Lecture by Ruth Hellier-Tinoco
March 03, 2017. 1:00 pm - 3:00 pm
B544 - Schoenberg Music Building 445 Charles E Young Drive East, University of California, Los Angeles, CA 90095, USA
The UCLA Herb Alpert School of Music, Department of Ethnomusicology
NAZIR ALI JAIRAZBHOY COLLOQUIUM SERIES
featuring a lecture by
Associate Professor in the Ethnomusicology Program at UC Santa Barbara
“Competitions, Composition, and Judging Authenticity: Re-appropriation through Dance and Music in the Zacán Contest, Michoacán, Mexico”
Abstract: Competitions are valuable contexts for the generation of pedagogies of the “authentic,” providing clear criteria and parameters for what should be danced/played (from new composition to explicit calls for traditional practice) and definitions of who (which bodies) are eligible to participate. Understanding authenticity as a socially-constructed concept concerned with the negotiation of meaning, it is clear that those in control of competition criteria can demonstrate power and authority. This analysis discusses how between 2012 and 2016, in the context of the Zacán Artistic Contest of the P'urhépecha People, judges engaged the very categories of authenticity and essentialist classification instigated by official processes in the 1920s, demonstrating rights, presence, and territory (including ideological territory) through self-representation and local re-appropriation. Particularly interesting is the contrast between dance (with a reification of tradition over new creation and the transmission of movement between bodies) and music (with new creation as one of the key criteria for excellence and authenticity). Placing the local context into a global framework, discussion also includes developments that would place the Zacán Contest into a global framework, through the UNESCO designation on the Representative List as the Intangible Cultural Heritage of Humanity.
Ruth Hellier-Tinoco is a scholar-creative artist and Associate Professor at the University of California, Santa Barbara. Engaging performance, theater, dance, music, feminist and Mexican Studies, she focuses on the politics/poetics of performance in Mexico; experimental performance-making; gendered vocality; performance and environmentalism; music and sports; and community arts. Publications include Embodying Mexico: Tourism, Nationalism, and Performance (OUP: 2011) and Women Singers in Global Contexts: Music, Biography, Identity (ed., University of Illinois Press: 2012); the Mexico entries in The Cambridge Encyclopedia of Stage Actors and Acting; and “Re: Moving Bodies in the USA/Mexico drug/border/terror/cold wars,” in Choreographies of 21st Century Wars (Studies in Dance Theory), Gay Morris and Jens Giedersdorf eds, (OUP: 2016). She is on the Editorial Board of Ethnomusicology, editor of the UC Press journal Mexican Studies/Estudios Mexicanos, and a director of the Congress on Research in Dance. She is currently finishing a book on temporality, memory, and historicity with the experimental physical theater company La Máquina de Teatro in Mexico City.
Friday, March 3, 2017
Ethnomusicology Lab (B544), Schoenberg Music Building
Open to the public and free of charge
Parking in Lot 2 — $12 (Hilgard and Westholme)
Information: (310) 825-5947