|
}}
[[Image:Paolo Monti - Servizio fotografico - BEIC 6333091.jpg|thumb|300px|Madrid at night in 1980, photo by [[Paolo Monti]]. The ''Movida'' people coined the now famous war-cries of the city: ''Madrid nunca duerme'' ("Madrid never sleeps"), ''Esta noche todo el mundo a la calle'' ("Tonight everybody to the street") or ''Madrid me mata'' ("Madrid kills me").]]
'''''La Movida Madrileña''''' ({{IPA-|es|moˈβiða maðɾiˈleɲa|lang}}, ''The Madrilenian Scene''), also known as ''La Movida'', was a [[counterculture|countercultural]] movement that took place mainly in [[Madrid]] during the [[Spanish transition to democracy]] after the death of dictator [[Francisco Franco]] in 1975.<ref name=Phelan2020>{{cite news |last1=Phelan |first1=Stephen |title='Bless the chaos': La Movida Madrileña, Spain's seedy, wild post-Franco underground |url=https://www.theguardian.com/music/2020/feb/11/la-movida-madrilena-spain-post-franco-anarchists-alaska-pedro-almodovar |work=The Guardian |date=11 February 2020 }}</ref> The movement coincided with economic growth in [[Spain]]{{Citation needed|date=May 2021}} and a widespread desire for the development of a post-Francoist identity.<ref name=Phelan2020/> The ''Concierto homenaje a Canito'' (Canito Memorial Concert), which took place on February 9, 1980, is traditionally considered the beginning of ''La Movida Madrileña''.<ref name=Phelan2020/>
''La Movida Madrileña'' featured a rise in [[punk rock]] and [[synth-pop]] music, an openness regarding sexual expression and drug usage, and the emergence of new [[dialect]]s such as [[cheli]].<ref name=Phelan2020/> This [[Hedonism|hedonistic]] cultural wave started in Madrid before appearing in other Spanish cities such as [[Barcelona]], [[Bilbao]] and [[Vigo]].{{Citation needed|date=May 2021}}
== Origins ==
In the years following the death of [[Francisco Franco]], a growing underground [[punk rock]] music scene began to form in [[Madrid]].<ref name=Phelan2020/> Inspired by the growth of punk rock in the [[United Kingdom]], a number of punk and [[Synth-pop|synthpop]] bands, such as [[Los Secretos#1978–1979: Tos|Tos]] and [[Aviador Dro]],<ref name=Phelan2020/> formed in the late 1970s. However, this new [[counterculture]] clashed heavily with the Spanish national government, during a time when evening [[curfew]] for women, criminalizedcriminalisation of homosexuality, and arrestedarrests of people with unorthodox appearances for violating a law regarding "dangerousness and social rehabilitation" waswere frequent.<ref name=Phelan2020/>
''La Movida Madrileña'' gained notoriety following a large concert at the Higher Technical School of Civil Engineers (ETSICCP) at the [[Technical University of Madrid]] on February 9, 1980.<ref name=Phelan2020/> Although [[Francoists|Francoist]] elements continued to oppose the increasing liberalization of the city, the government under [[Socialism|socialist]] mayor [[Enrique Tierno Galván]] had a more open approach regarding the movement, and subsidized various artistic endeavours.<ref name=Phelan2020/> A number of influential foreign artists, such as [[The ramones|the Ramones]] and [[Andy Warhol]], visited Madrid during this time.<ref name=Dickson2019>{{cite news |last1=Dickson |first1=Andrew |title=Spain's wild party after Fascism |url=https://www.bbc.com/culture/article/20190816-the-explosion-of-colour-that-followed-a-dictator |work=BBC |date=16 August 2019 }}</ref>
== Characteristics ==
In addition to these artistic representations, ''La Movida Madrileña'' also effected an emergent [[LGBT community|LGBTQ+ community]], illicit drug use, and the use of the [[cheli]] dialect.<ref name=Phelan2020/>
Although some people involved with the movement testified to a lack of a unified political ideology, many elements of the movement were [[Anti-fascism|antifascist]] and had [[Anarchism|anarchist]] leanings.<ref name=Phelan2020/>It should be understood from an anti-systemic and nihilistic perspective, not because it was a political movement or committed to any cause<ref>{{Cite journal |last=Gómez Fernández |first=Eva |title=A Movida contracultural; a cultura a serviço do poder |url=https://zenodo.org/records/14008160 |journal=Zenodo}}</ref>.
==Representatives==
===Music===
In moods, looks and attitude, the sound resembled the British [[Punk rock|punk]] and [[New wave music|new wave]] scenes and the [[Neue Deutsche Welle]], sometimes (in the case of [[Mecano]]) mimicking styles such as [[New Romantic]].<ref name="unearthingthemusic Movida Madrileña">{{cite web |title=Movida Madrileña |url=https://database.unearthingthemusic.eu/Movida_Madrile%C3%B1a |website=Unearthing The Music }}{{self-published inline|date=December 2023}}</ref>
Music was a contributing factor in the Movida because it was a way to express oneself. People were allowed to listen to different types of music and two popular genres at that time were rock n' roll and synth pop. Music bands like [[Mecano]] and {{interlanguage link|Alaska and the Pegamoides|es}} were two popular bands during that time. Songs like "[[¿A quien le importa?]]" (What's it to you) and {{ill|Ni tú ni nadie|es|quote=yes}} (Not you, not anyone) made people confident and gave them the ability to express themselves.<ref name=Zaino2017/>
===Film and television===
[[File:Pedro Almodóvar 1988.jpg|thumb|upright|Film director [[Pedro Almodóvar]] ''(pictured in 1988)'' emerged during the Movida Madrileña.]]
Almodóvar comically reflected the messiness of the freedom of those years, particularly in his films ''[[Pepi, Luci, Bom y otras chicas del montón]]''; ''[[Laberinto de pasiones]]'';<ref name="unearthingthemusic Movida Madrileña"/> and ''[[What Have I Done to Deserve This? (film)|What Have I Done to Deserve this?]]'' (1984).<ref name="unearthingthemusic Movida Madrileña"/> TV programs like ''[[La Bola de Cristal]]'' and {{ill|La Edad de Oro|es|La edad de oro (programa de televisión)|italic=yes}} contributed to spread the aesthetics of the movement to a wider audience.<ref name="unearthingthemusic Movida Madrileña"/>
Pedro Almodóvar had a masssignificant influence inon the Movida andwith contributed to Movida by creatinghis films. He was a director who made films ofexploring homosexuality and went againstcriticised the church beliefs and the Franqismo. He has films like ''Pepi, Luci, Bom y otras chicas del montón''.<ref name=Zaino2017/> He created his characters with complexity , and he would oppose ofchallenging the traditional values of topics related to family, sexgender roles, and respect. TheAlmodóvar's goal for Almodóvar was for the audience to make the people question the environment they were living in. He wanted people to question the norms that were followed during this time and fight against continued normalization. He does this by usingthrough techniques like the use the of comparecomparing and contrast to thecontrasting traditional modelmodels vsversus the franquistafranquistas, and to continue to questionquestioning the idea that a certain sex hasare bound to act a certain way to be considered normal. There are aA variety of films that were created to represent the LGBTQ+ community and Pedro; Almodóvar wanted to bring awareness to thetheir situation and used the Movida as a way to come toexplore different approaches from the livesconventional theylifestyles are living atof the time.<ref>{{cite journal |last1=Silverthorne |first1=Spencer |title=El papel homosexual del cine de Pedro Almodóvar durante la movida madrileña |trans-title=The role of homosexuality in the films of Pedro Almodóvar during the Movida |journal=Independent Study Project (ISP) Collection |date=October 2005 |url=https://digitalcollections.sit.edu/isp_collection/423/ }}</ref> ▼TV programs like ''[[La Bola de Cristal]]'' and {{ill|La Edad de Oro|es|La edad de oro (programa de televisión)|italic=yes}} contributed to spread the aesthetics of the movement to a wider audience.<ref name="unearthingthemusic Movida Madrileña"/>
▲Pedro Almodóvar had a mass influence in the Movida and contributed to Movida by creating films. He was a director who made films of homosexuality and went against the church beliefs and the Franqismo. He has films like ''Pepi, Luci, Bom y otras chicas del montón''.<ref name=Zaino2017/> He created his characters with complexity and he would oppose of the traditional values of topics related to family, sex roles, and respect. The goal for Almodóvar was for the audience to make the people question the environment they were living in. He wanted people to question the norms that were followed during this time and fight against normalization. He does this by using techniques like the use the of compare and contrast to the traditional model vs the franquista and to continue to question the idea that a certain sex has to act a certain way to be considered normal. There are a variety of films that were created to represent the LGBTQ+ community and Pedro Almodóvar wanted to bring awareness to the situation and used the Movida as way to come to different approaches from the lives they are living at the time.<ref>{{cite journal |last1=Silverthorne |first1=Spencer |title=El papel homosexual del cine de Pedro Almodóvar durante la movida madrileña |trans-title=The role of homosexuality in the films of Pedro Almodóvar during the Movida |journal=Independent Study Project (ISP) Collection |date=October 2005 |url=https://digitalcollections.sit.edu/isp_collection/423/ }}</ref>
=== Photography and painting ===
During these years, young photographers like [[Alberto García-Alix]], orand [[Ouka Leele]] focusfocused their art inon the bands, concerts, and musicalmusic scene, while other creators, like Miguel Trillo, waswere more interested in the urban tribes around the new movement. Illustrator [[Ceesepe]] is considered a major figure in the movement.<ref>{{cite magazine |title=Ceesepe: "¿La movida? No quiero tener nada que ver ni con Alaska, ni con Mario, ni con McNamara" |url=https://www.revistavanityfair.es/poder/articulos/ceesepe-libro-crowdfunding-galeria-jacobo-fitz-james-alaska-mario-pedro-almodovar-fabio-macnamara-1/19960 |magazine=Vanity Fair |date=7 September 2018 |language=es }}</ref>
After Ouka Leele overcame her health problems, at the age of 22 years she had a turning point in her career called movida madrileña and was elected as a faithful representative of what was called "posmodernidad". Her work fit perfectly with the eclectic spirit of the that artistic movement.<ref name="Ouka Leele">{{cite news |title=Ouka Leele, el espíritu ecléctico de la Movida Madrileña |url=https://www.epe.es/es/cultura/20220524/ouka-leele-movida-madrilena-13704344 |work=El Periódico de España |date=24 May 2022 |id={{ProQuest|2668448181}} |agency=EFE News Service }}</ref>
Ouka Leele's work evolves and surprises many. The strong garnish colors of her first works began to soften,; theinterior interiorssettings stopped being a constant in hisher work and heshe wentshifted outsideher focus outdoors with hisher particular lookmanner atof portraying forests and plants. HisHer works are located halfway between painting and photography,; they are abstract paintings where composition becomes as important as color. Color, being an integral element of her work, serves to enhance the representation of her art.<ref name="Ouka Leele"/>
===Graffiti===
Juan Carlos Argüello was the artist behind his trademark signature [[Muelle]]. Argüello created a unique form of street art, later described as “''graffiti autóctono madrileño''”<ref name=Zaino2017>{{cite news |last1=Zaino |first1=Lori |title=Meet Muelle Madrid's Most Famous Grafitti Artist |url=https://theculturetrip.com/europe/spain/articles/meet-muelle-madrids-most-famous-grafitti-artist |work=Culture Trip |date=26 May 2017 }}</ref> and it was a reference and inspiration for many creators after him.
Juan Carlos Argüello was born in 1965, and was a pioneer in the street art movement in Madrid. He started out in the 1980s during the Movida Madrileña. Muelle began his career by creating his graffiti in the [[Campamento (Madrid)|Campamento]] neighborhood of Madrid. One of his famous marks was his signature, which also had an arrow at the bottom. He claimed that his signature was protected by copyright. At first, the police thought that these signatures that were showing up all around the city was a code used by the drug traffickers or gang members, but in reality it was just the enthusiastic Madrid youth creating copies of the signature. Eventually, Muelle started adding designs to make it more complex by usingwith colors, borders, and shadows. Many people started following MullesMuelle's work and made copies of it around the city of Madrid. His signature had lots of inspiration because noNo one else's signature had ever become so famous or impactful as Muelle's. He also started a punk rock band, ''Salida de Emergencia'' (“Emergency Exit”), in which he played the drums. In 1993, Juan Carlos Argüello stopped appearing publicly in Madrid. In 1995 he died from cancer, but hehis stillinfluence influencedcontinued manyto have an impact in Madrid. In 2004 he was honored with a ceremony and is still remembered fondly in Madrid. A book was published about him called ''Yo conocí a Muelle'' (I knew Muelle) by Jorge Gómez Soto. In 2012, one of his few signatures left was made into a special cultural interest spot known as, ''Bien de Interés Cultura'', andwhere thatthis graffiti cannot be removed. On October 19, 2016, Madrid dedicated a special garden to him in the neighborhood where he once lived.<ref name=Zaino2017/>
===Literature===
===LGBTQ+===
People focused on gender-based and heteronormative blindness, neglecting the significance of gender, sexuality, or acknowledging them. Those who participated in laLa movidaMovida all believed that one of their top priorities in undertaking laLa movidaMovida was advocating for queer people. Cultural productions with queer undertones have been placed elsewhere and have a majority of heteronormative narratives in laLa movidaMovida. Voices were offered through musical production to represent gender and sexuality associated with the queer community, and others that weren't were overlooked during laLa Movida.{{sfn|Nichols|Song|2013|p={{page needed|date=December 2023}}}}
The movement was a time of enlightenment, where peoplemembers of the LGBTQ+ community could be seen as normal human beings. It was a period where there was change in perspectives and the LGBTQ+ cancommunity could be freely open without any repression from the government, andor limitations from the church. TheLa Movida emphasized liberty and the chance to open new opportunities for the gay community intotowards having equal rights as a heterosexual. A neighborhood in Madrid named [[Chueca, Madrid|Chueca]] symbolizes the modernity, freedom, and openness beginning in this period. It is the home of the LGBTQ community and is a popular placearea withinof the communityMadrid. They have a variety of events like alternative fashion centres and a host of opportunities for funentertainment, in an anything-goes atmosphere. It also holds the gay pride festival, which is between June and July.<ref>{{cite web |title=La Movida Madrileña |url=https://www.contexttravel.com/blog/articles/movida-madrilena |work=Context Travel |date=1 August 2019 }}</ref> ''Crossing through Chueca,'' is a book written about laLa Movida Madrileña, it spoke about the lesbian community and speaks on navigating their sexual, racial, gender, and class identities. Chueca is known for its queer-safe spacespaces and how they combat against the discrimination, which played a big role during the La Movida Madrileña.<ref>{{cite book |last1=Robbins |first1=Jill |title=Crossing Through Chueca: Lesbian Literary Culture in Queer Madrid |date=2011 |publisher=U of Minnesota Press |isbn=978-0-8166-6989-9 }}{{page needed|date=December 2023}}</ref>
'''Post- La movidaMovida Madrilena'''
Thirty years later, the Movida continues to exert influence on the people of Spain. This movement has been and continues to be embraced by institutions, showcasing a new and improved vision for both the city and the country as a whole. In 2007 there was an article from ''El País'' that acknowledges the return of laLa movidaMovida, but it was known as laLa removidaRemovida. The term la Removida represented laLa movidaMovida reappearing, and atin its previous state. InThe fact itreappearance was coming back so muchsignificant that there were newspapers written about it.{{sfn|Nichols|Song|2013|p={{page needed|date=December 2023}}}}
La Movida continued to have some effect in Spain, after many years after la movida, the rebirth of La Movida occurred, known as La Removida. This is a way to preserve memories, allowing societies to undergo a continuous process of construction and reconstruction. WeThis can observebe thisobserved in cases like the events in Madrid: "La Sombra de un Sueño" seeks to reinforce the memory of La Movida and immortalize many of those who died during this period. The use of footage from La Movida serves as a way to showcase the rebirth of the movement. In order to preserve the legacy of La Movida, society needs a constant reminder because its memory fades over time, despite attempts to uphold its legacy.{{sfn|Nichols|Song|2013|p={{page needed|date=December 2023}}}}
The stories surrounding La Movida and La Removida underscore the ongoing quest for identity and significance through memory, providing evidence for the assertion that postmodern identity is inherently ambiguous. Therefore, the films unveil the idea that memory is zestful, undergoing constant transformation—atransformation — a process that is likely to persist in the future for both La Movida and La Removida.{{sfn|Nichols|Song|2013|p={{page needed|date=December 2023}}}}
== See also ==
|