Abstract
In this article, I discuss the professionalization of folklore and its entanglements with coloniality through an analysis of four paradigms of the musicians I encountered in conversations with students, administrators and instructors at the Escuela Nacional de Folklore Jose Maria Arguedas in Lima, Peru. I contrast two pairs of paradigms, the empírico with the académico and the chivero with the professional in order to show how the “professional folklore musician” is constructed through similarities and differences with these paradigms. For my analysis, I use a coloniality theory framework (Casto-Gomez, 2021; Quijan, 1980, 2000, 2007; Segato 2011, 2022) which considers social hierarchies of race and gender as co-constitutive elements of colonial societies which continue to structure social, cultural, and political dynamics even after independence.
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Recommended Citation
Recharte, Matias
(2026)
"Professionalizing Folklore in Latin America: Four Paradigms of the Musician and the Coloniality of Music Education,"
Visions of Research in Music Education: Vol. 49, Article 9.
Available at:
https://digitalcommons.lib.uconn.edu/vrme/vol49/iss1/9
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