亨丽埃塔·尤尔琴科,20世纪40年代的土著音乐和美洲土著主义

IF 0.6 Q4 ETHNIC STUDIES
Amanda Minks
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引用次数: 2

摘要

自美洲印第安人研究所成立以来,除了在公共领域推广该研究所外,其负责人还将音乐和媒体作为记录和保存土著文化的工具。这篇文章集中在亨丽埃塔尤尔琴科的作用,美国民族音乐学家,在III录音项目和广播制作开始于1942年。尤尔琴科善于交际的性格使她能够跨越文化边界,并在她工作的一些社区保持长期的友谊。然而,第三次研究开发了一种档案模型,将其作为土著真实性的来源,取代了与土著社区的直接互动,特别是与广播节目中他们的音乐表现有关。第三届会议中艺术的运用也预示着联合国教科文组织的文化遗产制度。本文阐述了尤尔琴科在第三世纪的历史意义,它继续影响着今天的话语。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Henrietta Yurchenco, música indígena e indigenismo interamericano en la década de 1940
ABSTRACT From the time of the founding of the Inter-American Indian Institute, its directors used music and media as tools for the documentation and preservation of indigenous cultures, in addition to the promotion of the Institute in the public arena. This article focuses on the role of Henrietta Yurchenco, a U.S. ethnomusicologist, in III recording projects and radio production beginning in 1942. The sociable personality of Yurchenco enabled her to cross cultural borders and maintain long-term friendships in some of the communities where she worked. However, the III developed a model of the archive as a source of indigenous authenticity that displaced direct interaction with indigenous communities, especially in relation to their musical representation in radio programs. The use of the arts in the III also prefigured the regimes of cultural heritage in UNESCO. The article elaborates the significance of Yurchenco’s history in the III which continues to impact discourses today.
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来源期刊
Latin American and Caribbean Ethnic Studies
Latin American and Caribbean Ethnic Studies Social Sciences-Cultural Studies
CiteScore
1.30
自引率
16.70%
发文量
22
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