Constructing community in the digital home studio: Carnival, creativity and indigenous music video production in the Bolivian Andes. / Stobart, Henry.

In: Popular Music, Vol. 30, No. 2, 05.2011, p. 209–226.

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Constructing community in the digital home studio: Carnival, creativity and indigenous music video production in the Bolivian Andes. / Stobart, Henry.

In: Popular Music, Vol. 30, No. 2, 05.2011, p. 209–226.

Research output: Contribution to journalArticlepeer-review

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@article{6a64244e8f6946278326ccd6446c5f5f,
title = "Constructing community in the digital home studio: Carnival, creativity and indigenous music video production in the Bolivian Andes",
abstract = "This paper examines issues surrounding the production of a Carnival music video VCD in the home studio of the Bolivian indigenous (originario) musician and cultural activist Gregorio Mamani. On the one hand, continuities with rural productive practices suggest a model for the {\textquoteleft}home studio{\textquoteright} more resembling a {\textquoteleft}cottage industry{\textquoteright} than the kind of {\textquoteleft}isolated{\textquoteright} activity separate from family life that Paul Th{\'e}berge has described for the case of North America (1997). On the other hand, the urban isolation, entrepreneurial motivations, and concern with promoting the individual that characterise Gregorio Mamani{\textquoteright}s home studio suggest the very antithesis of indigenous community values. Notwithstanding difficult relations with his community of origin and his use of technological artifice to construct (or even {\textquoteleft}fake{\textquoteright}) an audiovisual impression of the communitas of Carnival, Mamani presents this work as a means to {\textquoteleft}strengthen culture{\textquoteright}. Despite these contradictions, this low budget production – targeted at rural peasants and urban migrants – is shown to engage deeply with indigenous concepts of creativity and oral tradition, as well as potentially contributing to the construction of broader circuits of culture and {\textquoteleft}imagined communities{\textquoteright}. Mamani{\textquoteright}s individualistic, yet influential, approach and his insistence that only one or two individuals are the composers in an indigenous community, challenges us to question the relationship between creativity and community.",
keywords = "music video, community , CREATIVITY, indigeneity, Bolivia, home studio, digital technology, VCD",
author = "Henry Stobart",
year = "2011",
month = may,
doi = "10.1017/S0261143011000031",
language = "English",
volume = "30",
pages = "209–226",
journal = "Popular Music",
issn = "0261-1430",
publisher = "Cambridge University Press",
number = "2",

}

RIS

TY - JOUR

T1 - Constructing community in the digital home studio: Carnival, creativity and indigenous music video production in the Bolivian Andes

AU - Stobart, Henry

PY - 2011/5

Y1 - 2011/5

N2 - This paper examines issues surrounding the production of a Carnival music video VCD in the home studio of the Bolivian indigenous (originario) musician and cultural activist Gregorio Mamani. On the one hand, continuities with rural productive practices suggest a model for the ‘home studio’ more resembling a ‘cottage industry’ than the kind of ‘isolated’ activity separate from family life that Paul Théberge has described for the case of North America (1997). On the other hand, the urban isolation, entrepreneurial motivations, and concern with promoting the individual that characterise Gregorio Mamani’s home studio suggest the very antithesis of indigenous community values. Notwithstanding difficult relations with his community of origin and his use of technological artifice to construct (or even ‘fake’) an audiovisual impression of the communitas of Carnival, Mamani presents this work as a means to ‘strengthen culture’. Despite these contradictions, this low budget production – targeted at rural peasants and urban migrants – is shown to engage deeply with indigenous concepts of creativity and oral tradition, as well as potentially contributing to the construction of broader circuits of culture and ‘imagined communities’. Mamani’s individualistic, yet influential, approach and his insistence that only one or two individuals are the composers in an indigenous community, challenges us to question the relationship between creativity and community.

AB - This paper examines issues surrounding the production of a Carnival music video VCD in the home studio of the Bolivian indigenous (originario) musician and cultural activist Gregorio Mamani. On the one hand, continuities with rural productive practices suggest a model for the ‘home studio’ more resembling a ‘cottage industry’ than the kind of ‘isolated’ activity separate from family life that Paul Théberge has described for the case of North America (1997). On the other hand, the urban isolation, entrepreneurial motivations, and concern with promoting the individual that characterise Gregorio Mamani’s home studio suggest the very antithesis of indigenous community values. Notwithstanding difficult relations with his community of origin and his use of technological artifice to construct (or even ‘fake’) an audiovisual impression of the communitas of Carnival, Mamani presents this work as a means to ‘strengthen culture’. Despite these contradictions, this low budget production – targeted at rural peasants and urban migrants – is shown to engage deeply with indigenous concepts of creativity and oral tradition, as well as potentially contributing to the construction of broader circuits of culture and ‘imagined communities’. Mamani’s individualistic, yet influential, approach and his insistence that only one or two individuals are the composers in an indigenous community, challenges us to question the relationship between creativity and community.

KW - music video

KW - community

KW - CREATIVITY

KW - indigeneity

KW - Bolivia

KW - home studio

KW - digital technology

KW - VCD

U2 - 10.1017/S0261143011000031

DO - 10.1017/S0261143011000031

M3 - Article

VL - 30

SP - 209

EP - 226

JO - Popular Music

JF - Popular Music

SN - 0261-1430

IS - 2

ER -