictadura In Buenos Aires in the 1980s, a countercultural movement made its way at the ends of the military dictatorship and the years of democratic spring, when a certain repressive inertia still persisted. From the dark basements emerged a so-called underground that involved artistic disciplines such as dance, performance, live painting, theater, poetry and even video art and other forms of expression. Batato Barea, who defined himself as a clown-travesti and literary, was a ubiquitous and catalys figure of the 80's underground. Born in 1961 in a town in the province of Buenos Aires, Barea moved to the capital and since the late 70s began to train in different disciplines. Since then, he met artists with whom he formed creative groups and casts, fostered collaborative projects and even transformed his own body into a work of art. His disruptive figure and his unique stagings - anchored in amateurism and the vindication of humor and the popular culture- captured the attention of audiences and the sympathy of his peers. Early, in 1991, and at the peak of his career, he died of AIDS. After his death, his revered figure became "the myth of the underworld", a legend that time only enhanced. In this paper we ask ourselves: How does an exceptional figure like Batato Barea emerge in the field of art? Who exalted him and what memories did they privilege of him? En Buenos Aires de los 80, un movimiento contracultural se abrió paso en las postrimerías de la dictadura militar y los años de primavera democrática, cuando aún persistía cierta inercia represiva. Desde los oscuros sótanos surgió un mentado underground que implicó a disciplinas artísticas como la danza, la performance, la pintura en vivo, el teatro, la poesía y hasta el videoarte y otras formas de expresión. Batato Barea, quien se autodefinía como clown-travesti y literario, fue una figura ubicua y catalizadora del underground de los 80. Nacido en 1961 en un pueblo de la provincia de Buenos Aires, Barea se mudó a la capital y desde finales de los años 70 comenzó a formarse en distintas disciplinas. Desde entonces, conoció a artistas con los que conformó grupos de creación y elencos, fomentó proyectos colaborativos y llegó a transformar su propio cuerpo en una obra de arte. Su figura disruptiva y sus singulares puestas en escena -ancladas en el amateurismo y la reivindicación del humor y lo popular- captaban la atención de las audiencias y la simpatía de sus pares. Tempranamente, en 1991, y en el auge de su carrera murió de SIDA. Luego de su muerte, su figura venerada se constituyó en “el mito del under”, una leyenda que el tiempo no hizo más que enaltecer. En este trabajo nos preguntamos ¿Cómo se erige en la escena artística una figura excepcional como la de Batato Barea? ¿Quiénes lo enaltecieron y qué memorias privilegiaron de él? Facultad de Filosofía y Humanidades. Escuela de Historia 2023-06-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://revistas.unc.edu.ar/index.php/RIHALC/article/view/41256 Journal Red Intercátedras de Historia de América Latina Contemporánea ; No. 18 (2023): Revista de la Red Intercátedras de Historia de América Latina Contemporánea; 69-92 Revista de la Red Intercátedras de Historia de América Latina Contemporánea; Núm. 18 (2023): Revista de la Red Intercátedras de Historia de América Latina Contemporánea; 69-92 Revista da Rede Intercátedras de História Contemporânea da América Latina ; n. 18 (2023): Revista de la Red Intercátedras de Historia de América Latina Contemporánea; 69-92 2250-7264 spa https://revistas.unc.edu.ar/index.php/RIHALC/article/view/41256/41241 https://revistas.unc.edu.ar/index.php/RIHALC/article/view/41256/41242 http://creativecommons.org/licenses/by-nc-nd/4.0

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