Creating Our Own ：Folklore, Performance, and Identity in Cuzco, Peru ( English ed.. )

Publication subTitle ：Folklore, Performance, and Identity in Cuzco, Peru

Publication series ： English ed..

Author： Zoila S. Mendoza  

Publisher： Duke University Press‎

Publication year： 2007

E-ISBN: 9780822388852

P-ISBN(Paperback): 9780822341529

P-ISBN(Hardback):  9780822341307

Subject： C912.4 cultural anthropology, social anthropology

Keyword： Folklore -- Peru -- Cuzco., Folklore -- Performance -- Peru -- Cuzco., Ethnicity -- Peru -- Cuzco., National characteristics, Peruvian., Nationalism -- Peru -- Cuzco., Cuzco (Peru) -- Social life and customs.

Language： ENG

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Description

In Creating Our Own, anthropologist Zoila S. Mendoza explores the early-twentieth-century development of the “folkloric arts”—particularly music, dance, and drama—in Cuzco, Peru, revealing the central role that these expressive practices played in shaping ethnic and regional identities. Mendoza argues that the folkloric productions emerging in Cuzco in the early twentieth century were integral to, rather than only a reflection of, the social and political processes underlying the development of the indigenismo movement. By demonstrating how Cuzco’s folklore emerged from complex interactions between artists and intellectuals of different social classes, she challenges the idea that indigenismo was a project of the elites.

Mendoza draws on early-twentieth-century newspapers and other archival documents as well as interviews with key artistic and intellectual figures and their descendants. She offers vivid descriptions of the Peruvian Mission of Incaic Art, a tour undertaken by a group of artists from Cuzco, at their own expense, to represent Peru to Bolivia, Argentina, and Uruguay in 1923–24, as well as of the origins in the 1920s of the Qosqo Center of Native Art, the first cultural institution dedicated to regional and national folkloric art. She highlights other landmarks, including both The Charango Hour, a radio show that contributed to the broad acceptance of rural Andean music from its debut in 1937, and

Chapter

Cover

Contents

List of Illustrations

Preface to the English Edition

Acknowledgments

Introduction: Revisiting Indigenismo and Folklore

Chapter 1. The Misión Peruana de Arte Incaico and the Development of Artistic-Folkloric Production in Cuzco

Chapter 2. The Rise of Cultural Institutions and Contests

Chapter 3. Touristic Cuzco, Its Monuments, and Its Folklore

Chapter 4. La Hora del Charango: The Cholo Feeling, Cuzqueñoness, and Peruvianness

Chapter 5. Creative Effervescence and the Consolidation of Spaces for ‘‘Folklore’’

Epilogue: Who Will Represent What Is Our Own? Some Paradoxes of Andean Folklore Both Inside and Outside Peru

Notes

Discography

Bibliography

Index

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