Papers & Book Sections
Studies in Latin American Popular Culture, 2023
In this article, I analyze a Welsh festival inspired by Chilean artist Víctor Jara and the govern... more In this article, I analyze a Welsh festival inspired by Chilean artist Víctor Jara and the government of Popular Unity (1970–1973). Using the theory of cultural performance, and based on interviews with participants and observations of some activities carried out in the festival, I argue that the festival is a space that simultaneously acts both to suspend and to create political normativity. On the one hand, the politics of the festival proposes a transgression of the political normativity and hegemony of neoliberalism in the United Kingdom and the West. On the other hand, the festival reinforces a political identity inspired by progressive, anti-neoliberal movements and governments in Latin America. These processes of subversion and reinforcement are mutually interconnected since the reinforcement of the political normativity of social progressist governments and movements in Latin America is constituted as a form of transgression of the neoliberal, conservative political agenda that is currently hegemonic in the contemporary British government and in some Latin American countries.
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Latin American Perspectives, 2023
Examination of the experience of a group of Chilean exiles participating in El Sueño Existe, a co... more Examination of the experience of a group of Chilean exiles participating in El Sueño Existe, a contemporary Welsh festival inspired by the work of the Chilean artist Víctor Jara, suggests that by allowing Chileans to observe and experience social, material, and symbolic dynamics that suspend certain norms of everyday life, the festival helps them to construct a symbolic bridge between the past and the present, between “them” and “us,” and to formulate a critique of certain political power structures.
Una examinación de la experiencia de un grupo de exiliados chilenos que participan en El Sueño Existe, un festival galés contemporáneo inspirado en la obra del artista chileno Víctor Jara, sugiere que al permitir a los chilenos observar y experimentar dinámicas sociales, materiales y simbólicas que suspenden ciertas normas de la vida cotidiana, dicho festival les ayuda a construir un puente simbólico entre el pasado y el presente, entre “ellos” y “nosotros”, y formular una crítica de ciertas estructuras de poder político.
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El oído pensante, 2022
El presente artículo presenta los resultados de una investigación cualitativa sobre los mundos mu... more El presente artículo presenta los resultados de una investigación cualitativa sobre los mundos musicales migrantes en la Región Metropolitana de Chile. A partir de un recorrido por las entrevistas a músicos/as buscamos dilucidar cómo los/as actores, sujetos/as de la migración, interpretan los tránsitos de las prácticas musicales de un país a otro y qué valoraciones sustentan sentimientos como la pérdida, la banalización o la frivolización de las formas artísticas una vez que son apropiadas en la sociedad de acogida. Nuestra hipótesis sostiene que estas percepciones se relacionan con una cierta idea de autenticidad que opera como atributo principal al momento de otorgar un valor a las prácticas artísticas y culturales. Examinaremos cómo esta noción se declina a partir de distintos ejes en relación con pertenencias como el territorio, la etnia, el linaje o el grado de adhesión colectiva que suscitan en los distintos contextos, fundamentadas en una idea del origen como sustrato de las identidades culturales.
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Rivera, I., Facuse, M. and Torres, R. (2020) ‘Músicas Migrantes: diásporas, identidades e hibrida... more Rivera, I., Facuse, M. and Torres, R. (2020) ‘Músicas Migrantes: diásporas, identidades e hibridaciones’, in Galaz, C., Gissi, N., and Facuse, M. (eds) Migraciones Transnacionales: inclusiones diferenciales y posibilidades de reconocimiento. Santiago: Social-Ediciones, pp. 67–84.
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Revista Chilena de Literatura, Sección Miscelánea, 2011
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Reviews, Editorial Section & Reports
Debats, 2023
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Revista Musical Chilena, 2020
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Revista Resonancias, 2013
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Thesis
This thesis examines how diasporic, musical and political identities are performed, contested and... more This thesis examines how diasporic, musical and political identities are performed, contested and reaffirmed in El Sueño Existe, a festival of Latin American music and politics that takes place every two years in Machynlleth, Wales. Set up in 2005, this festival commemorates the legacy of Chilean artist Víctor Jara and the movement ‘New Chilean Song’ of which he was a part. Victor Jara was a musician and theatre director who was killed a few days after the Chilean Military Coup in September 1973, and who since his death has become a symbol of international solidarity and the defence of human rights (McSherry 2015b). The methodology is based on a performance epistemology (Taylor 2003) and included my own participation in the festival as a member of the public, a member of the organisation, and a musician. In addition, I have conducted interviews with several festival-goers, focusing on their biographies, experiences and opinions of Victor Jara, New Chilean Song and the festival.
Based on discussions of cultural performance (Turner 1987; Taylor 2007), the sociology of music (Frith 1996b; DeNora 2000) and theory of performativity (Bell 1999; Fortier 1999), I suggest that the festival is a space that simultaneously acts to both suspend and to create normativity. I argue that El Sueño Existe festival is a liminal space for Chilean exiles, international musicians and political activists which ultimately works to reaffirm political, musical and diasporic identities, through the re-enactment of a set of repertoires that promote a sense of belonging and identification. The process of reaffirmation is not exclusively created by the means of breaking normativity in a symbolic domain; it is also constructed through the reproduction of hierarchies and discourses that create membership among the people who belong to the community.
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Tesis para la obtención del magister en Artes, mención musicología. Biblioteca Facultad de Artes, Universidad de Chile, 2013
La presente investigación tiene la pretensión de tomar como caso la experiencia musical de la can... more La presente investigación tiene la pretensión de tomar como caso la experiencia musical de la cantora popular Irene Belmar (San Carlos, Ñuble), para ilustrar la actualidad y vigencia de la actividad de la cantora popular en Chile y problematizar algunas nociones canónicas acerca de la comprensión de lo popular y lo tradicional. La visión ‘folklórica’ propone un estereotipo de la cantora popular como un ser arraigado y puro, inmune a los influjos de la modernidad. Nuestra tesis de trabajo se fundamenta en una crítica a las nociones tradicionalistas que omiten de su foco de análisis los procesos de mezclas e hibridación cultural. Los primeros dos capítulos corresponden al marco conceptual de la investigación. En el primer capítulo se aborda el folklore desde diversos ángulos: el folklore como ideología, el folklore como institución y la cantora popular en los estudios del folklore. En el segundo capítulo, se plantea la perspectiva de la hibridación como alternativa epistemológica al canon folklórico; y se muestran investigaciones provenientes de diversas disciplinas que tratan sobre la figura de la cantora popular. El capítulo 3 corresponde a la propuesta metodológica de la investigación. La etnografía centrada en el sujeto propone un acercamiento de la experiencia musical del individuo desde un enfoque tridimensional: tiempo, espacio y metáfora. Estas dimensiones se replantearon en término de trayectoria, performance y saber musical para dar cuenta de la experiencia musical de la cantora popular Irene Belmar. En los capítulos 4, 5 y 6 se desarrollan cada una de estas dimensiones. En el capítulo 4 se describen y comparan dos etapas biográficas en que la señora Irene Belmar se desenvolvió como cantora: la primera entre los 8 y 20 años; y la segunda, entre los 49 años y la actualidad. En el capítulo 5 se describen y comparan presentaciones de la señora Irene en tres espacios diversos: el espacio medial, el espacio privado y el espacio público. En el capítulo 6, se describen y analizan los códigos y el estatuto del saber musical que emplea la señora Irene Belmar en función de tres variables: sistema de conocimiento, corporalidad y legitimidad. En el capítulo 7 se realiza una síntesis de la experiencia musical de la cantora popular Irene Belmar, a partir de un análisis integrado de las dimensiones planteadas.
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Organisation Conferences and events
Organised by the Goldsmiths Latin American Hub. The conference analyses different dimensions and ... more Organised by the Goldsmiths Latin American Hub. The conference analyses different dimensions and perspectives on the flows, backflows, and undercurrents of neoliberalisation processes in a comparative perspective, thinking in the trans-Atlantic connections of the histories signalled by or against neoliberal reason.
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Symposium organised by the PhD Migration Reading Group
The Goldsmiths PhD Migration Reading Grou... more Symposium organised by the PhD Migration Reading Group
The Goldsmiths PhD Migration Reading Group invites postgraduates, early career researchers, activists, scholars and artists to intervene in the current debate surrounding racism and migration in light of the shifts in global politics and discourses as exemplified by Brexit.
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Music presentations in Academia
Goldsmiths Graduate Festival. London, UK, 2015
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Conference Presentations
Conversatorio, IDEA USACH, 2019
Conversatorio "Víctor Jara: vida, obra y legado",contó con la participación de Horacio Salinas, d... more Conversatorio "Víctor Jara: vida, obra y legado",contó con la participación de Horacio Salinas, director de Inti-Illimani histórico y Presidente de la SCD. Expuso J. Patrice McSherry, Ph.D en Ciencias Políticas, Graduate School, City University of New York (CUNY), Autora de la "Nueva Canción chilena. El poder político de la música" (LOM).
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ISA World Congress. Toronto, Canada, 2018
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Latin American Music Seminar. Senate House, London, 2018
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16th Annual NYLON Conference, Humboldt-Universität zu Berlin, 2018
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10th Enquire Conference ‘Identity, Belonging & Activism in the 21st Century’. Nottingham University, 2018
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Uploads
Una examinación de la experiencia de un grupo de exiliados chilenos que participan en El Sueño Existe, un festival galés contemporáneo inspirado en la obra del artista chileno Víctor Jara, sugiere que al permitir a los chilenos observar y experimentar dinámicas sociales, materiales y simbólicas que suspenden ciertas normas de la vida cotidiana, dicho festival les ayuda a construir un puente simbólico entre el pasado y el presente, entre “ellos” y “nosotros”, y formular una crítica de ciertas estructuras de poder político.
Based on discussions of cultural performance (Turner 1987; Taylor 2007), the sociology of music (Frith 1996b; DeNora 2000) and theory of performativity (Bell 1999; Fortier 1999), I suggest that the festival is a space that simultaneously acts to both suspend and to create normativity. I argue that El Sueño Existe festival is a liminal space for Chilean exiles, international musicians and political activists which ultimately works to reaffirm political, musical and diasporic identities, through the re-enactment of a set of repertoires that promote a sense of belonging and identification. The process of reaffirmation is not exclusively created by the means of breaking normativity in a symbolic domain; it is also constructed through the reproduction of hierarchies and discourses that create membership among the people who belong to the community.
The Goldsmiths PhD Migration Reading Group invites postgraduates, early career researchers, activists, scholars and artists to intervene in the current debate surrounding racism and migration in light of the shifts in global politics and discourses as exemplified by Brexit.
Una examinación de la experiencia de un grupo de exiliados chilenos que participan en El Sueño Existe, un festival galés contemporáneo inspirado en la obra del artista chileno Víctor Jara, sugiere que al permitir a los chilenos observar y experimentar dinámicas sociales, materiales y simbólicas que suspenden ciertas normas de la vida cotidiana, dicho festival les ayuda a construir un puente simbólico entre el pasado y el presente, entre “ellos” y “nosotros”, y formular una crítica de ciertas estructuras de poder político.
Based on discussions of cultural performance (Turner 1987; Taylor 2007), the sociology of music (Frith 1996b; DeNora 2000) and theory of performativity (Bell 1999; Fortier 1999), I suggest that the festival is a space that simultaneously acts to both suspend and to create normativity. I argue that El Sueño Existe festival is a liminal space for Chilean exiles, international musicians and political activists which ultimately works to reaffirm political, musical and diasporic identities, through the re-enactment of a set of repertoires that promote a sense of belonging and identification. The process of reaffirmation is not exclusively created by the means of breaking normativity in a symbolic domain; it is also constructed through the reproduction of hierarchies and discourses that create membership among the people who belong to the community.
The Goldsmiths PhD Migration Reading Group invites postgraduates, early career researchers, activists, scholars and artists to intervene in the current debate surrounding racism and migration in light of the shifts in global politics and discourses as exemplified by Brexit.