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/ “We too are the People”: The Artists’ Commando in the War of april 1965.
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“We too are the People”: The Artists’ Commando in the War of april 1965.

Authors

DOI:

https://doi.org/10.51274/ecos.v28i21.pp85-95

How to Cite

H., Quisqueya Lora. 2021. “‘We Too Are the People’: The Artists’ Commando in the War of April 1965.”. Journal ECOSUASD 28 (21):85-95. https://doi.org/10.51274/ecos.v28i21.pp85-95.

Published

2021-06-26

Issue

Vol. 28 No. 21 (2021): ECOSUASD

Section

ORIGINAL ARTICLE

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Abstract

In this paper we will address the role of artists during the April War of 1965. We will show the elements of the national historical context that explain the flourishing of the plastic arts in the years prior to 1965, as well as the international events that played a role in the collective imaginary and decisively influenced the commitment of the artists in the armed conflict. We will analyze the role played by the “Comando de los Artistas”, its modus operandi and the way in which it became an instrument of propaganda and that contributed to establishing a coherent and unitary discourse, around the notions of constitutionality and sovereignty. A series of manifestos made clear the vision and ideas that animated their actions. A rich and abundant photographic collection testifies to the privileged role of artists in this historical moment. Cultural activism during the few months that the war lasted constituted a unique and relevant element of the armed conflict of April 1965.


Keywords:

Civil war, revolution, Dominican Republic, arts, sovereignty, intervention

References

“Arte y Liberación”. Exposición. “Manifiesto por un arte revolucionario”. 20 de octubre 1962. Archivo Silvano Lora.

“Manifiesto”, Frente Cultural. Santo Domingo, 1965. Colección Silvano Lora.

Boleto para rifa de dos cuadros de Silvano Lora y Hernández Ortega. 14 de marzo, 1965. Colección Silvano Lora.

Carteles, letreros y murales. https://sangiovanniart.com/2015/04/19/necrologia-de-arte-grafia-de-abril/. Consultado el 24 de junio 2019.

Conversación de Quisqueya Lora con Alfredo Pierre. Santo Domingo, 19 de junio 2019.

De los Santos, Danilo. La pintura en la sociedad dominicana. Santiago: Universidad Católica Madre y Maestra, 1978.

Despradel, Fidelio. Abril 1965. Santo Domingo: Ediciones La Trinitaria, 2000.

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Miller, Jeannette. Historia de la pintura dominicana. Santo Domingo: Amigo del Hogar, 1979.

Prandy, Aniova. “Cartografía de la resistencia artística dominicana”. Tesis para optar por el Máster Universitario en Estudios Avanzados en Historia del Arte, Universidad de Salamanca, 2014.

Programa de acto cultural, Teatro Santomé, Santo Domingo, 4 de julio 1965. Archivo Silvano Lora.

Vicioso, Abelardo; Pedro Mir, René del Risco y Bermúdez y otros. Pueblo, sangre y canto. Santo Domingo: Frente Cultural, 1965.

Ramón Oviedo. https://www.museobellapart.com/ramon_oviedo.html visita 23 junio 2019.

Viau Renaud, Jaques. Permanencia del llanto. Santo Domingo: Frente Cultural, 1965.


Author Biography

Quisqueya Lora H., Universidad Autónoma de Santo Domingo (UASD), Dominican Republic

He completed a bachelor's degree in History at the Autonomous University of Santo Domingo. He obtained a Master's degree in Latin American History: Indigenous Worlds at the Pablo de Olavide University, Seville in 2012. He is a Corresponding Member of the Dominican Academy of History since 2016. He is currently a professor in the Department of History and Anthropology of the UASD and at Colegio Babeque Secundaria. President of the Silvano Lora Public Workshop Foundation. 


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