[1i] <http://www.collegesherbrooke.qc.ca/~intnica/document/fsln.gif>; author, Guillaume Levasseur
[2i] <http://www.tlfq.ulaval.ca/axl/amsudant/images/nicaragua-map.gif>; no author noted.
[3i] Mcfield, David, Xiomara Avendano, and Francisco Jorge Cuadre, 14.
[4i] Craven, Art and Revolution, 166.
[5i] Mcfield, David, Xiomara Avendano, and Francisco Jorge Cuadre, 3.
[8i] Craven, Art and Revolution, 162. This mural includes images of three of the central figures, or guerrillas (to be defined later) associated with the Nicaraguan Revolution: Augusto Sandino (d. 1934), Carlos Fonseca (d. 1976), and Rigoberto Lopez Perez (d. 1956) (this paper will not discuss the last figure). The figures are not meant to stand out as in the "socialist realist" paintings of the Soviet Bloc, but rather meant to blend in with the surroundings. Similar murals are associated with the Che silkscreens of the 1960s and like in those works, this Nicaraguan work shows how the three figures "emerged more as distinctive signifiers for larger forces, than as distinct personalities in their own right." (Craven, 162).
[9i] Craven, Art and Revolution, 167. This and the image that follows (10i) is significant because of a later discussion, but also because they each show influences of other revolutionary movements--as connected with artistic expression. This particular poster was used for the CSN, a labor union in Nicaragua. This particular poster was, in addition, made in a taller formed during the Sandinista "era" for the promotion of cultural artistic expression.
[10i] Craven, Art and Revolution, 166. This image and the previous one (9i) is significant because of a later discussion, but also because they each show influences of other revolutionary movements--as connected with artistic expression. This particular poster was again made in a taller formed during the Sandinista "era" for the promotion of cultural artistic expression; the silkscreen influence comes from Cuba's Revolution.
[11i] Craven, Art and Revolution, 132. Far left banner reads: "Constructing the new country forming (and strengthening) the new woman." The image that reads "La cruzada en marcha" refers to the Sandinista Literary Crusade of the 1980s.
[12i] Craven, Art and Revolution, 170.
[13i] Craven, Art and Revolution,134.
[14i] Craven, Art and Revolution, 139.
[15i] Almeida, 35. Compiling a similar chart with Nicaragua's specifics would make for a very interesting comparison. It clearly shows how political actions were directly reflected in protest music.
[16i] Mcfield, David, Xiomara Avendano, and Francisco Jorge Cuadre, 10. Visual example of "protesta:" "No somos aves para viajar por aire, No somos peces para vivir del mar, Somos hombres para vivir de la tierra" (We are not birds that fly, we are not fish of the sea, we are men who life off of the land). This particular images encapsulates this idea of "protesta" because the Nicaraguan Revolution focused on the campesino (the farmer) and such protests as these become manifest in song (through lyrical theme, for example).
[17i] Craven, Art and Revolution, 166. Visual example of "propuesta" because the poster proposes that all Nicaraguans perform voluntary work for their country; it is a postive response by the FSLN to fight poverty improve many aspects of Nicaraguan cultural life.
[18i] Craven, Art and Revolution, 160.
[19i,20i] Pring-Mill, Difference, ii.
[23i] Scruggs, "let's enjoy," 309. It should also be noted, however, that Mejia Godoy is part of the upper middle class to wealthy in Nicaragua.
[24i] Scruggs, "socially conscious," 59.
[25i] Craven, Art and Revolution, 122.
[26i] Craven, Art and Revolution, 166.
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