Florida Group: The Avant-Garde Literary Movement of Buenos Aires
In the vibrant cultural landscape of 1920s Buenos Aires, a collective of writers and artists emerged to challenge traditional norms. Known as the Florida group (Spanish: grupo Florida), this avant-garde movement championed the philosophy of "art for art's sake," prioritizing aesthetic beauty and innovation over political or social utility.
The group derived its name from Florida Street, where members frequently gathered at the Richmond tea room to debate art and literature. Their influence was amplified through key publications, most notably the magazines Proa and Martín Fierro. The latter was named after the iconic nineteenth-century Argentine poem Martín Fierro, which remains one of the most significant works in the nation's literary history. Because of this strong association, the collective is often referred to as the Martín Fierro group.
[ไม่มีภาพประกอบ]Key Facts
- Philosophy: Embraced "art for art's sake," focusing on aestheticism.
- Origin: Formed in 1920s Buenos Aires, meeting primarily on Florida Street.
- Key Publications: Proa and Martín Fierro magazines.
- Notable Members: Included Oliverio Girondo, Norah Borges, and Ricardo Güiraldes.
- Rivalry: Often contrasted with the socio-politically driven Boedo group.
Prominent Members and Influences
The Florida group consisted of a diverse array of intellectuals, including Oliverio Girondo, Norah Lange, Norah Borges, Péle Pastorino, Francisco Luis Bernárdez, Leopoldo Marechal, Conrado Nalé Roxlo, and Raúl González Tuñón. Among them, Ricardo Güiraldes served as a mentor and father figure. A major literary figure of his time, Güiraldes spent the 1920s studying Hindu philosophy and writing his masterpiece, Don Segundo Sombra, before his death in 1927.
The boundaries between literary circles were occasionally fluid. Nicolás Olivari, a co-founder of the more political Boedo group, eventually joined the Florida group. Similarly, the independent writer Roberto Arlt interacted with both circles without formally committing to either.
The Role of Jorge Luis Borges
While not a regular attendee of the Florida meetings, Jorge Luis Borges was a frequent contributor to both Proa and Martín Fierro. Borges famously viewed the rivalry between the Florida and Boedo groups as a superficial imitation of European trends. He jokingly suggested he belonged to the Boedo group based on geography, as he lived on Bulnes Street, which is located near the intersection of Boedo Street and Rivadavia Avenue.
The Florida vs. Boedo Divide
As the movement evolved, a distinct contrast emerged between two literary branches in Buenos Aires:
- The Florida Branch: Based in downtown Buenos Aires at the Galeria Pacifico, this group focused on an artistic and literary agenda that incorporated feminist approaches.
- The Boedo Branch: Meeting in the city's outskirts at the Club Atletico San Lorenzo stadium, this group was predominantly male and focused on a socio-political, avant-garde labor approach.
Attempts were made to bridge this gap. Arturo Cancela once proposed merging the two into the "Schools of Floredo street," suggesting Manuel Gálvez as president because his residence on Pueyrredón street was equidistant from both groups. By 1930, the perceived rivalry had largely faded, a sentiment echoed in newspaper articles written by Oliverio Girondo (representing Florida) and Castelnuovo (representing Boedo).
| Feature | Florida Group | Boedo Group |
|---|---|---|
| Primary Philosophy | Art for art's sake (Aestheticism) | Socio-political / Labor focus |
| Meeting Location | Downtown (Florida St / Galeria Pacifico) | Outskirts (Club Atletico San Lorenzo) |
| Key Influence | European avant-garde | Social realism and labor issues |
| Key Publications | Proa, Martín Fierro | Various political pamphlets/journals |
Political Shifts and Later Criticism
The trajectory of the Florida group was heavily impacted by Argentina's volatile political climate. Following the military coup of 1930, which ushered in the "Infamous Decade," many members gravitated toward Sur magazine, founded by Victoria Ocampo. This publication remained a cultural stronghold until the rise of Peronism in 1945.
In later decades, specifically during the 1960s and 1970s, the group faced criticism from Peronist and left-wing commentators. They characterized the Florida group as a Liberalist Euro-centered movement that mirrored British and French avant-garde trends. Critics argued that the group was out of touch with the productive working class and ignored the aspirations of lower-class Argentines. The only member generally spared from this criticism was Raúl González Tuñón, due to the social themes present in his poetry.
Frequently Asked Questions
What was the main philosophy of the Florida group?
The Florida group followed the slogan "art for art's sake," meaning they believed art should be valued for its own aesthetic beauty and innovation rather than for any moral, political, or social purpose.
Why was the group called the "Martín Fierro group"?
They were often called the Martín Fierro group because of their association with the magazine Martín Fierro, which was named after the most celebrated nineteenth-century Argentine poem.
How did the Florida group differ from the Boedo group?
The Florida group was centered in downtown Buenos Aires and focused on aesthetics and European avant-garde trends. In contrast, the Boedo group met in the city's outskirts and focused on socio-political issues and the struggles of the working class.
Did Jorge Luis Borges belong to the Florida group?
Borges was a frequent contributor to their magazines, but he was not a regular attendee of their meetings and viewed the rivalry between the Florida and Boedo groups as a pointless imitation of European fashions.
How did the 1930 military coup affect the group?
After the coup, many members of the Florida constituency shifted their focus toward Victoria Ocampo's Sur magazine as the political situation in Argentina deteriorated.