2010
DOI: 10.1111/j.1548-7458.2010.01050.x
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Circuits of Culture: Media, Politics and Indigenous Identity in the Andes by Jeff D. Himpele

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Cited by 4 publications
(8 citation statements)
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“…The video is hosted on the website for UNESCO's Latin American unit, Crespial, that has a center in Cuzco, Peru. Unlike other examples of Indigenous-made videos or films that might feature the Indigenous person behind the camera (Himpele, 2007;Turner, 1991), we see a different assertion of agency in Women's Singing from Puna, Potosí. Our interview with Nilda reflects her political activist trajectory, as well as a commitment to what Rachel Lobo might call the "political act of memory building" (2020,19).…”
Section: Archival Lives: Indigenous Audiovisuals In Digital Circulationcontrasting
confidence: 84%
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“…The video is hosted on the website for UNESCO's Latin American unit, Crespial, that has a center in Cuzco, Peru. Unlike other examples of Indigenous-made videos or films that might feature the Indigenous person behind the camera (Himpele, 2007;Turner, 1991), we see a different assertion of agency in Women's Singing from Puna, Potosí. Our interview with Nilda reflects her political activist trajectory, as well as a commitment to what Rachel Lobo might call the "political act of memory building" (2020,19).…”
Section: Archival Lives: Indigenous Audiovisuals In Digital Circulationcontrasting
confidence: 84%
“…The 2011 video—its making, its circulation, its participants—intersected with processes of social archiving as an abundance of videos documenting Otavi's Fandango Festival were produced and circulated. The fandango's increased circulation, as related to a contested heritage bill, activated audiovisual archives and showed how these are shaped by timing, selection, and different publics (see Himpele, 2007, 23). As we pay more attention to digital archives and their activation as counterarchives, we should recognize alternative curatorial processes.…”
Section: Discussionmentioning
confidence: 99%
“…Rather, we identify people in power and with resources (city planners, regional planners, design professionals, politicians) that, adhering to roles and rules, follow their beliefs and values to address what they believe truly ail the city. Growth actors carry acquisitions of deeply felt attitudes and predilections in fourth-wave neoliberalist days (Harvey, 2019;Himpele, 2008;Wylie, 2019) to become what we can term 'cultured powerbrokers'. Following Gursitsch (2008), situations are both made by people but also come into consideration for them.…”
Section: Dracula Urbanism and The Real-estate Statementioning
confidence: 99%
“…A decentred and decline-using city building redux And Jakarta's urbanizing, much like Dracula's 'planetized' operations already described, is a splattered, messy extension spanning the earth. Most obviously, mega developers like Agung Podomoro (the self-proclaimed master of superblock construction) create smart growth's leading edgebold and influential buildingsthat are bolstered by rooting in a key thing, the latest global circuit of culture (Himpele, 2008). With Indonesian president Jokowi (Joko Widodo) easing restrictions on foreign property investment and ownership in 2015 (Regulation 103/ 2015), new growth projects have become more prevalent, artsy and city-shaping.…”
Section: Dracula-itis Againmentioning
confidence: 99%
“…To these we can add a growing number of ethnographically grounded accounts of indigeneity, as distributed through Bolivia's increasingly variegated public sphere (e.g. Himpele 2008;Zamorano Villarreal 2017), including overlapping economic and media circuits, and their multiple connections to largely urban popular cultural expressions, festivals and politics.…”
Section: The Indigenous In the Urban?mentioning
confidence: 99%