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Pop art, hybrid cultures and intangible cultural heritage in El Salvador. The particular case of “Chirajito” clown

This article makes a reflection from Intangible cultural heritage about a popular artistic expression, that, for such a long timehas gained validity and reconnaissance among Salvadorian community but it is out of official artistic parameters because it’sa non academic character. From the question, i...

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Autor Principal: Melara Martínez, Mario Alberto; Becario Organización de Estados Americanos (OEA)
Formato: info:eu-repo/semantics/article
Idioma: spa
Publicado: Instituto Carlos Arbeláez Camacho para el patrimonio arquitectónico y urbano 2014
Materias:
Cultural diversity; civil war; living human treasures; legal gap; generic concept, memory´s activation, hybrid culture, artistic expression; Keywords plus: Art and popular culture, Collective memory, Cultural heritage, Multiculturalism - El Salvador.
Diversidad cultural; conflicto armado; tesoros humanos vivos, vacío legal; concepto genérico; activación de memoria; cultura híbrida; expresión artística. - Descriptores: Arte y cultura popular, Memoria Colectiva; Patrimonio cultural; Multiculturalismo –
Diversidade cultural; conflito, vivendo tesouros humanos, brecha; conceito genérico; a ativaçãoda memória; cultura híbrida; expressão artística; Palavras-chave descritores: Arte e Cultura Popular; Memória coletiva, Patrimônio cultural; Multiculturalismo
Acceso en línea: http://revistas.javeriana.edu.co/index.php/revApuntesArq/article/view/8874
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Sumario: This article makes a reflection from Intangible cultural heritage about a popular artistic expression, that, for such a long timehas gained validity and reconnaissance among Salvadorian community but it is out of official artistic parameters because it’sa non academic character. From the question, is or not Chirajito clown Salvadorian intangible cultural heritage? is tackle thehistoric happening of Clown figure, the gaps in Salvadorian cultural legislation, generic concepts of international conventions,the hybridization that suffer in space and in time this kind of artistic expressions as a globalized but at the same time local, andurban product. Furthermore, the figure of Chirajito clown and his author Arístides Alfaro Samper are tackled from one of themost historic periods of his career. 1980´s decade. The civil war left a mark in Salvadorian’s collective memory. Chirajito, withhis appearance in Jardin Infantil´s program did it too. What is preserved to the future? What is forgotten? That is discussed inthis article. From the supposition that Salvadorians want to activate and preserve this character´s memory, the author giveshis own conclusions and proposes ways to do it.

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