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vol.63 issue212For the Sake of Art and Life the People: Debates about Folklore in Chile, 1973-1990Music and "clandestinidad" During the Time of the Chilean Dictatorship: Repression and the Circulation of Music of Resistance and Clandestine Cassettes author indexsubject indexarticles search
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Revista musical chilena

Print version ISSN 0716-2790

Abstract

ROJAS SOTOCONIL, Araucaria. The Cuecas as Aesthetic and Political Representation of Chilenidad in Santiago Between 1979 and 1989. Rev. music. chil. [online]. 2009, vol.63, n.212, pp.51-76. ISSN 0716-2790.  http://dx.doi.org/10.4067/S0716-27902009000200005.

The following article has the purpose of analysing the various meanings of the cuecas as aesthetic and political representations of chilenidad during the period of the military dictatorship, more specifícally in Santiago between 1979 and 1989. It was then that an authoritarian procedure was created which by means of múltiple mechanisms imposed the mingling between a certain type of cueca making and the cultural identity ofthe cueca assumed by the military government as part of its communication policies. This article considers the cueca both as an instrument of the political establistment and as particular species reaching beyond its traditional signifícance, ie, the "cueca sola" (cueca danced by one person), cuecas of poor neighborhoods, also known as "brava" and "chora", and cuecas which are definitely part of the Resistance. All of them are considered as acts and realities interacting within a pluralistic space created by the process of cueca-making.

Keywords : cueca; chilenidad; clandestinidad; dictatorship.

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