The University of California Riverside

Music Department and Music Graduate Student Association

present

Latin American Music and Performance Conference

17-18 February 2018
Presentations from graduate students in ethnomusicology,
musicology, music education, and dance given in
English, Spanish, and Portuguese.
Conference Committee Co-Chair and Flyer Design Hannah Balcomb
Conference Committee Co-Chair Claudine Avalos
Local Arrangements Committee Chair and Program Design Leilani Dade
Abstracts Committee Chair Owain Graham
Volunteers Committee Chair Jessica Gutierrez Masini
Publicity Chair Benjamin Blocksom

We would like to thank the MGSA and the UCR Music Department with special thanks to:
Music Department Chair Leonora Saavedra
Financial and Administrative Officer Reasey Heang
Program Promotions Manager Kathleen DeAtley
Production Manager Greg Renne
CHASS Facilities Conference Events Coordinator Tori Worum
CHASS Facilities Conference Events Coordinator Michael Jordan
Table of Contents

Program Schedule ………………………………………………….1

Keynote Speaker…………………………………………………….4

Abstracts…………………………………………………………….5

List of Nearby Restaurants………………………………………….16

 Latin American Music and Performance Conference
17-18 February 2018 - Program Schedule
University of California Riverside

SATURDAY 17 February
8:00-9:00 Breakfast and Registration (INTS 1109)

9:00-10:30 Session I: Resistance and Sound (INTS 1113)

Ivo Zabaleta Bolaños, “El vallenato de “Protesta”: el caso de Maximo Jimenez” (Universidad
Nacional de Colombia, Bogotá)
Benjamin Bean, “Wind, Affect, and Play: A Non-Sovereign Moment in Puerto Rican Sound and
Sense" (University of California Davis)
Hermann Hudde, “The Museum of Contemporary Art of Caracas: A Place for Art or a Battle
Field?" (University of California, Riverside)
10:30-10:45: Coffee Break (INTS 1109)

10:45-12:15 Session II: Mimesis and Indigenous Identity (INTS 1113)

Benjamin Blocksom, “Mimesis and Alterity: Astral Copies and Contagions in the Music of a
Brazilian Ayahuasca Religion.” (University of California, Riverside)
Graham, Owain "Vegetalismo and the Mimetic Faculty: The Power of Imitation in South
American Shamanism." (University of California, Riverside)
Juan Carlos Molano Zuluaga, “Entre las distorsiones de las guitarras eléctricas y el charango:
Sónica, cuerpo y performance en las prácticas sonoro-musicales de los jóvenes músicos Emberá-
Chamí.” (Universidade Federal do Rio Grande do Sul, Brasil)
12:15-1:30- Lunch break (INTS 1109)

1:30-3:00 Session III: Sounds of Nationalism (INTS 1113)

Leilani Dade, “Alejandro Caturla and Alejo Carpentier’s La Manita en el Suelo: A Creative
(Re)Staging" (University of California, Riverside)
Luis Antonio Sanchez, “Identifying Mexican Nationalism in early-Twentieth- Century Music”
(Texas Tech University)
Ciro Visconti, “As várias interpretações harmônicas no Estudo para Violão no 2 de Villa-Lobos”
(City University of New York / University of São Paulo)

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3:30-4:30 Keynote (INTS 1128)

Ruth Hellier-Tinoco, “Performing Palimpsests in Mexico: Constructing & destabilizing trans-

temporal imagined communities through music, dance, and theatre.” (Associate Professor,
University of California, Santa Barbara)
4:30-6:30 Dinner break (INTS 1109)
7:00-9:00 Performance + Open Mic (INTS 1111)

SUNDAY 18 February
8:00-9:00 Breakfast and Registration (INTS 1109)

9:00-10:30 Session IV: Cultural Production and Identity (INTS 1113)

Mélodie Michel, “Latin American Villancico in the music canon: historical negligence or
political overlooking?” (UC Santa Cruz)
Camilo Vaughan, “La creación de los Tres Ballets Criollos de Guillermo Uribe Holguín como
producto de exportación nacional colombiano para un escenario panamericano” (Universidad
Nacional de Colombia, Professor at the INCCA University in Bogotá, Colombia)
Lucas Bonetti, “A Brazilian composer in Hollywood: Moacir Santos’s film score for Love in the
Pacific” (University of Campinas)
10:30-10:45 Coffee Break (INTS 1109)

10:45-12:15 Session V: Popular Music and Music in the Public Sphere (INTS 1113)

Juan David Rubio Restrepo, “Genealogies of the popular: Música popular, Eurocentrism and a
decolonial account in the voice of Julio Jaramillo" (University of California San Diego)
Eric Johns, "Tangos desencarnados: subjetividad posthumana en el tango argentino." (University
of California, Riverside)
Schuyler Whelden, “Public Debate and Popular Music Performance in 1960s Brazil" (University
of California, Los Angeles)
12:15-1:30 Lunch (INTS 1109)

1:30-3:00 Session VI: Identity, Resistance, and Performance (INTS 1113)

Dava Hernandez, “Rhythm and Resistance: Chicanxs Radical Re-interpretations of Zapateado

Fandanguero” (University of California, Riverside)
Jessica Gutierrez Masini, "I'm Just Here to Volunteer": Engaged Ethnomusicology and
Understanding the Intersections between Danza Mexica and Powwow Cultures in UC Riverside
Indigenous Communities” (University of California, Riverside)
Juliana Cantarelli Vita, “Embracing Context and Transmission: Learning Traditional Afro-
Brazilian Music Genres” (University of Washington)

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Keynote

Ruth Hellier-Tinoco
Associate Professor
University of California, Santa Barbara

Performing Palimpsests in Mexico:

Constructing & destabilizing trans-temporal imagined communities through
music, dance, and theatre

Palimpsests are inherently trans-temporal, containing traces and remains of previous existences,
even as they are experienced in a present moment. Palimpsests comprise accumulations, layers,
in-betweenness, liminality, ambiguities, and pluralities. Palimpsests generate connections across
time, crossing borders, and conjoining collective and personal histories and memories. This talk
uses the frame of palimpsests to discuss musical, theatrical, and dance performances in twentieth
and twenty-first century Mexico, specifically focusing on both creating and destabilizing
imagined communities through reiterations of remains of Indigenous practices and histories. The
first case involves the musical and dance legacy of P'urhépecha musician-teacher Nicolás Bartolo
Juárez from the Island of Jarácuaro, and his role in disseminating the Dance of the Old Men in
the context of postrevolutionary nationalism and tourism. The second case explores the deeply

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playful and provocative feminist theatre of experimental transdisciplinary company La Máquina
de Teatro. Engaging ideas and methods from music, performance, theatre, dance, and feminist
studies, these cases offer insights into the potentials of performing remains, through ethical
notions of embodied archival repertoires.

Ruth Hellier-Tinoco, PhD, is a scholar-creative artist and Associate Professor at the University
of California, Santa Barbara, where she focuses on the politics/poetics of performance in
Mexico; experimental performance-making; gendered vocality; and community and
environmental arts.

Publications include: Embodying Mexico: Tourism, Nationalism, and Performance; Women

Singers in Global Contexts:Music, Biography, Identity; and Postmemory Theatre & Performing
Palimpsest Bodies: Mexican Creative Experimentation with Time, Remains, and History
(forthcoming). She is editor of the multidisciplinary UC Press journal Mexican Studies/Estudios
Mexicanos.

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Abstracts
Session I: Resistance and Sound

El vallenato de “Protesta”: el caso de Máximo Jiménez

Ivo Zabaleta Bolaños (Universidad Nacional de Colombia, Bogotá)

En 1971 Colombia era un país más receptor que continuador de la nueva canción
latinoamericana. Salvo en casos como los de Ana y Jaime, Jorge Velosa y algunos casos en el
rock colombiano como el de Oscar Golden y Pablus Gallinazus, y en comparación con otros
países latinoamericanos, había una moderada cantidad de grupos musicales con el deseo de hacer
canciones políticas en Colombia.
Mientras que en las zonas urbanas de Colombia se vivía el sentimiento político cristalizado en la
nueva canción latinoamericana, en las zonas más apartadas del país se dio una fuerte violencia
rural encabezada por la Asociación Nacional de Usuarios Campesinos (ANUC), un gremio social
que realizó tomas de tierras (o invasiones) a terratenientes del país. En ese contexto, uno de los
campesinos de la ANUC llamado Máximo Jiménez (Santa Isabel, 1949) comenzó a escribir
canciones políticas a partir de 1971. Esto llamó la atención de algunos intelectuales, escritores y
cuadros políticos de Córdoba (departamento de la Costa Caribe de Colombia) y con Máximo se
engranaron procesos políticos, académicos y culturales que resultaron en nuevos modelos
composición vallenato y en una lógica de “democratización de la música” y de “recuperación
histórica”.
En este sentido, esta propuesta de ponencia busca analizar los LP de Máximo Jiménez de los
años 70 para hacer un estudio de canciones, de sus textos y de cómo se conjuga el análisis de las
estructuras musicales con su mensaje político, buscando comprender la relación entre música y
política en un contexto social diferente al de la nueva canción latinoamericana.

Wind, Affect, and Play: A Non-Sovereign Moment in

Puerto Rican Sound and Sense
Benjamin Bean (University of California Davis)

This talk begins and ends on a beach in Santurce, Puerto Rico, where a small crowd is gathered
to enjoy an evening of bomba music. It is Labor Day, 2017, and Hurricane Irma, at this point a
Category 5 storm less than two days away, threatens devastation on the northeast corner of the
island, and possibly more. While many residents are busy gathering supplies, this group of
musicians, dancers, and close friends and families are not only celebrating the holiday, but also
singing defiantly against the wind while spiritually preparing themselves for the possibility of
losing power and water for weeks or months. What is at play here is more than the communitas
of a musical collective in a liminal calm before the storm; this is a story of affects that bring
human and non-human characters into a moment of mutual non-sovereignty. Thinking with
Jonathan Pugh (2017), I reflect on the affective atmospheres of colonialism in Puerto Rico

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during this late summer moment, and how Puerto Ricans respond to these recent intensities: not
only the vitality of the beachscape, but also the energies arising within workers strikes and
protests against La Junta (the Fiscal Oversight and Management Board), sites of environmental
activism, cooperative farming and food production, and especially music scenes. Yarimar
Bonilla's (2015) concept of non-sovereignty helps me frame this moment on "the Island of
Enchantment," a U.S. possession that pulls simultaneously toward statehood and independence
but never fully toward either, as a moment in which this indeterminacy allows for a sense of
Puerto Rican-ness. Through my own observations, interviews, and continued correspondence
with people on the island (as well as several who have since been displaced), I show how this
sense emerges within processes of play in affective environments.

Contesting Dictatorship: Music in the Venezuelan Protests of 2017

Hermann Hudde (University of California, Riverside)

From April to August 2017, the Venezuelan people occupied the streets to resist and channel
their rejection to the Humanitarian and Constitutional Crisis of the Cuban-infiltrated and
ideologically dominated dictatorship of Nicolás Maduro (Colombia, 1962). The follower of the
late dictator Hugo Chávez (Venezuela, 1954-2013) unleashed a new chapter of violent
government repression against the population by using the National Guard and the Supreme
Tribunal of Justice of Venezuela to dissolve the legally elected National Assembly (2015). These
actions opened the way to designate an illegal government loyal to the National Constituent
Assembly with the goal of adapting and rewriting the Venezuelan Constitution, according to the
totalitarian instructions from Cuba. As a consequence of the brutality displayed by the ruling
authority, Venezuela suffered 130 deaths, 15,000 wounded and more than 1,000 Venezuelans
incarcerated and tortured. Music and musicians participated in this civil and democratic
movement by confronting the government’s repressive actions, not only by performing in the
streets during the anti-government demonstrations or posting composed music works in the
global social media with the aim of denouncing the regime’s human rights violations, but by also
losing their own lives or being arrested and tortured. This presentation examines the role of
music, sound, and musicians during this miserable episode of Venezuelan history.

Session II: Mimesis and Indigenous Identity

Mimesis and Alterity: Astral Copies and Contagions in the Music of a

Brazilian Ayahuasca Religion
Benjamin Blocksom (University of California, Riverside)

Representations of alterity has been a central line of inquiry in ethnomusicology since its
inception, but the matter of drawing neat lines and well-defined categories is not always an easy
task. Important work on alterity and was proposed by Michael Taussig, who offered a theoretical
explanation of the role of mimesis in South American shamanism, partially based on an

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interpretation of James George Frazer’s understanding of magical efficacy. The musical practices
and collective shamanism found in the Santo Daime, Brazilian Ayahuasca Religion, can be
partially explained by this facet of Taussig’s theoretical framework. In particular, the
representations of visions received during the altered states of consciousness associated with the
Amazonian entheogen ayahuasca reveal a complex understanding and negotiation of local,
national, and transnational music processes. Evidence supporting this is based on ethnographic
field work with communities based in the Western Brazilian Amazon, urban centers in other
Brazilian states, and the United States.

Vegetalismo and the Mimetic Faculty: The Power of Imitation

in South American Shamanism.
Owain Graham (University of California, Riverside)

Novelist William Burroughs’s 1953 excursion to Pucallpa, Perú and subsequent publishing of
The Yagé Letters (1963)—a collection of correspondence between Burroughs and Allen
Ginsberg concerning the use of psychoactive plants in Amazonian shamanistic practices—
sparked a rise in tourism with an interest in South American shamanism. This branch of cultural
tourism is called “ayahuasca tourism” after the Quechua name for the psychotropic brew central
to lowland South American shamanism. The work of Labate (2014) and Brabec de Mori (2014)
has shown that cultural tourism and shamanism have been shaping each other’s practices
throughout their years of contact in South America. Some of the resulting changes include
translation of icaros—the songs that are central to these rites—from Spanish to indigenous
languages in order to appear more exotic, more appealing to tourists in search of “authentic”
shamanic experiences. Drawing from the work of Michael Taussig, I argue that the spiritual and
healing power of these songs can be usefully understood through the analytical lens of the
mimetic faculty. In these rituals, shamans control the healing power by of the “other,” the spirit
realm, by mimicking a given spirit’s essential character in song. Furthermore, I argue that this
analytic lens can appropriately be expanded to understand the relationship that indigenous
shamans have to the cultural tourism industry. Changes in shamanic practices can be understood
as a form of mimetic adaptation, and possibly resistance, to the hegemony of the cultural tourism
market.

Entre las distorsiones de las guitarras eléctricas y el charango: Sónica, cuerpo

y performance en las prácticas sonoro-musicales de los jóvenes músicos
Emberá-Chamí. (Colombia)
Juan Carlos Molano Zuluaga (Universidade Federal do Rio Grande do Sul, Brasil)

Entre los Emberá Chamí se vislumbra un inusitado activismo indígena, especialmente por los
más jóvenes, a través, de ciertos procesos y tratamientos corporales dados por las prácticas
sonoro-performáticas. El modo de ser/estar en el territorio indígena, está determinado por un
conflictivo escenario histórico-político donde las prácticas culturales, especialmente la danza y la
música, se constituyen como un insumo importante para provocar ciertos devenires cuerpo(s) y

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territorio(s). Las distintas dimensiones estéticas, dadas por sus corporalidades y las “intensas”
vocalidades y sonoridades en sus prácticas sonoro-musicales, determinan la constitución de la
persona indígena Emberá Chamí en términos sonoros.
Este trabajo se enmarca dentro de unas interpretaciones etnomusicológicas dadas por mi trabajo
de campo en el resguardo indígena de San Lorenzo y en el cual el objetivo fue remitirme al
estudio de las performances musicales de los grupos de música de los jóvenes en el territorio. En
este sentido, la comunicación evidenciaría interpretaciones socio-político-musicales por la
realización de distintos eventos sonoro performáticos que suceden en este territorio indígena,
obedeciendo a insumos para denotar ciertas resistencias políticas y devenires sónicos-corporales
en el territorio. Es decir, estos jóvenes enmarcan performances sónicas e identitarias en el
territorio y fuera del mismo que “perturban” e “incomodan” a indígenas y no-indígenas
precisamente por no obedecer a ciertas órdenes instituidas territorialmente. Por tanto, preguntas
como: ¿Qué se entiende y que sienten los jóvenes con respecto a su identidad e indigenidad? y
¿Qué es ser un joven músico indígena Emberá Chamí hoy en el territorio? Determinan la
construcción y diálogo de pensamiento etnomusicológico con respecto al indigenismo en los
Andes.
En suma, aquí evidenciaría los conflictos, resistencias y/o negociaciones en los procesos de
configuración identitaria y socio-político(s)-musical(es) y el pensamiento cosmopolítico de lo
que es ser un joven músico indígena Emberá y en los Andes en el siglo XXI.

Session III: Sounds of Nationalism

Alejandro Caturla and Alejo Carpentier’s

La Manita en el Suelo: A Creative (Re)Staging
Leilani Dade (University of California Riverside)

Alejandro García Caturla (1906-40 ) is regarded as one of the founders of the Cuban Afro-
Cubanism style, though often overshadowed by his contemporary Amadeo Roldán (1900-39).
After attempts to convince Alejo Carpentier (1904-80) to write an Afro-Cuban ballet for him
failed, the opportunity to collaborate with Carpentier finally presented itself in the form of La
Manita en el Suelo, an opera buffa in one act and five scenes, drawing from a combination of
both visual and musical elements of African, European, and Latin heritage within Cuban
folklore. Carpentier’s collaboration with Caturla was meant to unite the myths and legends of all
three cultures, each personified as characters in the story, into one vibrant and accessible
production. Due in part to Caturla’s untimely death, La Manita en el Suelo was never performed
in its entirety with the staging that Caturla and Carpentier envisioned. Drawing from the works
of Charles White, Malena Kuss, and others, this project examines nationalism, surrealism, and
folklore in Alejandro García Caturla and Alejo Carpentier’s puppet opera, La Manita en el Suelo,
and offers a fresh analysis of the work. This presentation features a demonstration of presenter-
created staging, puppets, and plans to revive the opera through live storytelling and stop-motion
animation.

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 Identifying Mexican Nationalism in early-Twentieth-Century Music
Luis Sanchez (Texas Tech University)
Music from the Mexican Nationalist period started at the beginning of the Mexican Revolution
of 1910, and ended with the death of José Pablo Moncayo in 1958. This can be further divided
into two different eras of the Nationalist style: an early-Nationalist era (1910-1928), and the
Mexican Renaissance (1928-1958). In a lecture given in 1928, Chávez expressed the direction
Mexican music should head towards, or should go back to. The music of the indigenous people
of Mexico is described by Chávez as the quintessential Mexican sound. He depicts music of the
Aztec people in particular, as having the following characteristics: a minor-quality sound,
monotony, simultaneous sounding of different pentatonic melodies, and two or more rhythms the
beats of which never coincide. Other characteristics that have been noted as being nationalistic is
the use of pandiatonicism, ostinato, and constant change of time signatures. Nationalism in
Mexican composition during the early-Twentieth-Century provided composers a means for
distinguishing their music from European influences. Initially, in order to create a Mexican
sound, composers began to integrate local folk and popular melodies into their music, which also
included indigenous songs. Certain similar characteristics arose from the use of these melodies,
which have been noted in different books and articles, however; the approach to identifying these
characteristics have been based on historical methods rather than theoretical. This paper will aim
to identify nationalist traits in select works by Carlos Chávez, José Pablo Moncayo, and Silvestre
Revueltas through theoretical analyses of each piece.

As várias interpretações harmônicas no Estudo para

Violão no 2 de Villa-Lobos
Ciro Visconti (City University of New York (CUNY) /
University of São Paulo (USP))

Este trabalho está alinhado as novas pesquisas sobre a música de Heitor Villa-Lobos que
surgiram na academia brasileira na última década, sobretudo com o grupo de pesquisa
PAMVILLA que conta com a participação de professores e alunos de pós-graduação de
universidades de vários estados do brasileiro, que abordam a música do compositor explorando
outras facetas além do aspecto nacionalista de sua obra (sem necessariamente negar este último)
descrevendo, assim, suas técnicas de composição com maior precisão.
O Estudo para Violão no 2 é uma peça composta por uma sucessão de arpejos com uma fórmula
rítmica regular o que deixa sua textura com uma camada única. A falta de um tema melódico
destacado desta camada de arpejos faz com que a harmonia ganhe uma importância maior para a
determinação de sua divisão formal e de suas relações de pitch-class. Dessa maneira, este
trabalho se propões a realizar uma análise harmônica da peça sobre o ponto de vista de três
teorias:
1) Teoria tonal, a primeira parte da análise será feita com a teoria tonal tradicional, utilizando os
graus romanos e as funções harmônicas, essa análise dará uma visão mais geral sobre a harmonia
do Estudo e ao mesmo tempo revelará algumas passagens ambíguas que não se adequam a

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tonalidade;
2) Teoria transformacional, nessa segunda parte, a harmonia será reinterpretrada sobre o ponto
de vista transformacional e a utilização de grafos neoriemannianos como o Cube Dance será
possível aprofundar as relações de pitch-class e lançar luz sobre alguns pontos inexplicados pela
análise tonal; 3) Teoria dos conjuntos diatônica, nesta última parte todos os tricordes da peça
serão analisados em mod-7, o que vai explicar uma série de escolhas de sobreposição de notas no
Estudo.

Session IV: Cultural Production and Identity

Latin American Villancico in the Musical Canon: Historical Negligence or

Political Overlooking?
Mélodie Michel (UC Santa Cruz)

Sitting at the intersection between the sacred and the profane, between the local and the global,
the villancico stands as the most emblematic genre of Baroque Latin American music. Being in
use from the earliest stage of the colonial period, it remained central as a communication tool
between ecclesiastic powers and local population along the 16th to the 19th centuries. Scholars
debate on the meaning of its performances during the Colonial period: some saw its potential to
subvert political, religious, and gender powers (Long 1998); while other consider that they are
merely a reaffirmation of an established order (Baker 2007). All agree nevertheless on the
importance of villancicos production for churches, cathedrals and parishes, and on the fact that
the specificities of the Latin American villancico demark this region's musical heritage from the
rest of the world. Still, very little importance is given to this genre in Western Art Music
traditional narratives. If the villancico finally received some attention in the last decades (Laird
1997), it is hardly included into the canonical corpus of classical music and rather seen as a
peripheral, anecdotic or even exotically entertaining expression (López-Marín 2016). What is at
stake when such an extended repertoire is dismissed, de-valorized or forgotten? Who are the
persons and institutions, which have interest in the legitimation or in the repression of Latin
American art music? What does this reveal about the place of Hispanic culture at large in Europe
and in the Americas? This paper reveals the unbalanced reality of the villancico's (mis-
)representation in the classical canon and examines the various politics that maintain or disrupt
this unbalance. I stem on postcolonial and feminist readings applied to musicological literature as
well as on ethnographic research among musicologists and performers.

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 La creación de los Tres Ballets Criollos de Guillermo Uribe Holguín como
producto de exportación nacional colombiano
para un escenario panamericano
Camilo Vaughan Jurado (Universidad Nacional de Colombia, Professor at the
INCCA University in Bogotá, Colombia)

Motivated by the Second World War, the government of the United States of America
implemented, during 30´s and 40´s, policies of rapprochement with Latin America, including the
American Ballet Caravan project. As a political strategy it probably achieved its goals, but also,
as a side effect, it generated a kind of boom in the ballet genre in several countries of the
continent, including Colombia.
The three Ballets Criollos op. 78 (1945) by Guillermo Uribe Holguín (1880-1971), probably the
most important composer of Colombian nationalism in the first half of the 20th century, is a
paradigmatic example of his late nationalist symphonic style. It has been said that after his
resignation from the direction of the National Conservatory in 1935, "his active participation in
the musical life of the country ceased and he retired hurt and disappointed"2. The truth is that the
composer's late production reflects new ways of conceiving music, incursions in genres and
musical forms that he did not address before and new strategies for the positioning his work in
the international scene.
The composition of Los these Ballets was the product of the composer's efforts to reach
international scenarios, different from those he conquered in the first decade of the century,
during his studies in Paris. The dedication of the first two Ballets to Gilbert Chase and Nicholas
Slonimsky, as well as the form and extension coincidences with the performances that the
Caravan Ballet presented at the same time in several cities of the continent, shows seemingly
unsuccessful attempt of the composer, who pretended to, with trough these three pieces, position
himself on the Pan-American music scene promoted by the United States government.
2 Eliana Duque, Guillermo Uribe Holguín y sus trescientos trozos en el sentimiento popular,
Instituto Caro y Cuervo, 1980, p.21. Author´s translation.

A Brazilian composer in Hollywood: Moacir Santos’s

film score for Love in the Pacific
Lucas Zangirolami Bonetti (University of Campinas)

Moacir Santos (1926-2006) had a prolific early career in Brazil, beginning as a performer and
arranger in the golden era of Brazilian radio (the 1940s) and migrating to the cinema in the early
1960s. Before moving to the U.S. in 1967, he composed music for milestones of the acclaimed
Cinema Novo movement. His move was spurred by the positive repercussions of his score for
Love in the Pacific (1968), from the director Zygmunt Sulistrowski.
Love in the Pacific, similar to other Sulistrowski productions, is an example of the genre of
erotic cinema. More renowned composers usually do not accept working on this type of
productions, leaving opportunities for musicians in the beginning of their film music careers

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seeking a chance to break in the industry. Although the full movie is lost, I have managed to find
a copy of the theatrical trailer and an LP release of the film’s music. Despite the impossibility to
analyze the relation of the music to the picture, this LP reveals a powerful and diverse score
composed for a 65-piece orchestra. All tracks were fully transcribed to music notation, and this
process helped to understand Santos’s musical and dramatic approach. Its thematic material is
repeatedly used in many different instrumentations throughout the score, connecting the cues
using the leitmotiv technique. Additionally, the tracks are very diverse in terms of genre,
mimicking the different countries the movie was shot in.
Santos’s subsequent credited productions in the American audiovisual industry are not
numerous: Africa Erotica (1970), a second collaboration with Sulistrowski, also composed for a
large ensemble; and a small cue for Final Justice (1985), from the director Greydon Clark. In the
non-credited realm, Santos is also known for his ghostwriting activity in the Mission: Impossible
series, certainly one of the most controversial topics of his career.

Session V: Popular Music and Music in the Public Sphere

Genealogies of the popular: Música popular, Eurocentrism and a decolonial

account in the voice of Julio Jaramillo
Juan David Rubio Restrepo (University of California San Diego)

The popular in its adjective form is found pervasively in studies of Latin American
music. As fundamental as it has been, few theoretical formulations of the música popular concept
exist. Claims about its divergence from its Euro-American counterpart are often made but hardly
elaborated on. Departing from the work of Santamaría Delgado (2014) and Ochoa Gautier
(2014), I trace a genealogy of música popular that goes from the 19th to early 20th century. I
elaborate on these authors in order to argue that the ontology of the popular predates the
emergence of the media industry and its constructed on process of racialization and construction
of difference. Using a decolonial approach, I show how ideas of the popular are founded on
Eurocentered notions of “culture” and “folk” and subalternization of “other” knowledges. I
situate this theorization in mid 20th century Latin America through the figure of Ecuadorian
singer-songwriter Julio Jaramillo, one of the most important performers of música popular of the
time. In Jaramillo, I argue, we see how different connotations of the concept conflate. While the
ontology of the popular is partially constructed on racialized-colonial ways of knowing, it is also
a potential locus where counter-hegemonic can emerge. Using primary sources, I show how
these overlapping dynamics meet in Julio Jaramillo, signaling complex narratives of race, music,
and nation.

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 Tangos desencarnados: subjetividad posthumana en el tango argentino
Eric Johns (University of California, Riverside)

Imagining a dystopian future in 1960s and 70s Buenos Aires was not difficult. The economic and
political realities of the failure to implement hard phase import substitution, and the state
terrorism and oppression by the military dictatorships. Certain tango lyricists of this epoch, such
as Eladia Blázquez and Horacio Ferrer, began to explore previously untouched subjectivities.
These subjectivities, either embodied or disembodied, were often twists on traditional tango
themes, though experienced through the modern sociopolitical climate. These tangos followed
protagonists capable of time travel as well as reincarnation as supernatural humans, cyborgs,
robots, or even extraterrestrials. Through a post-human reading of selected tangos from this era, I
will illustrate that these tangos not only capture these previously unexplored subjectivities
through their lyrics, but also through vocal and instrumental performance.

Public Debate and Popular Music Performance in 1960s Brazil

Schuyler Whelden (University of California, Los Angeles)

From 1964 to 1966, singer Nara Leão was one of the most successful popular recording artists in
Brazil, releasing eight LPs, starring in two musical theater pieces, and winning first place in the
second annual Festival de Música Popular Brasileira (MPB) on TV Record. Her success was
marked by financial earnings and critical acclaim for her interpretations of songs by elder
statesman of Rio de Janeiro samba like Cartola, Nelson Cavaquinho, and Zé Kéti and as yet
unknown composers of the nascent MPB such as Chico Buarque. Leão did not limit herself these
artistic contributions, however; in addition to releasing recordings and performances, she
developed and maintained a public-facing dialogue about Brazilian political matters. In 1964, she
opined about the social responsibilities of musicians, disparaging the genre of bossa nova and
drawing the ire of its proponents. In 1966, she risked prison by speaking openly about the
need for a civilian president in Brazil, which had been helmed by a military government since a
coup in April of 1964.

In this paper, I examine how Leão used her position as a popular public figure to engage in
rational-critical debate through the Brazilian press. Drawing on theorists Jürgen Habermas,
Michael Warner, and Gabriel Tarde, I argue that Leão’s forays in the public sphere not only
affected and contributed to public opinion among her fans, but shaped expectations for the
purpose and uses of the genre of MPB. I show how Leão expertly supplemented her politically
motivated repertory and performances and created expectations against which subsequent singers
and composers would be measured. By analyzing these interviews alongside her artistic
output, I trouble traditional narratives about the supremacy of the composer in Brazilian political
music-making, refocusing instead on how performers like Leão used their popularity to political
ends.

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Session VI: Identity, Resistance, and Performance

Rhythm and Resistance: Chicanxs Radical Re-interpretations of

Zapateado Fandanguero
Dava D. Hernández (University of California, Riverside)
Son jarocho is an Afro-diasporic music and dance culture whose origins have been traced to the
seventeenth century sotavento region of southern Veracruz, México. Zapateado is intricate,
percussive dancing that occurs on top of a wooden platform known as a tarima. Zapateado is a
fundamental element of the fandango which is a gathering of musicians, singers, and dancers in
son jarocho culture. The fandangos of Veracruz are communal festivities that have their roots in
rural campesino or countryside traditions.
This interdisciplinary project positions the fandango veracruzano in a subaltern urban son
jarocho fandango community in the cities of San Antonio and Austin, Texas. Through an
examination of son jarocho culture among these Chicanxs practitioners, I discuss the way
gendered rules for dance shift within these fandango settings. I also explore how zapateado
fandanguero and the tarima provides a progressive space for challenging hetero-patriarchal,
gendered son jarocho dance practices. In this paper, I combine the analytic strategies of Dance
Studies, theories of performance and methodologies of de-colonization to assess how the tarima
becomes a site of cultural and political resistance where Chicanxs carve out a space to create a
community that is conscientious of gender and sexuality identities in the face of outside forces. I
suggest the tarima as a space where traditional gender role expectations are questioned,
challenged and redefined. With syncopated and rhythmic stomping of the feet, I argue that
Chicanxs are transforming the zapateado fandanguero tradition to allow for a more gender fluid
consciousness reflected in the dancing.

Are Chicanos Indigenous?: Powwows, Danza Azteca, and Indigenous

Presence in the University of California,
Riverside Community
Jessica Margarita Gutierrez Masini (University of California, Riverside)

Since its arrival in the United States in the mid-1970s, the indigenous ritual dance known as
Danza Azteca has had a profound impact on the self-identification and concept of space in
Mexican-American, Chicanx, and other Latinx communities. My project critically examines how
current powwow organizations’ inclusion of Danza Azteca creates transnational indigenous
spaces within the university. Drawing on methods from indigenous, music, and anthropological
studies, I trace real and imagined connections to powwow cultures across the realms of genre and
technology; language and dialect; citation and collaboration; and access and ownership.
In the mid-1800s, United States governmental policies displaced Native Americans onto
reservations and banned them from practicing their cultural traditions. Fortunately, powwows
became underground spaces where tribes gathered to share and maintain their songs and dances.
Today, powwows are intertribal social events organized by committees, and in the case of

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University of California powwows, these are entirely student-run groups who coordinate with
their local native communities. Powwows not only have restorative abilities to create community
for those who perform, attend, and coordinate them, but they are only a small glimpse of the
broader socio-political networks that take place throughout the powwow circuit.
By inviting and opening the powwow space to indigeneity across borders, the University of
California not only accurately reflects its own native student body who put on the event, but
speaks to the growing understanding of “Native American” both north and south of the United
States border. Ultimately, I argue an alliance studies approach to historical ethnography
illuminates the importance of social relationships across space and time, especially in the case of
powwow and indigenous communities who are committed to the survival and production of
cultural knowledge embedded in music and dance practices.

Embracing Context and Transmission:

Learning Traditional Afro-Brazilian Music Genres
Juliana Cantarelli Vita (University of Washington)
Teachers in schools as well as in higher education feature multicultural repertoire in their
classrooms as listening exercises, and for use as participatory and performance experiences.
Typically, the accent is on the repertoire, attempting to perform it as the recording (or
transcription, or notation arrangement) may represent it, weaving it into broader understandings
of music’s sonic structures, but omitting the culturally unique transmission practices that differ in
many aspects from formal education. These practices need to be taken into consideration,
however, for what such behaviors may reveal in the way of culturally preferred means of
transmission. In fact, this is a time of postcolonial reconsideration and questioning of dominant
elitists concepts in musical learning (Campbell, 2004; Krüger, 2011). Important in the literature,
and in practice, is an understanding of the need to acknowledge the ways in which teaching and
learning practices in community settings can provide genuine possibilities for responding to
social justice issues and opening access to music for all who are interested. I intend to present my
observations and analysis of transmission practices at Maracatu Nação Porto Rico, located in
Pernambuco, Brazil. The research was carried out over the course of two years, utilizing
participant observation of weekly rehearsals and participating in the community events. Emerged
themes were: important role and presence of the mestre, who holds culture-specific
knowledge; the importance of apprentices; the use of movement to assimilate rhythms;
problemsolving strategies; and generation of joy in playing, singing and dancing. The
transmission practices discussed reflect those of the larger–scale of Afro-Brazilian identity.
Understanding the relationship between music and culture is part of the outcome of attention to
transmission and learning as an interactive behavioral process, and attention to non-formal
musicking is a critical lens through which an understanding of alternative means of learning
music.

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Local Restaurants
Closest to campus:
The Sub Station The Getaway
3663 Canyon Crest Dr. 3615 Canyon Crest Dr.
Saturday 10:30AM–7:45PM Sunday 10:00AM–1:00AM
Sunday 11:00AM–6:00PM Sunday 10:00AM–1:00AM

You are here

Within a 15-minute walk:

The University Village

1223 University Ave
A shopping center featuring fast-food and chain restaurants.

Within a 15-minute drive:

Downtown Riverside
http://www.riversidedowntown.org/downtown-directory/restaurants/
Canyon Crest Shopping Center
http://www.shopcanyoncrest.com/directory-category/restaurants/

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