Art Against Dictatorship: Making and Exporting Arpilleras Under Pinochet

Notes

Preface 1. I have chosen the word shantytown as the closest approximation to the Chilean word población. While shantytown calls to mind an expanse of wooden and corrugated-iron homes, Santiago’s poblaciones included such expanses, but also grid-patterned streets of small brick houses whose low-income inhabitants worked in either formal or informal sector jobs, or both. Chapter 1 1. See Brink (1997), Dorfman (1978), Neustadt (2001), and Williamson (1989). 2. Kunzle (1978). Scholars of nonconformist art under dictatorships have used the terms “underground artists,” “nonconformists,” “unofficial artists,” and “dissidents” to describe such artists. 3. Boyle (1992). 4. Dorfman (1978). 5. Marjorie Agosín (2008) has written extensively about the arpillera making of the relatives of the disappeared. 6.There are other art forms,also called arpilleras,which were made before the dictatorship and served as inspiration for these arpilleras. They are not the subject of this book but are described later on. 7. Parallels exist between the content of the arpilleras and that of the art of other oppressed peoples. Palestinian pictorial art, for example, shares a thematic preoccupation with politics and resistance (Halaby 2004). 8. Adams (2005). 9. Smith (1982), Teitelboim (1990), Fisher (1993). 10. Adams (2002). 11. Adams (2012). 12. Ibid. 13. Interviews with Isolda, Daniela, the Conjunto Folclórico, Hilda, Hilaria, and Wilma. 14. I am grateful to my colleague Kathryn Poethig for coining this phrase. 15. There is, in my view, some arbitrariness about the distinction between art and craft. Notes 270 Notes for pages 12–22 16. It sometimes happens that trained and professional artists who are not experiencing poverty or repression sell their art to help others. These artists may live in a different country. For example, in 2007, on the University of California at Berkeley campus, local artists and students sold paintings on canvas to raise funds for the people of Darfur. Such high artists are not included in my definition of solidarity art because art by those who themselves experience the harsh conditions is bought, exported, and sold with different understandings. 17.For studies that discuss or mention artists’motivations under other repressive contexts, see Baigell and Baigell (1995), Barber (1991), Foxley (1981), Frank (2003), Morris (1984), Moser (2003), Neustadt (2001), and Olukotun (2002). 18. Adams (2005). 19. Becker (1982, 34). 20. Kanakis (2005). 21. Baigell and Baigell (1995). 22. Chametzky (2001). 23. Reichelberg and Kauffmann (2000). 24. Personal communication, Samuel P. Oliner, April 12, 2008, Pacific Sociological Association Meeting in Portland, Oregon. 25. Adams (2002). 26. Personal communication, Arlinda Moreno, September 29, 2010. 27. Easton (2000). 28. Dusselier (2005). 29. Cockcroft and Barnet-Sánchez (1993). 30. Other studies that mention or discuss how a resistance art form arises or is produced under a dictatorship include, Baigell and Baigell (1995), Brink (1997), Cushman (1995), Frank (2003), Morris (1984), and Neustadt (2001). 31. McAdam, Tarrow, and Tilly (2001). 32. For works by analysts who discuss or mention the contributions of art in the struggle against repressive regimes, see Adams (2000, 2012a, 2012b), Almeida and Urbizagastegui (1999), Baigell and Baigell (1995), Boullata (2004), Boyle (1992), Brink (1997), Burton (1978), Farge (2006), Goldfarb (1982), Gready (2003), Griffin (1994), Hájek (1994), Magnussen (2006), Milon (2000), Morris (1984), Moser (2003), Obododimma (1998), Olukotun (2002), Palmeri (2003), Schechner (1998), Schirmer (1994), Stephen (1990), and Svašek (1997). 33. For works that mention or explore how state repression affects the production, selling, reception, and content of resistance art, see Adams (2001, 2005), Baigell and Baigell (1995), Brink (1997), Brunner (1981), Dorfman (1978), Frank (2003), Halaby (2004), Haynes (2003), Morris (1984), and Rosenfeld and Dodge (2002). 34. Marín (1991) and Agosín (2008) discuss the impact of gender on resistance art. 35.A snowball sample is one in which the researcher interviews individuals recommended by interviewees. 36. Glaser and Strauss (1967). 37. Allende (1971), Sigmund (1977, 130–131). 38. Oppenheim (2007, 36). 39. Ibid., 22. 40. Ibid., 37–38. 41. Ibid., 20–23. 42. Sigmund (1977, 139). 43. The rural branch of the Movement of the Revolutionary Left (MIR). 44. Wright and Oñate (1998, 3). 271 Notes for pages 22–26 45. Ibid., 4. 46. Sigmund (1977, 234). 47. Ibid., 176. 48. Qureshi (2009); Oppenheim (2007, 72). 49. Oppenheim (2007, 79). 50. Wright and Oñate (1998, 4–5). 51. Chile: Comisión Nacional de Verdad y Reconciliación (1993). 52. Schneider (1995, 75–81). 53. Chile: Comisión Nacional...