The secret box: genre, scenes, imago, lyrics, wits, voices: Claroscuro Trilogy Vol 2 of 3
Keywords:
gendre, scenics arts, spectacle, literature, lettres, spanish language, afro-hispanity, women, queer, memory, audiovisuals, dance, biografphySynopsis
Breaking the gag of the supposedly objective validation of which voices can or should be published, releasing the gag of social conventions in the very text one writes, taking the risk of speaking about gender made it necessary for women to learn to speak about themselves, to allow themselves to take other voices and to speak from other angles. Up to a point, because try as we might, we cannot experience time and space separately, even in their most dematerialised forms. Both form a lattice, a mesh, our matrix adapted to the human anomaly.
In the contents of this book you will find an amalgam of disparate texts, by my colleagues and myself, which together represent new lines of study and new paths, contradictions and incoherencies. Why mix in this book gender, the performing and audiovisual arts, artificial intelligence and the twists and turns, traps and difficulties of research? I can find no absolute or absolutely coherent reason to provide them.
Numerous questions arose from the laboratories in the exchanges that their coordinators provoked among their members in the meetings or face-to-face or videotaped interviews that we held for more than a year and a half, plus the international congress and festival of Cultural Studies that we organised in the middle of the project's course. The question was to question everything, and it is in this sense that the dynamics and thermodynamics of the Claroscuros project must be understood, since wherever we found a postulate, a dogmatic rigidity, anything taken for granted, we tried to dissect and put our finger on the sore spot, to shake up what was established in our academic or artistic spheres.
I can only partly bring you here everything that was discussed, and I can only partly separate out what was discussed in our laboratories, because most of the topics, especially the theoretical and methodological issues, were at one time or another covered by all of them. Some of these debates are still being matured individually by those of us who took part in them, and I know that they are enriching the academic literature that continues to be produced by their participants, across more than fifteen different countries in Western Europe and America, North and South.
Chapters
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Erratum and pains
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Preface6: The Writing of the Present
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From the project: The chiaroscuro of the visible and the hidden, the present and the future.
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Theories and tongues of Medusa. A historical and historiographical context
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Feminist Perspectives in Spanish Contemporary Art: Reflections from the Claroscuros Project
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Marginalised maternities, fragmented philias and the need for a new bond in Pilar Palomero's feature films: Las niñas and La maternal.
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An approach to the corset as a technoscientific object l
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The Afro-Spanish voice in the literary and performing arts
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Biopic. Suzette Moncrief on the Costa del Sol: Afro-Hispanic-American and self-taught musician.
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Xiringüelu116: Dancing encounter between tradition and modernity
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Method and craft
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Clear and dark
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Principles of Digital Theatre
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Between Memory and Imaginary: A Brief Analysis of Cantos Insumisos and its Representation of the Argentinean Dictatorship
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Memories of the Transition: narcos, cops and Netflix
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Eighties, pop and social change. An open proposal for the study of a local ‘movida’.
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‘Who's steering my boat?’: Spain ‘adrift’ at the Eurovision Song Contest
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Hegelian aftermath, disconnection and pause
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Published
June 25, 2025
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ISBN-13 (15)
978-84-1335-423-1
