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Titlebook: Sounding Indigenous; Authenticity in Boli Michelle Bigenho Book 2002 Palgrave Macmillan, a division of Nature America Inc. 2002 globalizati

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發(fā)表于 2025-3-21 18:56:46 | 只看該作者 |倒序瀏覽 |閱讀模式
書目名稱Sounding Indigenous
副標題Authenticity in Boli
編輯Michelle Bigenho
視頻videohttp://file.papertrans.cn/873/872055/872055.mp4
圖書封面Titlebook: Sounding Indigenous; Authenticity in Boli Michelle Bigenho Book 2002 Palgrave Macmillan, a division of Nature America Inc. 2002 globalizati
描述Sounding Indigenous explores the relations between music, people, and places through analysis of Bolivian music performances: by a non-governmental organization involved in musical activities, by a music performing ensemble, and by the people living in two rural areas of Potosi. Based on research conducted between 1993 and 1995, the book frames debates of Bolivian national and indigenous identities in terms of different attitudes people assume towards cultural and artistic authenticity. The book makes unique contributions through an emphasis on music as sensory experience, through its theorization of authenticity in relation to music, through its combined focus on different kinds of Bolivian music (indigenous, popular, avant-garde), through its combined focus on music performance and the Bolivian nation, and through its interpretation of local, national, and transnational fieldwork experiences.
出版日期Book 2002
關鍵詞globalization; identity; Nation; organization; Transnational
版次1
doihttps://doi.org/10.1007/978-1-137-11813-4
isbn_softcover978-0-312-24015-8
isbn_ebook978-1-137-11813-4
copyrightPalgrave Macmillan, a division of Nature America Inc. 2002
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Michelle Bigenhocludes supplementary material: Diese Formelsammlung wendet sich an Bachelor-Studierende der Wirtschafts- und Sozialwissenschaften an Universit?ten, Fachhochschulen, Berufsakademien und Weiterbildungseinrichtungen, aber auch an Praktiker. Sie dient dem schnellen Nachschlagen von Formeln, Begriffen un
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Authenticity Matters, made sacrifices at the July 14 parade for the international folklore festival in the town of Saintes. For the most important event of this festival the Bolivian musicians wore their gala costumes, two different styles traditionally donned for the interpretation of Italaque panpipes—a highland Boliv
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What Makes You Want To Dance,ular music in both urban and rural contexts. Its presence was ubiquitous in almost any social gathering that involved dancing. While the cumbia genre is usually associated with Colombian origins, many of the recordings that made their way to Bolivia emerged from recording productions in Mexico. The
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,“Time!”, a French audience. In France we accompanied a Bolivian dance troupe, ., and its members were both our most loyal supporters and our sharpest critics. One of the dancers surveyed us in our standard performance garb and yelled: “Look at yourselves. What is the difference between you and the French de
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Indigenous Cool and the Politics of Aesthetics,ormances, they were for the most part members of the mestizo-Creole culture of La Paz. The two musical projects followed a long historical pattern in which some Bolivians have represented other Bolivians—that is, Bolivia’s mestizo-Creoles have represented Bolivia’s indigenous peoples. These kinds of
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