De la protesta a la fiesta: la performatividad de los colectivos de danzas y músicas andinas en Chile posdictatorial
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Date
2021
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Abstract
The main objective of this article is to reflect on the performative practices of communities of dancers and musicians calling them- selves Andean in the context of social demonstrations in Santiago de Chile after the period of social revolt started on October 18, 2019. Based on photographs, audiovisual records and interviews, this paper presents an analysis of the modes of participation of these groups in two spaces of political and festive enunciation that converge in the city: protests and popular carnivals. The hypothesis is that these groups, through their performances, have installed in both spaces the importance of enjoyment and celebration from a critical political dimension, employing for this purpose sound aesthetics, visual and choreographic of the Bolivian folklore-mostly-and forming, over the years, an Andean circuit in the city. This circuit stresses the cultural conformations of the "properly Chilean" to produce dynamic festive spaces that have called to decolonize the city.
The main objective of this article is to reflect on the performative practices of communities of dancers and musicians calling themselves Andean in the context of social demonstrations in Santiago de Chile after the period of social revolt started on October 18, 2019. Based on photographs, audiovisual records and interviews, this paper presents an analysis of the modes of participation of these groups in two spaces of political and festive enunciation that converge in the city: protests and popular carnivals. The hypothesis is that these groups, through their performances, have installed in both spaces the importance of enjoyment and celebration from a critical political dimension, employing for this purpose sound aesthetics, visual and choreographic of the Bolivian folklore-mostly-and forming, over the years, an Andean circuit in the city. This circuit stresses the cultural conformations of the “properly Chilean” to produce dynamic festive spaces that have called to decolonize the city.
The main objective of this article is to reflect on the performative practices of communities of dancers and musicians calling themselves Andean in the context of social demonstrations in Santiago de Chile after the period of social revolt started on October 18, 2019. Based on photographs, audiovisual records and interviews, this paper presents an analysis of the modes of participation of these groups in two spaces of political and festive enunciation that converge in the city: protests and popular carnivals. The hypothesis is that these groups, through their performances, have installed in both spaces the importance of enjoyment and celebration from a critical political dimension, employing for this purpose sound aesthetics, visual and choreographic of the Bolivian folklore-mostly-and forming, over the years, an Andean circuit in the city. This circuit stresses the cultural conformations of the “properly Chilean” to produce dynamic festive spaces that have called to decolonize the city.
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Andean dances and music, Party, Performance, Protest, Social demonstrations, Danzas y músicas andinas, Fiesta, Estallido social., Andean dances and music, Protesta