Music in Urban La Paz, Bolivian Nationalism, and the Early History of Cosmopolitan Andean Music: 1936--1970
Rios, Fernando Emilio
This item is only available for download by members of the University of Illinois community. Students, faculty, and staff at the U of I may log in with your NetID and password to view the item. If you are trying to access an Illinois-restricted dissertation or thesis, you can request a copy through your library's Inter-Library Loan office or purchase a copy directly from ProQuest.
Permalink
https://hdl.handle.net/2142/85767
Description
Title
Music in Urban La Paz, Bolivian Nationalism, and the Early History of Cosmopolitan Andean Music: 1936--1970
Author(s)
Rios, Fernando Emilio
Issue Date
2005
Doctoral Committee Chair(s)
Thomas Turino
Department of Study
Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
Ph.D.
Degree Level
Dissertation
Keyword(s)
History, Latin American
Language
eng
Abstract
"Based on extensive archival research conducted in La Paz and multi-sited fieldwork in Bolivia, Argentina and France, this dissertation chronicles the gradual construction of urban folkloric versions of rural Andean indigenous musical practices as central emblems of Bolivian national identity. Strikingly, Bolivia is the only country in all of the Americas where the foremost national music prominently and overtly references Amerindian cultural practices---a similar development has not occurred in other Latin American countries, including those with numerically significant Amerindian populations such as Peru and Ecuador. Moreover, Andean folkloric music has long functioned as a more prominent emblem of Bolivian national identity than other realms of national culture, such as visual art, language, food, sports and spiritual practices. Yet Bolivian government policies have consistently marginalized Andean indigenous peoples and lifeways. Addressing this paradox, my dissertation contributes to Latin Americanist scholarship that, in contrast to the many book-length musicological studies on ""nationalizing blackness"" (e.g., Behague 1994, Moore 1997, Wade 2000), has rarely analyzed the folklorization of Amerindian musical practices and its relationship with state-directed nationalist projects. The main objective of this dissertation is to provide a chronological history of the emergence of Andean folkloric music in Bolivia in relation to sites in Argentina and France. Andean folkloric music's rise to the status of the Bolivian national music reveals the intersection of nationalist projects with trans-state developments, and thus this dissertation provides further evidence of the intertwined relationship of nationalism with modernist-capitalist cosmopolitanism---a general phenomenon theorized by ethnomusicologist Thomas Turino (2000). A secondary objective of this dissertation is to chronicle Bolivian public discourse regarding local musical practices that articulated, in an escalating manner from the late 1930s to the 1970s, with collective feelings of Bolivian national loss stemming from a long history of foreign appropriation. Other Bolivianist scholars have noted the ubiquity of sentiments of national loss in urban Bolivia and, more specifically, of national outrage regarding foreign musical theft. This dissertation, however, is the first scholarly account that examines how and why these particular sentiments have contributed to the inculcation of Bolivian national sentiment."
Use this login method if you
don't
have an
@illinois.edu
email address.
(Oops, I do have one)
IDEALS migrated to a new platform on June 23, 2022. If you created
your account prior to this date, you will have to reset your password
using the forgot-password link below.