Panpipes & Ponchos
Musical Folklorization and the Rise of the Andean Conjunto Tradition in La Paz, Bolivia
Bibliographic Data
| ID | 8091007 |
|---|---|
| Authors | Fernando Rios (0000-0002-5419-7254, corresponding author) |
| Year | 2020 |
| Pages | 288 |
| Publication date | 2020-10-22 |
| Open Access | No |
| Type | BOOK |
| Venue | Panpipes and Ponchos (SOURCE_BOOK) |
| Publisher | Oxford University Press (PUBLISHER • GB) |
| DOI | 10.1093/oso/9780190692278.001.0001 |
| OpenAlex | W4240873179 |
| ISBN | 9780190692278 |
| Open Library | OL29518372M |
| Language | EN |
| Citations received | 6 |
Melodious panpipes and kena flutes. The shimmering strums of a charango . Poncho-clad musicians playing “El Cóndor Pasa” at subway stops or street corners while selling their recordings. These sounds and images no doubt come to mind for many “world music” fans when they recall their early encounters with Andean music groups. Termed “Andean conjuntos” in this book and “pan-Andean bands” in other scholarship, four-to-six member ensembles of this type have long formed part of the “world music” circuit of the Global North, and also been present in the music scenes of Latin America’s major cities. It is only in Bolivia, however, that the Andean conjunto format has represented the preeminent ensemble line-up for interpreting “national music” since the late 1960s. The La Paz band Los Jairas is widely credited, by scholars and local musicians alike, with canonizing the Andean conjunto tradition in the Bolivian context. When the group debuted in 1966, though, their interpretive approach and instrumentation did not represent a radically new direction for the Bolivian folklore movement. As this book reveals, Los Jairas made popular in Bolivia a style of “national music” interpretation with roots in the folklorization practices developed by previous generations of urban criollo - mestizo musicians. A major goal of this book is to illuminate how urban La Paz folkloric musical trends, practices, and initiatives of the early-to-mid 20th century paved the way for Los Jairas’ dramatic ascent to national stardom in the mid-to-late 1960s and facilitated Bolivia’s ensuing canonization of the Andean conjunto. The second principal aim is to shed light on the Bolivian state’s role in the folkloric music movement, from the period when indigenismo first became a major influence on La Paz artists (the 1920s), to the boom decade of the local folklore movement (the 1960s). The third major goal is to elucidate how La Paz folkloric musical practices articulated with non-Bolivian artistic currents. Perhaps surprisingly to many people, given Bolivia’s image internationally as one of the most “Indian” and therefore culturally traditional countries of Latin America, the Bolivian folkloric music movement developed in close dialogue with a wide array of transnational or cosmopolitan musical trends in the pivotal era spanning the 1920s to 1960s
Archaeology · Art · Context (archaeology · Folklore · Genealogy · Geography · Humanities · Music history · Musical · Political science · Popular music · Scholarship · Style (visual arts · Visual arts · Cultural and Social Studies in Latin America · Diverse Musicological Studies · Creoles · Folk music · History and criticism · Mestizos · Music · Music, history and criticism · History
| Citations per year | 1.2 |
|---|---|
| Citation span | 2021 - 2025 (5) |
| Highly cited | No |