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| dc.creator | López-Yánez, María Gabriela | |
| dc.date | 2023-04-11 | |
| dc.date.accessioned | 2025-03-20T19:45:58Z | |
| dc.date.available | 2025-03-20T19:45:58Z | |
| dc.identifier | https://relasp.unr.edu.ar/index.php/revista/article/view/99 | |
| dc.identifier | 10.35305/rr.v3i6.99 | |
| dc.identifier.uri | https://biblioteca-repositorio.clacso.edu.ar/handle/CLACSO/252614 | |
| dc.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. | en-US |
| dc.format | application/pdf | |
| dc.language | spa | |
| dc.publisher | Universidad Nacional de Rosario | es-ES |
| dc.relation | https://relasp.unr.edu.ar/index.php/revista/article/view/99/165 | |
| dc.rights | https://creativecommons.org/licenses/by-sa/4.0/ | es-ES |
| dc.source | Revista Euro latinoamericana de Análisis Social y Político (RELASP); Vol. 3 Núm. 6 (2023); 191 - 216 | es-ES |
| dc.source | 2683-7420 | |
| dc.subject | Afroecuatoriano | es-ES |
| dc.subject | Competencia comunicativa | es-ES |
| dc.subject | Colonialidad | es-ES |
| dc.subject | Danza | es-ES |
| dc.subject | Música | es-ES |
| dc.subject | Afro-Ecuadorian | en-US |
| dc.subject | Communicative competence | en-US |
| dc.subject | Coloniality | en-US |
| dc.subject | Dance | en-US |
| dc.subject | Music | en-US |
| dc.title | Representation and Difference : Racialisation in Marimba Esmeraldeña and Bomba del Chota 1) | en-US |
| dc.title | Representación y Diferencia: Racialización en la Marimba Esmeraldeña y la Bomba del Chota | es-ES |
| dc.type | info:eu-repo/semantics/article | |
| dc.type | info:eu-repo/semantics/publishedVersion |
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