Erik Martinez
Posted By on September 25, 2020
Somehow, the American Group and the school of Santiago were two complementary hemispheres in the context of the atmosphere of the 1960s, which allowed the inclusion of heterogeneous and disparate elements in a space that was perceived essentially oriented towards change. The Group America presupposed the assumption of poetry and how committed culture and comprometiente his recitals included the folk interpretation and the participation of artists from the communities in which their acts were performed. Learn more at: Canyon. For entry and had acceptance in that environment and it should be mentioned, with the support of base agencies and political organizations, as the instrumental, Communist Party for contacts in populations most of the more active nucleus of the America Group were youth Communists. Thus, this variable and outwardly perhaps chaotic team, unfolded the members of the Group towards the suburbs and industries, from meetings in bars or in rooms of the Department of philosophy to towns and factories. It can be said that there was no poetic programmatic discussions, but rather Bohemian, although for example Pablo Guinez, southern poet of already mature work, did many times of mentor and participated in some population incursions of the America Group and Pablo Umeres, poet Chilean aymara. On the contrary, the school of Santiago grouped in part by feeling almost revulsion of majority poetry that was done in the immediately preceding, and generational environment lacking an urban poetic version that would include the inheritance of the avant-gardes and Chilean surrealism, against which much of the poetry of his generation had emerged. As was said, it wanted more simple and vitally lyrical, concise and accessible, slightly to tone with the movements social and atmosphere that already began the general process whose temporary output was Allende’s election.
But the members of the school of Santiago were away from the right. Nain Nomez and Erik Martinez, fleetingly, July sprockets and the speaker were at that time to the side of the MIR, Alexis Monsalves, poet and Visual artist then exiled in Italy, came from the Marxist revolutionary vanguard, his friendship with Dr. Ramos, a mythical figure of the revolutionary left. Somehow, so-called political extremism that once again the cliches of the left could qualify as small bourgeois seemed to correlate with the attempt to the avant-garde dessert of intergeneric, pluridiscursivos, antiliricos, raised a little and texts vaguely as destruction of a State of things poetic force, which somehow is assimilated to the order or existing system. Somehow romantic approach that perhaps, other than some recitals, had disappeared most completely even without the circumstance of having members of the school in the anthology collaborated 33 key names of the current Chilean poetry published in 1969. Original author and source of the article.
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