Hostname: page-component-78c5997874-fbnjt Total loading time: 0 Render date: 2024-11-08T14:28:49.393Z Has data issue: false hasContentIssue false
  • English
  • Français

Nicaragua: Theatre in a New Society1

Published online by Cambridge University Press:  23 January 2009

Claudia Kaiser-Lenoir
Get access Rights & Permissions [Opens in a new window]

Extract

One of the most revealing traits of the Nicaraguan revolution is manifested in the profound changes registered in the realm of culture. If Sandinista ideology focuses not on the fate of an élite but on that of the vast majority of the Nicaraguan people, it follows that for people to become the true subject of politics they have to become the true subject of culture as well. The popular Sandinista victory of July 1979 brought about the immediate establishment of the Ministry of Culture (the first in the country's history). Its goal: to give shape and nourishment to the popular effervescence and creative energies awakened by the long struggle. Work began with the organization of theatre, poetry, music and dance workshops throughout all sectors of the Nicaraguan society (army and police included), with the inauguration of Centres of Popular Culture in all regions, the creation of cultural committees in all grass-roots organizations, the training of ‘cultural promoters’ to work with regional governments, and with the task of rescuing and revitalizing popular cultural traditions.

Type
Articles
Information
Theatre Research International , Volume 14 , Issue 2 , Summer 1989 , pp. 122 - 131
Copyright
Copyright © International Federation for Theatre Research 1989

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Notes

2. The extraordinarily successful literacy campaign reduced illiteracy levels to 12% in six months.

3. Martin, , p. 63.Google Scholar

4. This particular piece of information comes from Judith Weiss's interview with Teyocoyani during the group's Canadian tour in May 1987. Unpublished manuscript.

5. Martin, , p. 65.Google Scholar

6. One particular performance of Ojo al Cristo in Waslala resulted in the hurried departure of the government technician after heated post-performance confrontation with the peasants.

7. Kaiser-Lenoir, , 11 1984Google Scholar interview during the First International Theater Festival, Managua.

8. Brooks, , p. 34. (My translation)Google Scholar

9. Kaiser-Lenoir, , Managua 1984.Google Scholar

10. La Praga, Kaiser-Lenoir, 08 1987.Google Scholar

11. Clipping from El Nuevo Diario (Managua), 12 11 1984Google Scholar (no page number). (My translation)

12. Brooks, , p. 37. (My translation)Google Scholar