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Mario Alberto Duarte-García PhD, Associate Professor in Music & Artistic Technology ENES Morelia, The National Autonomous University of Mexico & Emma Wilde PhD, Lecturer in Music & Artistic Technology ENES Morelia, The National Autonomous University of Mexico Sound installation art and the intervention of urban public space in Latin America www.soundeffects.dk SoundEffects | vol. 10 | no. 1 | 2021 issn 1904-500X Duarte-García & Wilde: Sound installation art and the … SoundEffects | vol. 10 | no. 1 | 2021 Abstract This paper explores the relationship between sound installation art and the appropriation of urban public spaces in Latin America. Latin America is a continent full of contrasts, and in various places throughout the countries, space refl ects the history of each nation through its architecture. We fi nd pre-Hispanic pyra- mids coexisting with colonial churches and modern buildings. In the last two decades, these sites have been used for purposes other than those for which they were created. On the one hand, these spaces have been used to provide cultural experiences for people in areas that cannot access traditional venues such as concert halls. On the other hand, political manifesta- tions have adopted such places as icons of social change, and sound has been used to provide a social/cultural meaning, using the space as a medium. These activities have changed the ways in which audiences and creators relate to sound and space. This research paper explores how sound art and technology have been used to re-formulate public space in cities. The study analyses the strategies of major works and installations (that have used space as a medium of creation over the last twenty years in Latin America) from social and spatial perspectives. This paper highlights the potential of sound installation art and intervention of space as a way to engage audiences in urban contexts. Introduction Space and sound were important concepts in pre-Hispanic societies as was the use of public spaces for communal activities and artistic expression. Space and sound played an important role in religious calendars and in the everyday life of socie- ties during the colonization period and have remained important after the coun- tries gained their independence. The Mexican muralist movement at the beginning of the 20th century is a key example which displays how artists took advantage of public spaces to address social issues. With the advent of technological advances during the latter part of the 20th century, artists were able to incorporate these tools to explore new ways of using space in sound installation art in public areas. It is important to note that it is not only composers who use sound in their works, also various visual artists have incorporated sound into their practices. This research paper will explore sound installation art in public spaces in various Latin American countries, focusing on recent works of the 21st century. As an analysis of works from the entire Latin American region goes beyond the scope of this paper, we decided to focus on examples of works from the four countries with the largest population sizes: Brazil, Mexico, Argentina, and Colombia. According to the World Bank (2020), these four countries have had the largest populations of all Latin American coun- tries since 1960 and will continue to do so until 2050. Also, the geographical loca- – 108 – issn 1904-500X Duarte-García & Wilde: Sound installation art and the … SoundEffects | vol. 10 | no. 1 | 2021 tions of these countries provide an overview of the different areas of Latin America: Mexico is located in North America, Colombia is located in the northern part of South America, whilst Brazil and Argentina encompass the southerly region of South America. In addition to the four countries with the largest population sizes, it is also pertinent to include Chile in the discussion because of a pioneering sound art work with political motivations that was presented in a public space in Santiago in the 1970s. In Mexico, prior to the arrival of the conquistadors, sound was incorporated into everyday life and festivities of the Náhuatl culture. Music was believed to have a divine origin and claimed to originate from Ehécatl (the Náhuatl God of the Wind), whilst songs were considered as a method of dialogue with one’s own heart. Sound played an important role in battles, birthdays, marriages, and funerals as well as in the accompaniment of the festivities of the solar calendar. An example of this is the Fiesta de Atamalcualiztli (a spring planting festival which marked the start of the rainy season), in which the sacerdotes (priests) sang in addition to playing wind and percussion instruments. The center of the ritual was the sound itself and not the spoken word. Music was so fundamental that it was referred to as a source of life for the cities. The Florentine Codex claims that cities such as Culhuacán, Xochimilco, and Chalco were formed through music. Singing, dancing, and praying accompa- nied a culture that appeared to die out with the colonial period (León-Portilla, 2019, pp. 32-33). On the other hand, in the Mayan tradition, music was associated with ritual cer- emonies. Evidence of this is found in the murals of the Mayan city of Bonampak in Chiapas (Both, 2008). Moreover, Ishihara (2009) argues that music was the main ele- ment in ritual ceremonies for the rain and played an important role in the rituals in El Peten, Guatemala. However, after the Spanish conquest, sound was incorporated into the new reli- gion and the new way of thinking. In 1645, a chronicler described how parties in the new colonial society resembled the festivities of the past as they continued to take place in the streets, incorporating the use of pre-Hispanic instruments. Rhythm remained a key aspect of these celebrations. A tocotín, an onomatopoeic term to describe the sound of drums, called the participants to dance. The echoes of the past resonate in today’s Mexican culture. In modern day Mexico City, toquín (a term related to the ancient word) is a colloquial phrase that describes a street party where the residents appropriate the public space and close the street to traffi c. Portal & Álvarez (2011) argue that Mexico City’s urban social groups have incorporated ancient traditions into the catholic tradition. Instead of worshipping pre-Hispanic gods, catholic saints are celebrated in parties which take place in streets, squares, church grounds, and markets. In modern day Mexico City, there is a “blending of – 109 – issn 1904-500X Duarte-García & Wilde: Sound installation art and the … SoundEffects | vol. 10 | no. 1 | 2021 symbols, traditions and practices of the pre-Hispanic past with the colonial prein- dustrial period and more recent urban capitalism” (Ramírez-Kuri, 2015, p.28). Daumal et al. (2015) argue that each city has its own sonic fi ngerprint, mean- ing that each city has its own specifi c set of characteristic or trademark sounds through which we can identify and discuss its history, culture, and architecture, an idea which resonates with the pre-Hispanic notion of sound as the source of formation and life of the city. Latin American cities such as Mexico City often con- tain complex sonic fi ngerprints due to its contrasting spaces. An example which illustrates this spatial juxtaposition is the Plaza de las Tres Culturas which refl ects three different periods of Mexico City’s history: the pre-Colombian, the colonial, and the independence periods. Within the plaza, the ruins of a pre-Hispanic pyra- mid stand alongside the College of Santa Cruz (a colonial church built in 1564) and a 20th century housing complex (built in 1964). The complex sonic fi ngerprints of Latin American cities can provide stimulus for the realization of sound installa- tion art in public spaces. According to Ocupa Tu Calle, ONU-Habitat & Fundación Avina (2018), a public space is defi ned as a non-profi t space that is freely accessible to everyone. It includes: streets, parks, open spaces, and public buildings (libraries, museums etc.). It is stressed that these public spaces are important for a citizen’s individual and social wellbeing, for community life, expressions of diversity, and for establishing identity. The emergence of sound installation art in public spaces has brought about fundamental changes with regard to the way in which artists use and respond to space as well as in terms of how they communicate with the public. According to Sanio (2019), the musical discovery of public space by Fluxus artist Max Neuhaus in the 1960s was an important breakthrough in the sonic arts. Moreover, Ouzou- nian (2013) states that throughout the latter part of the 20th century, the evolution of sound installation art triggered a variety of changes with respect to the use of public space and led to artists using architecture as a means of communicating, in the same way as the Mexican muralists used the walls of public buildings to convey historical moments in the country’s past to incite public consciousness and deliver socialist political messages (Coffey, 2012). In the muralist culture, the spectator was of the utmost importance and public spaces were used to engage directly with the public. Bishop (2006) defi nes installation art as being directed to the spectator and serving as a literal presence in the space. However, sound installation art in public spaces has been criticized for not effectively engaging with the spectators to the same extent as the art works of the Mexican muralists. Casacuberta (2003) argues that sound installation art in public spaces attracts more interest from afi cionados of the arts than the general public who do not have a sense of ownership of these works, leading to a lack of interaction with new audiences.

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