Shared Soundscapes: Music Revivals and Identity Politics in Peru

目前的人类学研究项目涉及当地音乐和舞蹈传统被秘鲁国家，档案馆，人类学家和当地社区等行为者用于身份政治时出现的音景。它调查了音乐复兴和身份主张的过程，涉及两种档案馆（PUCP民族音乐学研究所和一名人类学家的个人收藏）与当地社区（声称Muchik血统的人; Asháninka和Nomatsiguega土著人民）之间就主要记录于1980年代的音乐和舞蹈剧目进行的当代谈判。在经历了一段时期的衰落之后，今天，在Eten和Túcume（北方海岸）和Matereni（中央雨林），正在努力振兴诸如marinera、danza de los diablicos、tsonkari和ayahuasca歌曲等流派，以体现文化上独特的集体身份。该项目的主要研究问题是：通过在全球北方或南方大都市发起的人类学收集和存档，数十年来一直与当地社区分离的健全遗产目前如何在秘鲁国家，档案馆，人类学家和这些社区之间进行谈判？该比较项目将以两个关于迄今为止很少受到学术关注的地区的案例研究为基础，并利用“共享音景”这一关键概念，调查某些行为者-其中包括音乐家、文化促进者和国家教师-如何激活传统音乐和舞蹈的录音，以塑造、体验和共享音景，从而寻求作为一个文化杰出群体的认可。它的理论方法是在档案和音乐Patrimonialization研究人类学的交叉点，并将被应用于产生有关音乐复兴和身份政治的理论知识，作为塑造国家和地方身份和重新定义秘鲁区域等级的关键过程。作为一种创新的研究方法，该项目将以合作的方式激活档案及其材料，在包括人类学家和当地专家作为音乐和舞蹈研究助理的团队中进行实地考察。将根据参与者观察、叙述和以主题为中心的访谈以及通过历史录音的启发收集数据。

The present anthropological research project deals with soundscapes that emerge when local music and dance traditions are appropriated by actors such as the Peruvian state, archives, anthropologists and local communities for identity politics. It investigates processes of music revivals and identity claims with regard to contemporary negotiations between two kinds of archives (the Institute of Ethnomusicology at PUCP and the individual collection of an anthropologist) and the local communities (people claiming Muchik descent; Asháninka and Nomatsiguega indigenous peoples) of music and dance repertoires recorded mainly in the 1980s. After a period of decline, today efforts of revitalizing genres such as marinera, danza de los diablicos, tsonkari and ayahuasca songs for purposes of manifesting a culturally distinguished collective identity are underway in Eten and Túcume (Northern Coast) and in Matereni (Central Rainforest). The project’s main research question asks: How are sound legacies that had been separated from local communities for decades through anthropological collection and archiving initiated in the Global North or in Southern metropolises currently negotiated between the Peruvian state, archives, anthropologists and these communities? Based on two case studies concerning regions which to date have received little scholarly attention, and using the key concept of “shared soundscapes”, the comparative project will investigate how certain actors – among them musicians, cultural promoters and state teachers – activate the recordings of traditional music and dance to shape, experience and share soundscapes in their search for recognition as a culturally distinguished group. Its theoretical approach is at the intersection of the Anthropology of Archives and Music Patrimonialization Studies and will be applied to generate theoretical knowledge about music revivals and identity politics as crucial processes shaping national and local identities and redefining Peruvian regional hierarchy. As an innovative research methodology the project will activate archives and their materials in a collaborative way by conducting fieldwork in teams that include anthropologists and local experts as research associates on music and dance. Data will be collected based on participant observation, narrative and theme-centred interviews as well as elicitation via historical sound recordings.