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Notes on Music and Contemporary Art in Bolivia

2013; Routledge; Volume: 46; Issue: 1 Linguagem: Inglês

10.1080/08905762.2013.780915

1743-0666

Carlos Gutiérrez Quiroga, Sebastián Zubieta,

Latin American Cultural Politics

Abstract What I admire the most in a writer? That he may handle forces that captivate him, that seem to destroy him. That he may own that challenge and dissolve the resistance. That he may destroy language and create language. That he may have no past during the day and be millenary during the night. That he may like pomegranate, which he has never tasted, and that he may like guava, which he tries every day. That he may approach things out of hunger and move away out of repugnance. —José Lezama Lima Notes 1Huayñu: generic name that designates melodies in Aymara and Quechua music. They are generally divided into an introduction (entrada), the huayñu proper (repeated in a loop several times), and an exit (salida). 2 Zampoña: name given to the pan flutes in Bolivia's urban contexts. 3The Experimental Orchestra of Native Instruments (Orquesta Experimental de Instrumentos Nativos, OEIN) was founded by the musician and composer Cergio Prudencio in 1980, and is the only contemporary music ensemble in its genre. It works with traditional Andean musical instruments, bringing to the present the ancestral pre-Columbian Andean roots, recognizing their values, and facing the challenge of creation. 4The introduction to music through native instruments program is an educational project created by Prudencio that develops social, psycho-motor, and artistic skills in a holistic way. It is implemented through group workshops where students learn the basics of performance and repertoire for five native musical instruments. 5There are currently ten youth orchestras conducted by young musicians educated in the OEIN. 6Rosalía Martínez, “La Música Y El Tat Pujllay: Carnaval Entre Los Tarabuco (Bolivia),” Diablos Tentadores Y Pinkillus Embriagadores (vol. 1). 7 Pujllay (game in Quechua): indigenous ritual that includes music and dance during carnaval, in the month of February. 8 Sajra: malignant spirit. However, in a non Judeo-Christian sense, the sajras are also related to creative and fecundity forces. Additional informationNotes on contributorsCarlos Gutiérrez Quiroga Carlos Gutiérrez Quiroga (La Paz, Bolivia, 1982) is a composer, performer, and instructor at the Orquesta Experimental de Instrumentos Nativos (OEIN). He received his musical training mostly at the OEIN and his principal teachers were Cergio Prudencio and Carlos Rosso. His compositional work is strongly influenced by the study of native music Sebastián Zubieta Sebastián Zubieta is Director of Music and Music Editor of Review at the Americas Society