YouTube Kitsch and the Racial Politics of Taste in the Andes: The Case of Delfín Quishpe.
This article looks at "Torres gemelas," a YouTube video by Ecuadorian indigenous musician Delfín Quishpe, which went viral in the late 2000s, reaching millions of views. I argue that this video, and associated phenomena, can be considered a paradigmatic example of how some contemporary indigenous cr...
| Publicado en: | Studies in Latin American Popular Culture Vol. 38; pp. 1 - 22 |
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| Formato: | Artículo |
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University of Texas Press
2020
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=144920265&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 144920265 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07309139 LPC jtl: Studies in Latin American Popular Culture issn: 07309139 maglogo: N pubinfo: dt: 2020 vid: 38 pid: 519 pub: University of Texas Press artinfo: ui: 144920265 10.7560/slapc3801 ppf: 1 ppct: 21 formats: fmt: @attributes: type: P size: 3.1MB tig: atl: YouTube Kitsch and the Racial Politics of Taste in the Andes: The Case of Delfín Quishpe. aug: au: Aguiló, Ignacio su: Practical politics Modernity Cultural production Indigenous peoples of the Americas sug: subj: Practical politics Modernity Cultural production Indigenous peoples of the Americas ab: This article looks at "Torres gemelas," a YouTube video by Ecuadorian indigenous musician Delfín Quishpe, which went viral in the late 2000s, reaching millions of views. I argue that this video, and associated phenomena, can be considered a paradigmatic example of how some contemporary indigenous creators are radically redefining their relationship with globalized and localized cultures in a context of unprecedented technological change and time-space compression. By refusing to cleave to expectations about Amerindian media production as political and collective or as an expression of ancestral and traditional indigeneity, these Andean creators are challenging established views regarding how they should participate in modernity and the digital world. At the same time, white audiences' consumption of Delfín's video (and similar media products) as kitsch (or "bad taste") also points toward the deployment of racist discourse in the definition of indigenous cultural production—particularly when there is a deliberate discrepancy with mainstream society's expectations about Amerindianness. Rather than arguing against the kitsch nature of "Torres gemelas" and comparable media productions, the article proposes to critically appropriate the term in order to address how these new cultural products are subject to symbolic violence, and yet at the same time have the potential to articulate anti-racist strategies. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Studies in Latin American Popular Culture is the property of University of Texas Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Studies in Latin American Popular Culture holder: University of Texas Press dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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