Postlude

Abstract

This chapter offers a brief overview of post-1970 trends in Bolivian Andean conjunto music, focusing on the careers and legacies of the ensembles Savia Andina and Los Kjarkas, especially the latter group. In the 1980s and 1990s, Los Kjarkas played a major role in establishing Cochabamba as the new headquarters for Bolivia’s most popular Andean conjuntos, not only through their own musical activities, but also by generating popular spin-off ensembles (e.g., Proyección, Fortaleza) In the 2010s, Ch’ila Jatun—an Andean conjunto formed by the sons and nephews of Los Kjarkas—rose to the summit of the Bolivian folkloric-popular music scene, with an interpretive approach that drew extensively on the musical practices of Los Kjarkas. Besides the previously mentioned ensembles, this chapter discusses the music-dance genres known as the chuntunqui and caporal-saya (problematically termed “saya”), which first became staples of the Andean conjunto repertoire in the 1980s and 1990s, respectively.