Alberto García-Alix, Pedro Almodóvar, Iván Zulueta, Ouka Leele, Pablo Pérez-Minguez: five recurring names in what might be referred to as the “Movida canon.” El Penta, Pachá, La Vía Láctea, Sala Morocco, Rock-Ola: five widely-known points of interest in what might be referred to as the “Madrid of the Movida.” At Brown University, I have been perusing issues of La Luna de Madrid (1982-1988), arguably the period’s most well-known subcultural publication, and recording the locations noted in the publication’s events listings and advertisements. Using Google Earth and CartoDB, I have visualized a Madrid of the Movida through the lens of La Luna de Madrid. After an initial 24 of hours data-scrubbing and geocoding, the list of identified cultural hubs of the Movida has expanded from the original 10 canonical locations to 72 points on the map of Madrid (seen below). The implications of this expanded view of the Movida is that we can begin to re-imagine the narrowly canonized version of the Movida that limits the social phenomenon to a handful of locations and artists, and ask: How does the face of the Movida, and the artists and cultural production that we associate with it, change when new cultural hubs of the period are identified? How does this new geography bring to light new spaces and artists? How do these new spaces and artists problematize the cultural and historical canon known as La Movida? Can these new spaces, artists, and cultural products, moreover, even be considered a part of the Movida as we know it?
Datasheets are available here and open to scholarly use. When cited, findings can be credited to Vanessa Ceia.