(Same introduction as always) I explain in this blog my reaction to the readings of the week: a chapter from Mexican Murals in Time of Crisis by Bruce Campbell and the beginning of The Magic of the State by Michael Taussig.
The extract of Bruce Campbell’s work offers an overview of the history of Muralism in Mexico and an idea of why it is a complicated form of popular culture, with examples depicted. From what I understood, the first urban murals date from the 1920s and were commissioned by the new government to promote its ideals, like those of Vasconcelos. But progressively, muralists began to create more controversial pieces and three main figures appeared (“los Tres Grandes”). The 1930s-1940s were the golden age of the Mexican School of muralism. But since the death of the Tres Grandes, there seems to be a lack of successors. Art critics argue that remaining Mexican muralists are less ambitious and memorable. However, Campbell describes an episode when the creation and then destruction of a more recent mural had a clear social and political impact in a town near Mexico City. So Mexican murals, though they seem to have declined, can potentially be again an example of problematic popular culture (they are in public space but they can be offensive, especially for the government).
As for the text of Michael Taussig, we were told we would find it weird and indeed it is. But since I was already expecting it (unlike The Cosmic Race, in which the swift in tone caught me by surprise), I decided to look at what universe is implied by it rather than what the actual plot of the book. It seems to be a mixt of very romanticized autobiography (the narrator as the first chapters appears to be the writer), of fiction (without warning, the main character becomes a man called Mission) and of study of the Maria Lionza cult (even if this study is biased by the fact the writer follows this religion). I couldn’t really understand the actual plot: each chapter constantly changes focus, the main character changes,… But all in all, it offers an introduction to the bizarre world of this cult, where spirits roam Venezuela, sometimes possessing people. The main figure of this cult, the Spirit Queen, ruler of snakes and dragons, is quite unclear herself: the believers argue whether she was an indigenous or a mestizaje and what the conditions of her exile were, but they agree that she is now one with the mountain (even though she is able to interact humanly with the narrator). This text is strange, of course, but al least we now have an idea of the myths, rituals and beliefs of the followers of this Venezuelan cult.