Call for Papers. Farol No. 35. Counterculture in Latin America
The dossier "Counterculture in Latin America: Dissent and Experimentation from the 1960s to the Present" proposes a reflection on the historical transformations of the concept of counterculture and its manifestations in the field of art. Far from being a fixed category, counterculture has taken on distinct meanings in different social, political, and cultural contexts, requiring a historical approach capable of considering its modes of emergence, circulation, and persistence. This dossier is grounded in the understanding that the relationship between art and counterculture is not limited to the movements that defined the 1960s but extends to subsequent experiences that redefined modes of contestation, dissent, and experimentation across different regions of the world. From the hippie movement to current environmentalism, we observe Tropicália, Nueva Canción, punk, hip-hop, the homosexual liberation movement, the latest feminist waves, queer culture, Rastafarianism, Afrikaans alternative rock, Japanese DIY, riot grrrl, bongo flava, the Beirut underground, the Lebanese queer scene, Ghanaian hiplife, Egyptian Mahraganat, and so many others. In each case, we address multiple forms of expression, media, and institutional confrontations.
The discussions gathered in this issue may examine artistic practices, collectives, institutions, circulation systems, publications, exhibitions, and theoretical debates that have contributed to the formation of countercultural repertoires over the past six decades. We are interested in understanding how each historical moment assigned specific meanings to the idea of counterculture, the disputes surrounding this term, and the relationships established between artistic production, social transformations, technologies, forms of communication, and political regimes. We also welcome studies discussing the international circulation of countercultural ideas and practices, as well as their local translations and tensions with cultural institutions, public policies, and art markets. This dossier welcomes contributions that engage with authors whose works have served as key references for the study of counterculture—including Theodore Roszak, who provided one of the first formulations of the concept; Luiz Carlos Maciel, whose work brought the debate on counterculture in Brazil to the forefront; Dick Hebdige, who expanded the discussion through his studies on subcultures; and Stuart Hall, who situated cultural struggles within power relations. We are also interested in research that broadens this repertoire through perspectives emerging from various Latin American communities and nations, while maintaining a dialogue with theories that transcend our borders—such as those of Achille Mbembe (African context) and Homi K. Bhabha and Gayatri Chakravorty Spivak (Asian-origin postcolonial studies). The dossier also accepts studies examining other intellectual and historiographical traditions, provided they contribute to an understanding of the historical transformations of counterculture and its links to contemporary art across different contexts.
The title Counterculture in Latin America: Dissent and Experimentation from the 1960s to the Present invites a review of established narratives and an investigation of experiences that escape conventional chronologies. Key topics for debate include: shifts in the meaning of counterculture following the Cold War; the impact of digital network expansion on forms of cultural criticism; the incorporation of countercultural languages by institutions and markets; the emergence of new forms of collective organization; and challenges posed by the environmental crisis, changing labor dynamics, migration, and struggles over memory. Within this framework, we aim to explore which practices from the last decade can be understood as countercultural and what criteria support this definition across diverse historical and geographical contexts.
We invite the submission of original articles by scholars holding a doctorate, presenting findings or theoretical discussions relevant to the dossier's theme. We welcome contributions from the fields of art theory, history, criticism, and historiography, as well as from related disciplines that engage in a substantive dialogue with contemporary artistic production. By bringing together perspectives from diverse intellectual traditions and research backgrounds, this dossier aims to broaden the debate regarding the historical significance of the counterculture and its enduring relevance as an analytical category for understanding art produced from the 1960s to the present day.
Submission period: August 13, 2026 – October 25, 2026
Manuscripts must be submitted in accordance with the guidelines and template for articles.
