Cultura y censura en los sesenta
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Sección Historia. Instituto Superior de Profesorado Nº 3. Villa Constitución, Argentina.
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Tal vez vale aclarar que es por la década del ´60 (y eso vale tanto para Argentina como para casi todo el resto del mundo), cuando la historia pierde casi en absoluto la linealidad de los hechos; toda forma de cronología se diluye en el intento de establecer una clara periodización; cuando los sucesos parecen acumularse sin lógica alguna y en número creciente. Aún cuatro décadas después resulta difícil explicar el peculiar fenómeno de una época donde los “happenings” habían alcanzado un protagonismo ilimitado; donde la pintura y la canción moderna parecían liberarse de un pasado acartonado y diferente. Aún hoy se nos muestra como contradictorio el hecho que en una época donde el público y los artistas se toman ciertas libertades sea la misma del golpe de estado del 27 de junio de 1966, un claro anticipo de épocas de gobiernos de facto, y de los primeros grandes pasos de la censura.
Perhaps we should clarify that it is by the sixties (not only in Argentina but the rest of the World), when history loses almost everything of the lineality of facts; Any kind of chronology vanishes at the attempt of establishing a clear periodization; when the events seem to pile up in an increasing number and without any logic. Even four decades earlier it results hard to explain the peculiar phenomenon of an era where the “happenings” had reached an unlimited protagonism; where the painting and modern songs seemed to be breaking free from a rusty and different past. Even today it looks to us as a contradictory issue the fact that the times when the audience and the artists were indulging themselves to certain freedoms were the same as those when the June 27th,1966 coup d’etat took place, a clear clue to “de facto” government times and the first stages in censorship.
Perhaps we should clarify that it is by the sixties (not only in Argentina but the rest of the World), when history loses almost everything of the lineality of facts; Any kind of chronology vanishes at the attempt of establishing a clear periodization; when the events seem to pile up in an increasing number and without any logic. Even four decades earlier it results hard to explain the peculiar phenomenon of an era where the “happenings” had reached an unlimited protagonism; where the painting and modern songs seemed to be breaking free from a rusty and different past. Even today it looks to us as a contradictory issue the fact that the times when the audience and the artists were indulging themselves to certain freedoms were the same as those when the June 27th,1966 coup d’etat took place, a clear clue to “de facto” government times and the first stages in censorship.
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