Representation and Difference : Racialisation in Marimba Esmeraldeña and Bomba del Chota 1)
During the Atlantic slavery period enslaved and freed Africans and Afro-descendants populated principally two areas in Ecuador: the Chota-Mira valley (Imbabura and Carchi provinces) and the northern part of Esmeraldas province. Afrodescendants from these territories created two music and dance-based...
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| Lenguaje: | Español |
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Universidad Nacional de Rosario
2023
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| Acceso en línea: | https://relasp.unr.edu.ar/index.php/revista/article/view/99 |
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I15-R205-article-992023-04-11T03:09:50Z Representation and Difference : Racialisation in Marimba Esmeraldeña and Bomba del Chota 1) Representación y Diferencia: Racialización en la Marimba Esmeraldeña y la Bomba del Chota López-Yánez, María Gabriela Afroecuatoriano Competencia comunicativa Colonialidad Danza Música Afro-Ecuadorian Communicative competence Coloniality Dance Music During the Atlantic slavery period enslaved and freed Africans and Afro-descendants populated principally two areas in Ecuador: the Chota-Mira valley (Imbabura and Carchi provinces) and the northern part of Esmeraldas province. Afrodescendants from these territories created two music and dance-based events; Bomba del Chota and Marimba Esmeraldeña. Since their arrival, Afro-descendants in Ecuador have had a history of dehumanization that continues until the present day. Based on the testimonies of the Marimberos and Bomberos included in this paper, archival compilation and fieldwork research, I address questions of racialized representations of Marimba and Bomba in order to build towards the notion of communicative competence. Here I propose the shift of some of the representations of Marimba and Bomba from the current focus on stereotypical characteristics such as a naturalized happiness and hyper-sexuality, to an emphasis on Afro-Ecuadorians’ collective memories. Through a sonic composition and its theorization, a questioning of coloniality that sustains racialized representations and the exposure of key, but usually silenced, collective memories is proposed. By developing a sonic composition and analyzing it, I aim to contribute with crucial theoretical and practical strategies to deepen a much needed and timely understanding of Marimba and Bomba 1) This paper and its sonic composition are bas ed on a chapter of my PhD thesis entitled “Sounds of collective memories: A decolonial counter- representation of Afro-Ecuadorian Marimba Esmeraldeña and Bomba del Chota” (López-Yánez, 2020). I dedicate this paper to one of the most renowned, charismatic and wise Afro-Ecuadorian artist, the Marimbero Guillermo Ayoví Erazo -Papá Roncón-, who passed away on September 30th, 2022, while I was writing it. Universidad Nacional de Rosario 2023-04-11 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://relasp.unr.edu.ar/index.php/revista/article/view/99 10.35305/rr.v3i6.99 Revista Euro latinoamericana de Análisis Social y Político (RELASP); Vol. 3 Núm. 6 (2023); 191 - 216 2683-7420 spa https://relasp.unr.edu.ar/index.php/revista/article/view/99/165 https://creativecommons.org/licenses/by-sa/4.0/ |
| institution |
Universidad Nacional de Rosario |
| institution_str |
I-15 |
| repository_str |
R-205 |
| container_title_str |
RELASP |
| language |
Español |
| format |
Artículo revista |
| topic |
Afroecuatoriano Competencia comunicativa Colonialidad Danza Música Afro-Ecuadorian Communicative competence Coloniality Dance Music |
| spellingShingle |
Afroecuatoriano Competencia comunicativa Colonialidad Danza Música Afro-Ecuadorian Communicative competence Coloniality Dance Music López-Yánez, María Gabriela Representation and Difference : Racialisation in Marimba Esmeraldeña and Bomba del Chota 1) |
| topic_facet |
Afroecuatoriano Competencia comunicativa Colonialidad Danza Música Afro-Ecuadorian Communicative competence Coloniality Dance Music |
| author |
López-Yánez, María Gabriela |
| author_facet |
López-Yánez, María Gabriela |
| author_sort |
López-Yánez, María Gabriela |
| title |
Representation and Difference : Racialisation in Marimba Esmeraldeña and Bomba del Chota 1) |
| title_short |
Representation and Difference : Racialisation in Marimba Esmeraldeña and Bomba del Chota 1) |
| title_full |
Representation and Difference : Racialisation in Marimba Esmeraldeña and Bomba del Chota 1) |
| title_fullStr |
Representation and Difference : Racialisation in Marimba Esmeraldeña and Bomba del Chota 1) |
| title_full_unstemmed |
Representation and Difference : Racialisation in Marimba Esmeraldeña and Bomba del Chota 1) |
| title_sort |
representation and difference : racialisation in marimba esmeraldeña and bomba del chota 1) |
| description |
During the Atlantic slavery period enslaved and freed Africans and Afro-descendants populated principally two areas in Ecuador: the Chota-Mira valley (Imbabura and Carchi provinces) and the northern part of Esmeraldas province. Afrodescendants from these territories created two music and dance-based events; Bomba del Chota and Marimba Esmeraldeña. Since their arrival, Afro-descendants in Ecuador have had a history of dehumanization that continues until the present day. Based on the testimonies of the Marimberos and Bomberos included in this paper, archival compilation and fieldwork research, I address questions of racialized representations of Marimba and Bomba in order to build towards the notion of communicative competence. Here I propose the shift of some of the representations of Marimba and Bomba from the current focus on stereotypical characteristics such as a naturalized happiness and hyper-sexuality, to an emphasis on Afro-Ecuadorians’ collective memories. Through a sonic composition and its theorization, a questioning of coloniality that sustains racialized representations and the exposure of key, but usually silenced, collective memories is proposed. By developing a sonic composition and analyzing it, I aim to contribute with crucial theoretical and practical strategies to deepen a much needed and timely understanding of Marimba and Bomba
1) This paper and its sonic composition are bas ed on a chapter of my PhD thesis entitled “Sounds of collective memories: A decolonial counter- representation of Afro-Ecuadorian Marimba Esmeraldeña and Bomba del Chota” (López-Yánez, 2020). I dedicate this paper to one of the most renowned, charismatic and wise Afro-Ecuadorian artist, the Marimbero Guillermo Ayoví Erazo -Papá Roncón-, who passed away on September 30th, 2022, while I was writing it. |
| publisher |
Universidad Nacional de Rosario |
| publishDate |
2023 |
| url |
https://relasp.unr.edu.ar/index.php/revista/article/view/99 |
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