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dc.creatorLópez-Yánez, María Gabriela-
dc.date2023-04-11-
dc.date.accessioned2025-03-20T19:45:58Z-
dc.date.available2025-03-20T19:45:58Z-
dc.identifierhttps://relasp.unr.edu.ar/index.php/revista/article/view/99-
dc.identifier10.35305/rr.v3i6.99-
dc.identifier.urihttps://biblioteca-repositorio.clacso.edu.ar/handle/CLACSO/252614-
dc.descriptionDuring 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.en-US
dc.formatapplication/pdf-
dc.languagespa-
dc.publisherUniversidad Nacional de Rosarioes-ES
dc.relationhttps://relasp.unr.edu.ar/index.php/revista/article/view/99/165-
dc.rightshttps://creativecommons.org/licenses/by-sa/4.0/es-ES
dc.sourceRevista Euro latinoamericana de Análisis Social y Político (RELASP); Vol. 3 Núm. 6 (2023); 191 - 216es-ES
dc.source2683-7420-
dc.subjectAfroecuatorianoes-ES
dc.subjectCompetencia comunicativaes-ES
dc.subjectColonialidades-ES
dc.subjectDanzaes-ES
dc.subjectMúsicaes-ES
dc.subjectAfro-Ecuadorianen-US
dc.subjectCommunicative competenceen-US
dc.subjectColonialityen-US
dc.subjectDanceen-US
dc.subjectMusicen-US
dc.titleRepresentation and Difference : Racialisation in Marimba Esmeraldeña and Bomba del Chota 1)en-US
dc.titleRepresentación y Diferencia: Racialización en la Marimba Esmeraldeña y la Bomba del Chotaes-ES
dc.typeinfo:eu-repo/semantics/article-
dc.typeinfo:eu-repo/semantics/publishedVersion-
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