Abstract
This article analyzes the representation of Chilean “folk” voices in the Smithsonian Institution’s U.S. catalog, and specifically its Folkways, Monitor, and Paredon labels. Each, in its own way, sought to record and disseminate the sounds of the peoples of the world, whether for educational, solidarity, or proselytizing purposes. This article examines the discursive strategies carried out to profile “authentic” voices, questioning the lax treatment of the information collected and its relationship with the recorded sounds. Therefore, I seek to make visible the participation of ethnomusicology professionals in the production of musical images for North American and international audiences. Likewise, this article emphasizes the political uses the producers hoped to give to the albums within the context of progressive transformations with a popular intention.
Keywords
World music; Sound recording; Folklore; Chile; Independent labels
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Source: Image obtained from Smithsonian Institution website (2022).
Source: Image obtained from Smithsonian Institution website (2022).
Source: Image obtained from Smithsonian Institution website (2022).
Source: Photograph taken by the author at the Audio Library of the Ibero-American Institute in Berlin (2020).
Source: Photograph taken by the author at the Audio Library of the Ibero-American Institute in Berlin (2020).