Book explores Andean music's role in Chilean protest and identity

A new book delves into the vibrant world where Andean music, political activism, and social movements converge, offering a unique perspective on citizen opposition in Chile. "Movimiento andino. Danzas, cuerpos y repertorios de protesta en la ciudad" by Dr. Ignacia Cortés, published by Universidad Alberto Hurtado, meticulously studies the fascinating space between celebration and protest. Cortés focuses on a group of Andean music ensembles in Santiago, Chile, to explore how rhythms from neo-folkloric Bolivian and Peruvian music forged an Andean identity. This identity was inclusive, incorporating the Mapuche community and standing in direct opposition to the imposition of a homogeneous, Westernized national image. The analysis spans from Chile's return to democracy in the 1990s to the present day, with nods to earlier 20th-century artistic expressions. The book details how spaces like workshops, known as 'tambos andinos' and 'peñas,' became crucial hubs for mixing diverse rhythms such as huaynos, huaylarsh, taquirari, caporal, and tinku. This artistic fusion later spilled into public spaces, including streets, plazas, and stages, fueling a potent form of counter-cultural and political activity. Crucially, Cortés challenges the notion of a cultural blackout during the Pinochet dictatorship. Her research reveals that artistic opposition persisted even during those repressive years. Artists and dancers maintained their dynamic expressions, which became particularly visible during significant historical moments like the 500th anniversary of the 'conquest' in 1992 and subsequent mobilizations for education reform. This artistic resistance demonstrates that opposition was not confined to armed groups or exiled activists but also thrived within the cultural sphere.