Armed Mother and Child. The Depiction of the NewWoman in Revolutionary Nicaragua Murals
The theme of self-transformation as part of a renewal of society was the essence of all 20th century revolutions, embodied inthe figure on the ‘New Man’ that will bring about the new revolutionary society of the future. This concept was a crucial part ofthe ideology of the fsln. This paper will conc...
| Autor Principal: | Plaza Azuaje, Penélope; Universidad Simón Bolívar |
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| Formato: | info:eu-repo/semantics/article |
| Idioma: | spa |
| Publicado: |
Instituto Carlos Arbeláez Camacho para el patrimonio arquitectónico y urbano
2014
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| Materias: | |
| Acceso en línea: |
http://revistas.javeriana.edu.co/index.php/revApuntesArq/article/view/8915 |
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| Sumario: |
The theme of self-transformation as part of a renewal of society was the essence of all 20th century revolutions, embodied inthe figure on the ‘New Man’ that will bring about the new revolutionary society of the future. This concept was a crucial part ofthe ideology of the fsln. This paper will concentrate on how the New Woman emerged in revolutionary Nicaragua visual arts,specifically in murals executed across the country contributing to create the new revolutionary landscape. One image in particular,a photograph taken by Nicaraguan photographer Orlando Valenzuela of a Sandinista female combatant titled “Milicianade Waswalito” or “Armed mother and Child” became worldwide known. This image became an international icon of the NewWoman of the revolution and will appear as a recurrent motive and almost exclusively in the murals commissioned by amnlae(Asociación de Mujeres Nicaragüenses “Luisa Amanda Espinoza”) when in the most important murals commissioned by thegovernment the depiction of the New Woman embodied the archetypes of motherhood and femininity |
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