On La ópera chola, or Bolivian popular music as a mirror of the nation and collective identities
Bolivian popular music can be considered one of the most significant cultural phenomena produced in Bolivia in its nearly 200 years of existence, and the same can be said of the dances associated with it. In the conjunction of musical, festive, and ritual traditions of pre-Hispanic societies, coloni...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2023
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/esnoa/article/view/13898 |
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I28-R252-article-13898 |
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ojs |
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Universidad de Buenos Aires |
| institution_str |
I-28 |
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R-252 |
| container_title_str |
Estudios sociales del NOA |
| language |
Español |
| format |
Artículo revista |
| topic |
Popular music; Bolivia; collective identities; La Ópera Chola; mirror of the nation. Popular music; Bolivia; collective identities; La Ópera Chola; mirror of the nation. musique populaire; Bolivie; identités collectives; La Opéra Chola; miroir de la nation. |
| spellingShingle |
Popular music; Bolivia; collective identities; La Ópera Chola; mirror of the nation. Popular music; Bolivia; collective identities; La Ópera Chola; mirror of the nation. musique populaire; Bolivie; identités collectives; La Opéra Chola; miroir de la nation. Sánchez Patzy, J. Mauricio On La ópera chola, or Bolivian popular music as a mirror of the nation and collective identities |
| topic_facet |
Popular music; Bolivia; collective identities; La Ópera Chola; mirror of the nation. Popular music; Bolivia; collective identities; La Ópera Chola; mirror of the nation. musique populaire; Bolivie; identités collectives; La Opéra Chola; miroir de la nation. |
| author |
Sánchez Patzy, J. Mauricio |
| author_facet |
Sánchez Patzy, J. Mauricio |
| author_sort |
Sánchez Patzy, J. Mauricio |
| title |
On La ópera chola, or Bolivian popular music as a mirror of the nation and collective identities |
| title_short |
On La ópera chola, or Bolivian popular music as a mirror of the nation and collective identities |
| title_full |
On La ópera chola, or Bolivian popular music as a mirror of the nation and collective identities |
| title_fullStr |
On La ópera chola, or Bolivian popular music as a mirror of the nation and collective identities |
| title_full_unstemmed |
On La ópera chola, or Bolivian popular music as a mirror of the nation and collective identities |
| title_sort |
on la ópera chola, or bolivian popular music as a mirror of the nation and collective identities |
| description |
Bolivian popular music can be considered one of the most significant cultural phenomena produced in Bolivia in its nearly 200 years of existence, and the same can be said of the dances associated with it. In the conjunction of musical, festive, and ritual traditions of pre-Hispanic societies, colonial society, local processes, and foreign influences of the 19th and 20th centuries, popular music in Bolivia has become a mirror of the nation and the collective identities of recent times: a mirror, insofar as it is a privileged space for better understanding and interpreting Bolivian society itself, as reflected in its music, and insofar as it is also capable of giving meaning to collective identities, as well as effectively imagining, representing, and symbolizing what Bolivians dream of being, whether in an imagined past, a legitimized present, or a contested future. Popular music is, as I argue in my book: La Ópera Chola. Música popular en Bolivia y pugnas por la identidad social (La Ópera Chola:Popular Music in Bolivia and Struggles for Social Identity), a battlefield, a symbolic/metaphorical theater of operations where the struggle for the meaning of what Bolivians believe they are or aspire to be is fought over: the ultimate definition of what Bolivia should be in the eyes of the world. |
| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2023 |
| url |
https://revistascientificas.filo.uba.ar/index.php/esnoa/article/view/13898 |
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2025-09-13T05:40:54Z |
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I28-R252-article-138982025-08-20T15:43:30Z On La ópera chola, or Bolivian popular music as a mirror of the nation and collective identities Sobre La ópera chola, o la música popular boliviana como espejo de la nación y las identidades colectivas Sur L'Opéra Chola, ou la musique populaire bolivienne comme miroir de la nation et des identités collectives Sánchez Patzy, J. Mauricio Popular music; Bolivia; collective identities; La Ópera Chola; mirror of the nation. Popular music; Bolivia; collective identities; La Ópera Chola; mirror of the nation. musique populaire; Bolivie; identités collectives; La Opéra Chola; miroir de la nation. Bolivian popular music can be considered one of the most significant cultural phenomena produced in Bolivia in its nearly 200 years of existence, and the same can be said of the dances associated with it. In the conjunction of musical, festive, and ritual traditions of pre-Hispanic societies, colonial society, local processes, and foreign influences of the 19th and 20th centuries, popular music in Bolivia has become a mirror of the nation and the collective identities of recent times: a mirror, insofar as it is a privileged space for better understanding and interpreting Bolivian society itself, as reflected in its music, and insofar as it is also capable of giving meaning to collective identities, as well as effectively imagining, representing, and symbolizing what Bolivians dream of being, whether in an imagined past, a legitimized present, or a contested future. Popular music is, as I argue in my book: La Ópera Chola. Música popular en Bolivia y pugnas por la identidad social (La Ópera Chola:Popular Music in Bolivia and Struggles for Social Identity), a battlefield, a symbolic/metaphorical theater of operations where the struggle for the meaning of what Bolivians believe they are or aspire to be is fought over: the ultimate definition of what Bolivia should be in the eyes of the world. La música popular boliviana puede considerarse como uno de los fenómenos culturales más relevantes producidos en Bolivia en sus casi doscientos años de existencia, y lo mismo puede decirse de las danzas asociadas a esta música. En la conjunción de tradiciones musicales, festivas y rituales de las sociedades prehispánicas, la sociedad colonial, los procesos locales y las influencias extranjeras de los siglos XIX y XX, la música popular en Bolivia se ha constituido en espejo de la nación y las identidades colectivas de los tiempos recientes: espejo, por cuanto es un ámbito privilegiado para entender e interpretar mejor la propia sociedad boliviana reflejada en sus músicas, y por cuanto es también capaz de dotar de sentido a las identidades colectivas, como de imaginar, representar y simbolizar eficazmente aquello que los bolivianos sueñan ser, sea en un pasado imaginado, un presente legitimado o un futuro disputado. La música popular es, así, y como sostengo en mi libro La ópera chola. Música popular en Bolivia y pugnas por la identidad social, un campo de batalla, un teatro de operaciones simbólico-metafóricas donde se lucha por el sentido de lo que los bolivianos creen ser o aspiran a ser: la definición última de lo que Bolivia debería ser ante los ojos del mundo. La musique populaire bolivienne peut être considérée comme l’un des phénomènes culturels les plus significatifs produits en Bolivie au cours de ses près de 200 ans d’existence, et on peut en dire autant des danses associées à cette musique. Dans la conjonction des traditions musicales, festives et rituelles des sociétés préhispaniques, de la société coloniale, des processus locaux et des influences étrangères des XIXe et XXe siècles, la musique populaire en Bolivie est devenue un miroir de la nation et des identités collectives des temps récents : un miroir dans la mesure où elle est un espace privilégié pour mieux comprendre et interpréter la société bolivienne elle-même telle qu'elle se reflète dans sa musique, et dans la mesure où elle est également capable de donner du sens aux identités collectives, ainsi que d'imaginer, de représenter et de symboliser efficacement ce que les Boliviens rêvent d'être, que ce soit dans un passé imaginé, un présent légitimé ou un futur contesté. La musique populaire est comme ça, et comme je le soutiens dans mon livre : La Ópera Chola. Música popular en Bolivia y pugnas por la identidad social (L’Opéra Chola. La musique populaire en Bolivie et les luttes pour l’identité sociale), un champ de bataille, un théâtre d'opérations symbolique/métaphorique où se déroule la lutte pour le sens de ce que les Boliviens croient être ou aspirent à être: la définition ultime de ce que la Bolivie devrait être aux yeux du monde. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2023-12-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistascientificas.filo.uba.ar/index.php/esnoa/article/view/13898 10.34096/esnoa.n26.13898 Estudios Sociales del NOA; Núm. 26 (2023) 2362-2482 0329-8256 spa https://revistascientificas.filo.uba.ar/index.php/esnoa/article/view/13898/15101 Derechos de autor 2023 Estudios Sociales del NOA |