Récit ethnographique d’une expérience partagée de la fête de San Juan/Inti Raymi à Otavalo (Andes équatoriennes)

Abstract

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Assembling ‘indigeneity’ through musical practices: translocal circulations, ‘tradition’, and place in Otavalo (Ecuadorian Andes)

“…The sanjuanito genre is associated with the San Juan festival in June, the most well-attended annual festive event celebrated by indigenous people in the Otavalo region. At this festival, informal groups of amateur musicians and dancers – most of them dressed up – visit particular houses in their community and in neighbouring villages over several nights (see Meisch 2002; Wibbelsman 2005; Voirol 2013). This participatory music-making, consequently, has been adapted towards presentational performances.…”

“…Namely, the differences emerge according to what is at stake and according to the relevant statuses and roles. Indeed, it is not the same, on the one hand, to play on stage in front of an audience who probably paid to watch a show and, on the other, to play music among a group of friends and/or relatives in the main square or for a very small audience in a private house, as is the case in different indigenous festivities in the Andes of southern Peru (see Turino 1993), of Bolivia (see Bigenho 2002) and in the San Juan fiesta in Otavalo (see Wibbelsman 2005; Voirol 2013). In the latter cases, the issue may be to compete against another group of amateur musicians from a neighbouring community, by having more people and being noisier (see e.g.…”

“…In the latter cases, the issue may be to compete against another group of amateur musicians from a neighbouring community, by having more people and being noisier (see e.g. Turino 1993; Voirol 2013). In the former case, the issue may be to convey a sense of ‘tradition’, referring to an exotic otherness for foreign listeners, participating in the multicultural nation for non-indigenous national listeners, or a sense of ‘tradition’ with which indigenous people may identify.…”

“…villages over several nights (see Meisch 2002;Wibbelsman 2005;Voirol 2013). This participatory music-making, consequently, has been adapted towards presentational performances.…”