Music, Dance, Affect, and Emotions in Latin America PDF
Preview Music, Dance, Affect, and Emotions in Latin America
Music, Dance, Affect, and Emotions in Latin America Music, Culture, and Identity in Latin America SeriesEditors: PabloVila,TempleUniversity,andHéctorFernándezL’Hoeste,GeorgiaStateUniversity MusicisoneofthemostdistinctiveculturalcharacteristicsofLatinAmericancountries. But,whilemanypeopleintheUnitedStatesandEuropearefamiliarwithmusicalgenres suchassalsa,merengue,andreggaetón,themusicalmanifestationsthatpeoplelistentoin mostLatinAmericancountriesaremuchmorevariedthanthesecommerciallysuccessful ones that have entered the American and European markets. The Music, Culture, and Identity in Latin America series examines the ways in which music is used to advance identity claims in different Latin American countries and among Latinos in the United States.Theserieswantstoshednewlightonthecomplexwaysinwhichmusicprovides people from LatinAmericancountries withbothenjoymentand tools forunderstanding whotheyareintermsofnationality,region,race,ethnicity,class,gender,age,sexuality, andmigrationstatus(amongotheridentitarianmarkers). Music,Culture,andIdentityin LatinAmericaseekstobetrulyinterdisciplinarybyincludingauthorsfromallthesocial sciences and humanities: political science, sociology, psychology, musicology, cultural studies,literature,history,religiousstudies,andthelike. TitlesintheSeries ArgentineQueerTango:DanceandSexualityPoliticsinBuenosAires,byMercedes Liska,translatedbyPeggyWestwellandPabloVila Music,Dance,Affect,andEmotionsinLatinAmerica,editedbyPabloVila Music, Dance, Affect, and Emotions in Latin America Edited by Pablo Vila LEXINGTONBOOKS Lanham•Boulder•NewYork•London PublishedbyLexingtonBooks AnimprintofTheRowman&LittlefieldPublishingGroup,Inc. 4501ForbesBoulevard,Suite200,Lanham,Maryland20706 www.rowman.com UnitA,WhitacreMews,26-34StannaryStreet,LondonSE114AB Copyright©2017byLexingtonBooks Allrightsreserved.Nopartofthisbookmaybereproducedinanyformorbyany electronicormechanicalmeans,includinginformationstorageandretrievalsystems, withoutwrittenpermissionfromthepublisher,exceptbyareviewerwhomayquote passagesinareview. BritishLibraryCataloguinginPublicationInformationAvailable LibraryofCongressCataloging-in-PublicationData Names:Vila,Pablo,1952-editor. Title:Music,dance,affect,andemotionsinLatinAmerica/editedbyPablo Vila. Description:Lanham:LexingtonBooks,2017.|Series:Music,culture,and identityinLatinAmerica|Includesbibliographicalreferencesandindex. Identifiers:LCCN2016053493(print)|LCCN2016056727(ebook)|ISBN 9781498536929(cloth:alk.paper)|ISBN9781498536936(Electronic) Subjects:LCSH:Music--Argentina--Historyandcriticism.| Dance--Argentina--Historyandcriticism.|Music--Psychologicalaspects.| Dance--Psychologicalaspects.|Affect(Psychology) Classification:LCCML231.M872017(print)|LCCML231(ebook)|DDC 780.982--dc23 LCrecordavailableathttps://lccn.loc.gov/2016053493 TMThepaperusedinthispublicationmeetstheminimumrequirementsof AmericanNationalStandardforInformationSciencesPermanenceofPaperforPrinted LibraryMaterials,ANSI/NISOZ39.48-1992. PrintedintheUnitedStatesofAmerica Dedication ToRamónPelinski,mymentor,myfriend.Ramónwasresponsibleformany“firsts”in myacademiccareer.Hewasthefirstpersonwho: • Encouragedmetopursueacareerinthesociologyofmusic(1982) • Engagedmeinamusicresearchproject(1983) • Advisedmeonhowtopursueagraduateeducationabroad(1984) • Invitedmetoaninternationalacademicconference(1985) • Wasinstrumentalingettingmyfirstfellowshiptostudyabroad(1986) • PublishedmyfirstworkinFrench(1991) • Published my first theoretical endeavor regarding the relationship between popular musicandnarrativeidentities(1996) • WasinstrumentalinsecuringmyfirstteachingexperiencesinEurope(1996and2000) • Fiercelycriticizedmynarrativeapproachtomusicforits“rational”biases(1997) • Encouragedmetopaymoreattentiontothe“embodiment”ofmusic(1998) • Refusedtoreadoneofmymanuscriptsbecause(duetoitsrationalunderpinnings)he “couldnotconnectwithit”(2011) Ittookmealmosttwentyyearstofullyunderstandsomeofhisteachingsonhowmusic impactsusaffectivelyandemotionally.Ramón:IthinkthatIfinallygotit!Itisapitythat youarenolongerwithustocriticizethisbook! Contents Acknowledgments ix Introduction xi PabloVila 1 Music,Dance,Affect,andEmotions:WhereWeAreNow 1 PabloVila 2 TheEmbodimentofGozo:Aesthetics,Emotion,andPoliticsin theIndigenousSong-DancesoftheArgentineChaco 39 SilviaCitroandAdrianaCerletti 3 TraditionalSonorousPoetics:WaysofAppropriationand Perceptionof“Andean”MusicandPracticesinBuenosAires 73 AdilPodhajcer 4 PleasuresinConflict:Maternity,Eroticism,andSexualityin TangoDancing 91 JulianaVerdenelli TranslatedbyElliotPrussing 5 Self-ExpressionthroughSelf-Discipline:Technique, Expression,andLosingOneselfinClassicalDance 117 AnaSabrinaMora TranslatedbyElliotPrussing vii viii Contents 6 DidCumbiaVilleraBotherUs?:CriticismsontheAcademic RepresentationoftheLinkbetweenWomenandMusic 143 MalvinaSilbaandCarolinaSpataro TranslatedbyFedericoÁlvarezGandolfi 7 PeronismandCommunism,FeelingsandSongs:Militant AffectsinTwoVersionsofthePoliticalSonginArgentina 173 CarlosMolineroandPabloVila 8 Music,Dance,Affect,andEmotions:WhereWeCanBe 233 PabloVila Index 265 AbouttheContributors 275
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