Intimate Distance: Andean Music in Japan

Notes

Notes 1.​Setting​the​Transnational​Stage 1. Xavier Albó and Matías Preiswerk studied how both faith and power are revealed in this ritual’s social organization in Los señores del Gran Poder. Also see Rossana Barragán and Cleverth Cárdenas, Gran poder; David Guss, “The Gran Poder and the Reconquest of La Paz”; and Jeff Himpele, “The Gran Poder Parade and the Local Movement of the Aymara Middle Class.” 2. See Harris, “Ethnic Identity and Market Relations,” 367. 3. See Lott, Love and Theft. Philip Deloria traces several key moments of American history through which whites construct an American identity by playing Indian (Playing Indian). Luke Lassiter tells his own complex story about his childhood participation in scouting and powwows and how he had to renegotiate the terms of his own fascination with Indians when, as an anthropologist, he studied the Kiowa (The Power of Kiowa Song). A note on terminology and capitalization : generally, I will use the lowercase form “indian” throughout this book because many scholars working in Latin America have given good reasons for doing so. For Latin America, the term is a contested cultural construct, refers to a colonial category, makes no reference to contemporary nationality, and points consistently to structured positions of marginality (Wade, Race and Ethnicity in Latin America, 121; Abercrombie, Pathways of Memory and Power, xviii; Canessa, Natives Making Nation, 24–25). For the North American context, the capital “I” is not so easily set aside, however. In the few cases where I reference scholarship about American Indians, I will use the term’s capitalized form, following what is standard within that field. The term will also be capitalized when I reference other scholars who have maintained this form. These seemingly minor stylistic differences in scholarship point to contrasting conceptualizations of indigeneity, between North and South American contexts, that are yet to be unpacked fully, and that are beyond the scope of this book. 4. In his study of antebellum minstrelsy, Eric Lott moves away from a single monolithic interpretation of these performances as expressions of white domination ; he reads minstrelsy through white working-class positions, arguing that these performers were motivated by “envy as well as repulsion, sympathetic identification as well as fear” (Love and Theft, 8). 5. Weismantel, Cholas and Pishtacos. 6. For a historian’s discussion of the emergence of the mestizo-cholo in the city of La Paz, see the work of Rossana Barragán (“Entre polleras, lliqllas, y ñañacas”). 180 Notes to Chapter One 7. I use musicians’ real names in many passages of this book because these individuals wanted to be identified. They have artistic personas and some of them were even taken aback by my question of whether or not to identify them by name. However, in indicated passages I use pseudonyms to protect privacy and to follow more general analytical points. I have used pseudonyms here. 8. Nelson, A Finger in the Wound, 43. 9. Urry, The Tourist Gaze, 2. 10. Ibid., 2–11. For tourism studies that are recognizing the limits of the gaze frame, see Simone Abram and Jacqueline Waldren, Tourists and Tourism, 5–8; and Amanda Stronza, “Anthropology of Tourism,” 272. 11. For example, Jane Desmond writes about the marketing and consumption of the Hawaiian hula girl (Staging Tourism). In her discussion of “eating the Other,” bell hooks argues that the “commodification of difference promotes paradigms of consumption” (Black Looks, 31). 12. The authors writing in this vein are numerous. Davydd Greenwood, who in the 1970s wrote quite pessimistically about the commodification of culture in tourism, came to reassess his first readings of these transformational processes (“Culture by the Pound”). Daniel Miller has written extensively on the questions of material consumption and has come to see “consumption” as a disciplinary keyword that is replacing “kinship” (“Consumption and Commodities”). The global commodification of difference is the centerpiece of Jean and John Comarroff’s Ethnicity Inc. 13. Pratt, “Globalización, desmodernización, y el retorno de los monstruos.” 14. Rosaldo, Culture and Truth; Pratt, “Arts of the Contact Zone.” 15. Ong, Flexible Citizenship, 32–35. Anne McClintock also develops a critique of postcolonial theory, claiming that it tends to be haunted by a nineteenthcentury idea of linear progress, is too often presented in a singular form as “the postcolonial,” and suggests an end to colonialism where colonial forms continue to structure daily life (Imperial Leather, 10–13). Juan Flores also points to the misnomer of “post” in postcolonial, a point that...