Way of the Crowd, Issue 1

issue1

WAYOF THECROWD

Ahallwaybetweentwoexhibition roomsattheNationalMuseumof FineArts,BuenosAires.Aspotlight illuminatesnothing.(2023)

awarmwelcome

WayoftheCrowdisa publicationmeanttoexplore lightnotonlyasacaptivating physicalphenomenonitself,but alsoexplorewhatitstandsfor. Lightattheendofthetunnel, lightononeʼsfeet,lettherebe light,cometolight,etc.Light, muchmorethanjustaphysical process,envelopesourentire world.WithoutitIwouldnʼtbe evenabletoseethewordsIʼm typingthisverymoment.And justasitenvelopesthephysical world,itaboundsinour collectivepsyche.Light,asa formalelementandasatheme, spillsoutintoourart. Thisissuedrawsfocustothe moodslightcancreate.Withtwo simpleelements,entire atmospheresarecreated throughpiecesofart.This publicationshopestobringto light,excusethebadjoke,just howimpactfullightcanbein creatingtheproperambiance withinvariousformsofart.

awarmwelcome

a drive my hometown

through

Theideaforthisseriescametomeononeofthemany fortyminutetripsovertomygrandmaʼshouseinthe GreaterBuenosAiresarea,awayfromthecentralcity.Ever sinceIwasveryyoung,myfamilywouldstayinthecapital duringourvisitsandwouldthentakethejourneytovisitmy grandmawholivedfurtheroutinthesuburbs.Asan imaginativechild,longcartripswereheaventome.They meantalmostanhourofbeingabletostareoutatmoving landscapesandzoneout.

Onthesemany,manytripsouttothesuburbs,Iwouldlook attheblurredtrees,carsandbuildingspassingbyandthink abouthowthelittlestchangescompletelytransformedthe landscapeIwasin.OnemomentIwasinthebustlingcityof BuenosAiresandthenextIwasinaresidential neighborhoodwithnothingbuthousesaroundme.An absolutelyessentialaspecttothistransformationwasthe changinginlights,bothartificialandnaturalthroughoutthe drive.Asthiswasadrivewetypicallytookjustabitbefore sunset,Icouldseehowtheskywouldslowlyturnintoa menagerieofcolorsbeforesettlingintothefamiliardark blueofnighttime.

Thehazycolorsoflavender,yellow,celeste,andorange wouldpainttheunendingsky,shiftingeverysoslightlylikea kaleidoscopecarefullybeingrotated.Artificiallightslooming overheadwouldsputteronasthenaturallightwouldslowly fade,pin-prickingtheskywithpurelight.Inalmostablinkof theeye,theskywoulddarkenandarriveatamuchricher bluebeforefinallysinkingintomidnight.TheworldasIhad experienceditjustmomentʼsearlierwasgone,transfigured intosomethingnewbyasimplegoodbyefromtheSun.Both adayʼsbrightglowandanightʼsmysteriousairarethanks tolight,theformerinitspresenceandthelatterinits absence.Whetheryouʼreanearlybirdoranightowl,the waylightinfluencesourworldisamarvelthatcanʼtbe denied,andIhopedtocapturesomeofthatmagicwithin theseries. PRIOR ADriveThroughmyHometown:a seriesof100selected photographstakenduringa twentyminutesectionofadrive ONTHELEFT Photo84fromADriveThroughmy Hometown

behindthe bluefacade

the light that burns twice as bright burns halfas long

ONTHERIGHT

Sixstillsfromthe�lmBladeRunner, directedbyRidleyScottandwith cinematographydonebyJordan Cronenweth,whichearnedhima

BAFTAawardforbest cinematographyin1982

Blueisacolorwhich encompassesusthroughboth skyandsea.Itisthennosurprise thatsuchaubiquitouscolorhas received,throughouthistory,a variedmixofassociations.“Blue signifiethdivinecontemplation” wroteSylvanusMorganin1661 inhiswritingsonheraldry.This colorinreligiousartworksatthe timewasdefinedasone signifyingheavenandheavenly love,anassociationwhichcanbe observedthroughtheblue mantles,sacredrobes,wornby boththeVirginMaryandChrist. Biblicalbluealsooriginallygained anexclusivestatusduetothe snailfromwhichthepigmentwas produced,whichwasscarcein population.Thispigmentfurther gainedsymbolicandeconomic worthduetoitsimmutable naturewhichrarelyalloweditto bechangedbyexternalfactors, whichisimmortalizedinthe proverbialphrase“Truebluewill neverstain”.Throughthis feature,bluereceivedan associationwithtruthand constancy. However,alongwiththese positiveaffiliations,bluealso receiveditsshareofmorebleak connections.Inmanyancient languages,bluewasnotitsown distinctcolorbutrathera variationofthewordʻdarkʼ.Blue

inlatin,forexample,conveyed themeaningofʻsableʼandʻblackʼ. Thislinkingofbluetoblackand darknesslikelyplayedarolein thesensationsandmoods associatedwiththecolor,asmost peopleassociatedarknessto feelingsofgloom,melancholy andmoraldarkness.Deep,dark bluetookonthebleakproperties ofblack.Sulfuroushellfireeven shinesabrilliantblue,andthus theconnectiontosuchdismal mattersashellitselfstucktothe colorthroughoutcenturies. Searchupasynonymforthe worldbluetodayandathesaurus willlaunchwordssuchas ʻmelancholyʼ,ʻdepressiveʼ,and ʻmiserableʼbackatyou.

Withsuchamixofassociations, theextensiveuseofbluewithin theartsisexpected.So,oncethe processofintroducingcolors intomotionpicturesbeganinthe early20thcenturyitwasonlya matteroftimebeforeitpopped uponthebigscreenasa symbolictool.Thiscolorisused inmanywayswithintheworldof film,butthegenrethatIfelt alwaysconnectedmostwithblue wassciencefiction.Blueisused todepictthefuturistic technologies,urbanlandscapes andsocietiesthatawaitusinthe farawayfuture.Andthiswasthe caseforRidleyScottʼscult

cultclassicBladeRunner(1982).

FollowingthestoryofRick Deckard,aʻbladerunnerʼwhose jobistoexecutebioengineered humanoidscalledʻreplicantsʼ currentlychasingfourillegal replicantsonEarth,BladeRunner makesexcellentuseofblueand lightwithinitsnarrative.

Thefilmopensonacityalight withhundredsoflights,burstsof flamesprovidingevenmore intensitytothescene.Wecutto apyramid-likemetalbuilding,its frontsidecompletelycoveredin bluespecklesoflight.Onceagain thereʼsacut,thistimetoaroom floodedwithapalecyanglow.

Thetranquilityofthescene,a newemployeebeingquestioned byabladerunner,isquickly turnedaroundbytheemployee firingtwoshotsathisinterviewer. Heavenbecomeshell.Theblue fillinguptheentireroomnow holdsadifferentmeaning,the lightnowilluminatesthefaceofa criminal.ThiscolorintheBlade Runnerfilmisalmostas ubiquitousasitisinourworld. Nevertheless,thefilmflipsits differingmeaningsontheirhead. Whileblueoriginallywas connectedtothenaturalworldin theformofskiesandtheir closenesstotheheavens,the blueinthefilmisallartificial. Roomsfilledwithanazurehaze

fromalltheneonlightsoutside, billboardslitupincyan,and buildingsinshadesofnavyare justsomeofthevisualsthat bringtheblueinthefilmtolife. Thefuturistic,cyberpunkworld ofBladeRunneriscompletely envelopedinit.Thereʼsbarely everashotofanuncloudedsky orofragingwaves,yetblueisthe colorthatcompletesthecityof LosAngeles.Thefilmtosses outthecommonideaofblue representingthenatural worldandinsteadpresents uswithhowthecolorhas evolvedtoentrenchevery inchofthedenselypacked urbanlandscapesthat makeupthefuture.

Theintensityofblue, whichisusually representedthroughbright shiningneonlights,also servesasacontrasttoits originalassociationto darkness.Blueistheexact oppositeinBladeRunner.Nearly allshadesofthecolorwe encounterwithinthefilmarein theformoflights.Turquoise neonlightsilluminateDeckardin hisfirstappearance,makingit cleartheyʼllbejustaspresentin thefilmastheprotagonist himself.

Acolorthatoncedidnʼthaveany distinctionfromtheshadowsis nowthesolebeareroflightin thisfilm.Filledwiththe aforementioneddark nightscapesinurbanity,theworld ofBladeRunnerpracticallyhas anartificial,bluesunilluminating theirreality.Thisgoesonto createanalmostperpetualnight withinthefilm.Theshortscenes ofapartmentsandofficeslitup byadimorangeglowarealmost forgottenastheviewerisswept backintotheblue-litstreetsof thecity.Aworldilluminatedby blueisthenormandbytheend ofthefeatureonecan understandhowthisaspectof thefilmimmersesyoufullyinto theworld.

Onceengulfedinthisnewreality, onecanseehowpresentblueis symbolicallywithinthefilmasitis visuallyinthecinematography. Thecyberpunkworldweʼre introducedtofilteredthrough bluelightisnotthefuturemany ofushopefor.Constant encouragementofover consumerismeverywhereyou look,theextinctionofanimals whicharethenreplacedby roboticcopies,andanseemingly overpopulatedcityalladduptoa bleakimage.Buttheaudience, andtheinhabitantsofthisreality, perceivethisworldthroughwhat

onemightcall“blue-coloured” glasses.Therealityofthefuture inBladeRunnerisdismalbutthe dazzlinglightscreateablinding effect.Youcanʼtseepastallthe technologicaladvancementsand moderndaypleasures.

Thisbluefacadeservesto concealthegrittyrealitythatlies justbeneaththesurface.Once again,thecolorssymbolic associationsareplayedwith.The breath-takinglightspaintingyou inaheavenlyceruleanglowtrick youintothinkingthisworldis desirable,buttheunderlying darknessofthebluepointstothe unsavorytruthbeneath.Thisisa facetofthefilmthatiswell executed,andonethatcaneven beobservedwithinthescience fictiongenreasawhole.Theuse ofthesecooltones,likeblue, throughlightssuchasneon signs,technologicalscreens,and onfuturisticsshipsandbuildings buildupthesciencefiction storiessurroundingus.While theymayseemtrivial,theypull togethertheambianceofmany worldswithinthisgenreandtheir underlyingcomplexities.With suchblazinglights,theworldof thefutureleavesyoutoodazed tocritiqueit.

the light of music

IwonʼtlieandsaythatIʼma Musesuper-fan;thisis actuallytheonlysongof theirsIconsistentlylistento butthroughitIwasableto rediscovermylovefor modernandalternative rock.Thissingularsong thenledtomediscovering variousnewrockbandthat tothisdayaresomeofmy favorite,completely changingthelandscapeof mymusictaste.Andit wouldnʼtbealietosaythat thissongisamasterpiece. Everythingfromtheguitar toMattBellamyʼsmeltingly smoothvoiceworkssowell together.IfIeverfeellike listeningtorock,thisisfor suremygoto.

Surprisingly,IhatedThe Neighborhoodattheageof ninebecausetheirsong SweaterWeatherwouldplay ontheradiononstop.I eventuallygrewtolovethe songandtheband.Devilʼs Advocateandthealbumit comesfrom,ChipChrome &TheMono-Tones,stepped awayfromThe Neighborhoodʼsusualsound buttheymadeitworkin theirfavor.Filledwithsongs thatbringforward memoriesofsummer afternoonsspentlazing aroundintheunrelenting sun,itʼsnosurpriseasingle fromthisalbumcan transportyouelsewherein justthreeminutesandfive seconds.

RetrogradebyJamesBlake, Englishelectronicmusic producerandsingersongwriter,isunlikeany songIʼveeverheard.The lyricstellacaptivatingstory ofdetermination,whichis turneddevastatingby Blakeʼssoulfulvoice.Blakeʼs mixoftheelectronicand soulgenreisbalanced perfectly,acombinationI neverknewcouldworkso well.Ihaveahabitof rememberingtheexact momentasonghasthat fascinatingchange,soif yougivethissongalisten bepreparedtobeamazed atthe1:38mark.Trustme.

porrocomesdressed

LuisEduardoBermúdez

Acosta,bornin1912inColombia inElCarmendeBolívar,isoneof themostimportantreferencesof Colombianmusicofthe20th century,ashehasbeenpartof ourculturalidentity.Inhistraining asanartist,heexploreddifferent regionsofthecoasttodelveinto hispopularmusicinorderto formalizeitandbringittothe score.Oncepositionedinthe centerofthecountry,heformed theso-calledOrquestaDeLucho Bermúdezwithwhichhebeganto havenationalandinternational success.Generally,his figureis associatedwiththatofa"musical hero"whowenttogreatlengthsto recognizethecoastalrhythmic tradition.Despitethis,webelieve thatLuchoBermúdez'sproject imposesthenationalistfantasyof theColombianeliteinthemidtwentiethcentury,exoticizingthe popularcultureoftheCaribbean coastinfunctionofWestern desiresandinsearchofreaching thestandardsofworldprogress. Todefendthisaffirmation,we relymainlyonthreeofthe sevenveilsoffantasy accordingtoSlavojZizekin hisbookTheHarassmentof Fantasies.Inaddition,we makeaparallelwiththe historicalmilestonesthat crossedthecountryat

thattime.Finally,werelatethese approachestogroundthemwithin thepoliticalprojectsofthe governmentalelite.

First,wehavetocontextualize thetranscendentalschematismof fantasywithinthesoundproposal defendedbyLuchoBermúdez. Knowingthatthisschemeisa sortof"map"thatguidesour desires,wecanaffirmthat Bermúdez'smusic, beyondrepresentingthe exoticand passionate fantasyofColombia, speaksofhowour desires areconfiguredin society.Thismeans,then, creatingsoundsand narrativesthat

reassociatethecosteño-forthe Bogotábourgeoisie-orColombianforthecountry'saffluent population-asworthyofbeing exhibitedandconsumedbythem.It ispossibletoillustratethis afirmationwiththe song"Espiritu Colombiano",an ostentatious combinationof piano(probably grandpiano), trumpetsand violinswitha guacharaca andprecarious drums.Isthis whatthe "Colombian spirit"ofthe time

reallysoundedlike?Now,without wishingtodiscreditthebeautyof thepieceanditscomplexityinthe orchestralwork,itisimpossibleto ignoretheironyofthetitle,asit contradictorilymovesawayfrom theseCaribbeanandAfrican soundscharacteristicof traditionalColombianmusic,so thatweassociateour"spirit"or "essence"withmoreWestern sounds.Heconfiguresand visualizeshisdesirefordignity andrecognitionthroughmusic. Thatisthefantasy. Antagonistically,itisimportant toknowthatfantasyisnotfully individual,asitismediatedbythe existenceanddesireofan"other". InBermúdez'swork,thefantasyis drivenbythedesireofthe Colombianelite,whowantedto "modernize"andpromoterational

Porro,forexample,isamusical genreofindigenousorigin influencedbyAfricansounds, however,todissociateitfromthis "dirty"originandtobeableto introduceittothecountry'selite, Europeansoundswere incorporatedandtheorchestrawas dressedintailstoperformin glamorousscenarios.Evidenceof theaboveis"PorroOperático",a songbasedonsomethemesofthe illustriousFrenchopera"Carmen" byGeorgeBizet.Thiscanbe evidenced,sincetherhythmicbase isinspiredbyactssuchas: "Carmen:PreludetoAct1"and" Habanera"whichcorrespondsto SuiteNr2ofAct1.Intheplay, Carmen(theprotagonist)isan irresistiblegypsyandworking-class womanwiththestrongpowerof seduction,havinggreatcharisma anderoticism.Thus,thethemes thatarticulatethewholeplotare desireandlove.Coincidentally,the themeofthewomanwhoembodies desireisveryrecurrentinthework ofLuchoBermudez;thiscanbe seeninsongssuchas:"Tina"where hetalksaboutabeautifulwoman,in "CarmendeBolivar"wherehe highlightsthebeautyofhiswomen or"Salsipuedes"whereheimplicitly touchesonthethemeofwomen andpleasure.Byrelyingonthis classicEuropeanopera,he transmittedthismessageofthe

"exoticwoman"inafamiliar, recognizableanddirectwayforthe Westernworld.Bycommunicating throughthisformat,itwashopedto exposebeforetheworldpowersthe "rationality"thatweshould demonstrateintheColombian autochthonousinordertobemore "worthy"oftheirdesire.

Ontheotherhand,itisimportant tomentionthatfantasyalsorefers totheocclusionofnarrativesand thestagingofanoriginal antagonismthroughtheir repetition.Intheparticularcaseof LuchoBermúdez'smusic,the narrativethatisreiteratedisthe onethatromanticizestheterritory asanatmosphereofpleasureand exoticism,includingthewomanas anobjectofdesire,thatis,asone morefantasy.Anexampleis "CarmendeBolívar",oneofhis mostrecognizedpieces,where heemphasizesthecharmand harmonythattheplace transmits,thushighlightingits natureand,atthesametime,the womenwholivethere.Froma criticalpointofview,itisnecessary tobeawarethatCarmendeBolívar islocatedin"MontesdeMaría",an areastronglyaffectedbythearmed conflict,povertyandinequality,as wellasstateneglectandlackof publicservicescoverage.

indigenousorigin

indigenousorigin

porro:mapof itsin�uences

whodidtheseimaginaries serveandwhatneedsdid theyrespondto?

Itisherethatweaskourselves:

Theexaltationoftheplaceandthe imaginariesthatwerecreated,not onlyofthismunicipalitybutalsoof theCaribbeanarea,werevery usefulfortheelite,Forexample, theyservedtomaketheseplaces attractivefortourism,inadditionto captivatingtheattentionof foreignersforthewealthofthose lands,seeingitasaneconomic opportunitythatrespondedto globalinterests.Butthosewholive thereeventodayreceivednothing butstateneglect.Thus,Zizek's antagonismwouldbe,ontheone hand,theexaltationoftheexotic: thatwhichgeneratesafeeling ofbelongingand admirationand,onthe otherhand,state neglectofthese placesdescribedin thesongsandthe separationof classes.Therefore themusic, supposedlyofthe people,endedup beingexclusivetothe worldoftheelitesand theupperclassesofthe country,who,wrapped inracistandclassist practicesandthoughts, dancedabovethe peopleandtheirculture. Inthesamevein, webelievethatpartofthe

politicalprojectofthe40swas aimedatshowingColombian/ costeñocultureinanexoticwayin ordertolegitimizenegotiationand politicaldialogue,asdemonstrated intraderelationssuchascoffee andbananaexports.Allthis translatedintosanitization campaignsthatmaderacism evident,astheysoughttoimprove theLatinraceintermsofprogress. RicardoArias,inHistoriade ColombiaContemporánea, mentionsthatfortheLatin Americanelite,intheirattemptto understandthehistoryofthe region,wereinfluencedby Europeanthinkerswhounderstood LatinAmericaasa"sickcontinent" sinceourracewasconditionedbya seriesofphysicalandmoral characteristics,whichexplainedan evidentbackwardness.

Becauseofthis,theprivileged minorityresortedtodifferent strategiesto"improvetherace".For example,itwasfoundthatthere wasa"naturalpredisposition" towardsalcoholconsumption, whichgenerateddisorderand healthproblems.However,these prejudiceswereonlyreflectedifit wastheworkerorpeasantwho consumedchichaintheirtaverns. Ontheotherhand,ifitwasa politicianwhoconsumedbeerthis wouldbewellregardedasitwas "appropriate"and"clean".

Similarly,althoughtheissueof sanitationwasappliedtoallworking classsectorsofthecountry,in tropicalareas,suchasthe CaribbeanCoast,ithadagreater impact,asitwassaidthatthese territorieswere"culturallyinert"and incapableofproducingacivilization, towhichweaddtheracialstigmas attributedbytheelitesoftheinterior whoalsoconsideredthemas"dirty". Becauseoftheabove,thecoastal upperclass,throughmusic,sought togenerateamorehegemonicideal fortheforeignerandthusposition itselfintheinternationalartworld,in additiontotransformingthe listeningpracticesofafairlylarge sectorofthecountry.Inthisway,the countrywouldentertheworld standardsofmodernity,givingway toaneconomicprogressof exportationandopeningthedoors toasocialdevelopmentthatwould improvetherace.

Toexemplifythis,wecanreferto theentryofMatildeDíazasa vocalistintheLuchoBermúdez Orchestra,sinceshewasawhite womanwhomovedawayfromthe predominantindigenousorblack appearanceonthecoast.Inaddition, sheclaimedtobeMexicaninorder tobeacceptedinthegroup;since havingaforeignpersonwouldgive prestigetothegroupʼswork,being moreappreciatedandlistenedtoby theelites(Wade,2000).

Takingintoaccountallofthe above,weunderstandthatthe figureofLuchoBermúdez,beyond havingtakencoastalmusicto thehallsofhighsocietyor havingbeen"anexcellent musician,awonderful clarinetistwithfluency andexpressivenessin improvisation" (Muñoz,2013),is theresultofan extremely violent,racist andunequal context, normalizedand madeinvisiblein historybyitsown fantasiesandthat, atthesametime, makesevident the exclusion ofthe popular classesin theidentityof ourcountry. "ColombiaTierraQuerida" (1970)istheepitomeofnational fantasyrepresentation,asit portraysourterritoryasa"hymn offaithandharmony"andits peopleunitedina"cryofpeace andjoy".Though,not"allAmerica singsthe florationofitshistory",at leastnottheimpoverishedand

andbloodyhistory. Luchospeaks ofaruptureinColombian historicityand,throughhis music,focusesitonanunknown crackthat,tothisday,makesus wonderwheretheColombiaof hissongsis.

Thisarticle,generouslyprovidedtoWayoftheCrowd,exploredhowtheartform ofmusiccancarrydifferentintentions.Whileonthesurfaceanenergeticand upliftingmusicgenre,porrohistoricallywasusedtoexcludemarginalizedgroupsin Colombiafromthenationʼsnarrative,creatinganambianceofexclusivity,elitism, andracismwhilesupposedlycelebratingdiversity.Beingabletothinkcriticallyabout theartformsaroundusisanessentialaspectofbeinganartist.Whenananalysis likethisbringstolightthetroublinghistorybehindcertainicons,itʼsimportantto rememberthegreatimpactcultureandsocietyhaveonthearts.

ImageReferences

Page8-14:Cronenweth,J.(1982)BladeRunner [Film].[Online].Availableathttps://�lm-grab.com/ 2010/06/23/blade-runner/#bwg621/38183

Page18:Thorgerson,S.(2006)BlackHolesand Revelations[Albumcover].

Page20:ChipChromeandtheMono-tones.(2020) [Albumcover].

Page22:Overgrown.(2013)[Albumcover]. Page24:Scythe,D.(2016)Elegantmanplaying piano[Photograph].[Online].Availableathttps:// unsplash.com/photos/MTO5SmPraX4 Page26-27:RadioNacionaldeColombia.(n.d.) LuchoBermúdezholdingaclarinet[Photograph]. [Online].Availableat:https:// www.radionacional.co/musica/artistascolombianos/los-110-anos-de-lucho-bermudez Page30-31:Seth.(2020)Manandwomandancing ataformalevent[Photograph].[Online].Available athttps://unsplash.com/photos/uWZb9XUEr14

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