Academic literature on the topic 'Uruguayan Arts'

In 2018, the Uruguayan-Slovene artist Francisco Tomsich launched the artistic research project Give my regards to those you connect, an exploration on connections and dialogues between artists from the former Yugoslavia and the River Plate region corresponding through the Mail Art network from the late 1960s onward. The research’s point of departure was a list of postal addresses from artists in Serbia prepared prior to the dissolution of Yugoslavia by the Uruguayan artist Clemente Padín and expanded in 2019 by Tomsich through the study of the “Yugoeslavia” folder at the General Archive of the University of the Republic of Uruguay. This paper traces the project’s development in Uruguay and Serbia in 2019 and summarises some of its achievements while describing the author’s approach to artistic research and the key issues of method, archive, comparative art histories, institutional context and failure.

Uruguay was always on the periphery of the foreign policy of the USSR. At the same time, political, economic, party and cultural ties between Moscow and Montevideo since the 1920s was developing, which became a factor in intern policy in Uruguay. Before the Second World War, relations between the two countries were formed in the context of the influence of the Comintern, and during the era of the Cold War — in the context of organizational and ideological ties between the communist parties. The purpose of this article is to show the features of the evolution of relations between the USSR and Uruguay in the 1920—1980s. Based on party documents, documents of the Comintern, documents of Soviet foreign policy, the article examines the stages of the formation of bilateral relations, identifies their main features, draws conclusions about the influence of the left movement on relations between Uruguay and Moscow. Particular attention is paid to the influence of the USSR on the ideology of the Uruguayan communist movement, as well as on the ratio of state and public relations of the two countries.

AbstractMinimum radiocarbon ages of marine Pleistocene molluscs from Uruguay range from 29,500±600 to 35,500±1900 14C yr B.P. Because knowledge of the marine Quaternary stratigraphy of Uruguay remains inadequate, no attempt is made to correlate between these deposits and recognized lithostratigraphic units. Analysis of the temperature and salinity ranges of the various molluscs suggests the establishment of a poly-euhaline fauna that inhabited waters warmer than present at the same latitude. This is supported by a northward retreat in the recent distribution of Chrysallida cf. C. gemmulosa, Nioche subrostrata, and probably Anomalocardia brasiliana. These marine Pleistocene deposits can probably be correlated with the last interglaciation (oxygen-isotopic substage 5e). At that time the fluvial-marine front of the Rio de la Plata was displaced much further northwestward than previously supposed. Chrysallida cf. C. gemmulosa and Limaria sp. are recorded in Uruguayan Quaternary deposits for the first time.

Abstract Weiss and Camnitzer discuss his ideas about the transformative potential of art in education; his experiences in and thoughts about Cuba and Cuban art; his “Uruguayan Torture” series of prints, and his thoughts about productive anarchy.

In 1973, Eduardo Galeano (1940-2015), the Uruguayan writer and journalist concluded his seminal book Open Veins of Latin America with the following: ‘The Latin American cause is above all a social cause: the rebirth of Latin America must start with the overthrow of its masters, country by country. We are entering times of rebellion and change’ (Galeano, 1973, p. 261). As Galeano stated, the oppression of populations and the loss of lives throughout Latin America led to ‘times of rebellion and change’. Artists, activists and the wider community sought to challenge and resist autocratic regimes to seek alternative ways of upholding their democratic and human rights. These methods and practice have transcended the democratisation of the continent in the 1980s and 1990s. The desire to advocate change through the arts has continued to be radical and proposes an alternative way of being to communities in Latin America. How can this practice be transposed to benefit the personal and social development of young people in the UK?The author’s experience of working with young people and his encounters with Latin American arts practice led to a need to intertwine these practices and develop theatre as a model for social change, which engages the political and social rights of young people in the UK.The paper is a product of a six-week practice-based research project in Latin America (Chile, Argentina and Uruguay) that explored innovative arts engagement for marginalised young people. The research was undertaken as a means to develop a high quality arts provision for young people in the UK. The paper focuses on three areas: continuity, sustainability and activism, and asks the reader: How can theatre ethically engage young people in the social and political decisions that shape their society? The research was funded by the Winston Churchill Memorial Trust.

An in-depth understanding of the citizen’s perception and behavior is needed for the development of targeted public policies and interventions that can successfully encourage people to shift their dietary patterns and contribute to the prevention of non-communicable diseases. The present work aimed to identify barriers and facilitators for the adoption of the new Uruguayan dietary guidelines from a citizen perspective. Twelve semistructured focus groups were conducted with a total of 91 people (81% female, age 18-64 years) from 3 Uruguayan cities. Findings identified several multifaceted barriers, including lack of value given to food, meals and cooking, taste preferences for unhealthy foods, the unsupportive social context in terms of household preferences, customs and social norms, and lack of control of the situation through insufficient food capabilities, time scarcity, and an adverse food market environment. The potential facilitators discussed in the focus groups were mainly related to policies and regulations to discourage consumption of unhealthful products and the provision of more education and information. In addition, respondents acknowledged the need for own actions in terms of seeking greater cooking skills and enjoyment, incorporating changes in their daily routines and promoting a more supportive social environment. Results suggest that supportive actions are needed to support citizen’s adoption of the new Uruguayan dietary guidelines.