Digital Indigeneity: Bolivian music, new technologies and the cultural politics of Gregorio Mamani
Lead Research Organisation:
Royal Holloway University of London
Department Name: Music
Abstract
Research leave is sought to complete a book about the Bolivian 'indigenous' musician and cultural activist Gregorio Mamani Villacorta, a prolific recording artist and pioneer of the indigenous music VCD (Video Compact Disc). This biographical study will serve as a lens on key issues and dynamics in the cultural politics of contemporary Bolivia, especially in relation to the promotion, representation and commercialisation of indigenous music. Mamani's problematic status as a 'professional indigenous musician', alongside his outspoken and often controversial views, provide particularly engaging points of entry into lively ongoing debates about intellectual and cultural property, performers' rights, patrimony and piracy.
Although from a humble rural peasant background, in 2006 Mamani was appointed to a major regional government post with responsibility for cultural development, based in the former Bolivian capital of Sucre. This rise to power can be attributed to the country's pro-indigenous politics, under the presidency of Evo Morales (which forms a critical background to this study), but also to Mamani's visibility as a recording artist of indigenous music.
Since the explosion of the indigenous music VCD (and DVD) onto the Bolivian market in around 2003, rapidly eclipsing of the audiocassette, Mamani has been at the forefront of these digital developments. He continues to create a stream of low budget productions, using a video camera and home computer for editing and duplication. The medium's visual dimension provides fascinating new opportunities for creative constructions and representations of indigeneity that Mamani has been quick to exploit. Among other approaches, the book will examine the VCD production process ethnographically, and analyse musical, textual and visual elements of Mamani's output and their reception.
This book builds on over twenty years of research in the Bolivian Andes by the applicant, including ability to speak fluent Quechua and Spanish, and to perform many local styles of music. It enjoys excellent access to key consultants and benefits from intimate knowledge of Mamani's rural background and culture. This is critical to the analysis of Mamani's VCD (DVD) productions, which often feature his community of origin. Whereas the applicant's earlier research focused on music's relationship with social and agricultural production in a rural setting, as documented in his monograph Music and the Poetics of Production in the Bolivian Andes (Ashgate 2006), this urban-based project examines the commercialisation of this music and Mamani's representation of 'indigenous' (originario) culture and issues in his VCD (and DVD) productions. It also explores how new technology intersects with existing indigenous practices.
The research and writing of the book will be completed while based in Sucre, Bolivia. During a pilot project in Sucre in August 2006, Mamani's agreement to participate in the study was secured, practical arrangements made, and initial interviews were conducted.
1 Principal fieldwork phase (24 September 2007 / 6 January 2008)
(Unpaid Royal Holloway leave)
2 Writing phase & remaining fieldwork (7 January 2008 / 27 April 2008)
(Royal Holloway Sabbatical leave)
3 Completion of writing phase (28 April 2008 / 27 July 2008)
(AHRC funded Research Leave)
Although from a humble rural peasant background, in 2006 Mamani was appointed to a major regional government post with responsibility for cultural development, based in the former Bolivian capital of Sucre. This rise to power can be attributed to the country's pro-indigenous politics, under the presidency of Evo Morales (which forms a critical background to this study), but also to Mamani's visibility as a recording artist of indigenous music.
Since the explosion of the indigenous music VCD (and DVD) onto the Bolivian market in around 2003, rapidly eclipsing of the audiocassette, Mamani has been at the forefront of these digital developments. He continues to create a stream of low budget productions, using a video camera and home computer for editing and duplication. The medium's visual dimension provides fascinating new opportunities for creative constructions and representations of indigeneity that Mamani has been quick to exploit. Among other approaches, the book will examine the VCD production process ethnographically, and analyse musical, textual and visual elements of Mamani's output and their reception.
This book builds on over twenty years of research in the Bolivian Andes by the applicant, including ability to speak fluent Quechua and Spanish, and to perform many local styles of music. It enjoys excellent access to key consultants and benefits from intimate knowledge of Mamani's rural background and culture. This is critical to the analysis of Mamani's VCD (DVD) productions, which often feature his community of origin. Whereas the applicant's earlier research focused on music's relationship with social and agricultural production in a rural setting, as documented in his monograph Music and the Poetics of Production in the Bolivian Andes (Ashgate 2006), this urban-based project examines the commercialisation of this music and Mamani's representation of 'indigenous' (originario) culture and issues in his VCD (and DVD) productions. It also explores how new technology intersects with existing indigenous practices.
The research and writing of the book will be completed while based in Sucre, Bolivia. During a pilot project in Sucre in August 2006, Mamani's agreement to participate in the study was secured, practical arrangements made, and initial interviews were conducted.
1 Principal fieldwork phase (24 September 2007 / 6 January 2008)
(Unpaid Royal Holloway leave)
2 Writing phase & remaining fieldwork (7 January 2008 / 27 April 2008)
(Royal Holloway Sabbatical leave)
3 Completion of writing phase (28 April 2008 / 27 July 2008)
(AHRC funded Research Leave)
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| Henry Stobart (Principal Investigator) |