Journal Articles by María B. Batlle
ILCS Research Blog, 2024
Research Blog of University of London's Institute of Languages, Cultures and Societies (ILCS)
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TRANS Revista Transcultural de Música N°26 , 2022
Resumen El trabajo que aquí presentamos se propone, en primer lugar, plantear algunas problemátic... more Resumen El trabajo que aquí presentamos se propone, en primer lugar, plantear algunas problemáticas relacionadas con las herencias del patriarcado colonial y la manera como estas han históricamente afectado al ejercicio del canto y poesía de mujeres. Desde nuestra posición como mujeres ligadas al canto y poesía tradicionales en distintos lugares de América Latina, levantamos este manifiesto en décimas para iniciar un diálogo en torno a nuestra práctica desde un código ético y político feminista y anticolonial. Creando intertextualidades con diferentes perspectivas teóricas que derivan del anticolonialismo y el antipatriarcado, compartimos nuestras interpretaciones sobre su relación con el canto tradicional y la poesía popular. Finalmente, estas décimas forman parte de un ejercicio de reflexión colaborativa y autoetnográfica que pretende también abrir paso a nuevos lenguajes para favorecer diálogos académicos pluridisciplinarios en torno al feminismo y la música.
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Ethnomusicology Forum
This article discusses Violeta Parra’s work as a woman musician analysing how she contributed to ... more This article discusses Violeta Parra’s work as a woman musician analysing how she contributed to challenging long-standing colonial paradigms in Chilean (and Latin American) music. Through a review of the multifaceted concept of cantora, or female singer of the people, as well as the analysis of four cueca songs, this study offers insights on how Parra negotiated the terms of the Chilean urban folkloric scene of her time. Her trajectory as a folklorist allowed her to vindicate an otherwise disparaged popular culture, and as cantautora, or singer-songwriter, she redefined the gender roles of her time becoming a musical and political referent for her peers, thus offering renovated perspectives on both female musicianship and national identity.
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This article discusses Violeta Parra’s work as a woman musician analysing how she contributed to ... more This article discusses Violeta Parra’s work as a woman musician analysing how she contributed to challenging long-standing colonial paradigms in Chilean (and Latin American) music. Through a review of the multifaceted concept of cantora, or female singer of the people, as well as the analysis of four cueca songs, this study offers insights on how Parra negotiated the terms of the Chilean urban folkloric scene of her time. Her trajectory as a folklorist allowed her to vindicate an otherwise disparaged popular culture, and as cantautora, or singer-songwriter, she redefined the gender roles of her time becoming a musical and political referent for her peers, thus offering renovated perspectives on both female musicianship and national identity.
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Revista Neuma, Sep 16, 2021
El canto a la rueda es una práctica de canto-poético tradicional basada en la cueca chilena. Arra... more El canto a la rueda es una práctica de canto-poético tradicional basada en la cueca chilena. Arraigada en la actividad comercial santiaguina de principios del siglo XX—y en sus modos de sociabilidad implicados—sus principales referentes contemporáneos son masculinos, aludiendo a “viejos cultores” nacidos entre 1910 y 1940. Desde mediados de la década de 2000, sin embargo, se produce una irrupción de mujeres en la escena. A través de una indagación teórico-histórica sobre la fiesta y la cantora popular en Chile, y del uso de la etnografía colaborativa, nos proponemos examinar el marco de posibilidades, restricciones y tensiones en que se inserta tal irrupción, evidenciando cómo las cantoras a la rueda abordan estos límites en la actualidad.
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Neuma (Talca)
El canto a la rueda es una práctica de canto-poético tradicional basada en la cueca chilena. Arra... more El canto a la rueda es una práctica de canto-poético tradicional basada en la cueca chilena. Arraigada en la actividad comercial santiaguina de principios del siglo XX—y en sus modos de sociabilidad implicados—sus principales referentes contemporáneos son masculinos, aludiendo a “viejos cultores” nacidos entre 1910 y 1940. Desde mediados de la década de 2000, sin embargo, se produce una irrupción de mujeres en la escena. A través de una indagación teórico-histórica sobre la fiesta y la cantora popular en Chile, y del uso de la etnografía colaborativa, nos proponemos examinar el marco de posibilidades, restricciones y tensiones en que se inserta tal irrupción, evidenciando cómo las cantoras a la rueda abordan estos límites en la actualidad.
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Revista Neuma, 2021
El canto a la rueda es una práctica de canto-poético tradicional basada en la cueca chilena. Arra... more El canto a la rueda es una práctica de canto-poético tradicional basada en la cueca chilena. Arraigada en la actividad comercial santiaguina de principios del siglo XX—y en sus modos de sociabilidad implicados—sus principales referentes contemporáneos son masculinos, aludiendo a “viejos cultores” nacidos entre 1910 y 1940. Desde mediados de la década de 2000, sin embargo, se produce una irrupción de mujeres en la escena. A través de una indagación teórico-histórica sobre la fiesta y la cantora popular en Chile, y del uso de la etnografía colaborativa, nos proponemos examinar el marco de posibilidades, restricciones y tensiones en que se inserta tal irrupción, evidenciando cómo las cantoras a la rueda abordan estos límites en la actualidad.
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Book Reviews by María B. Batlle
¡Pego el grito en cualquier parte! Historia, tradición y performance de la cueca urbana en Santia... more ¡Pego el grito en cualquier parte! Historia, tradición y performance de la cueca urbana en Santiago de Chile (1990–2010) by Christian Spencer Espinosa (review)
Latin American Music Review, Volume 41, Number 2, Fall/Winter 2020, pp.
232-234
Published by University of Texas Press
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Thesis by María B. Batlle
PhD Thesis, 2019
The cueca, national dance of Chile, involves various styles that correspond to different social i... more The cueca, national dance of Chile, involves various styles that correspond to different social identities. The official version most commonly receives the name of cueca huasa, in association with rural imaginaries that respond to elites’ landowning nostalgia. This thesis examines the revival process of the historically unofficial variant of the Chilean cueca—urban-popular cueca—which has been unfolding since the early 1990s, coincidently with the return to democracy. Understanding that the post-dictatorship period in Chile still exhibits considerable remnants of tacit authoritarianism and manifest inequity, my main argument is that during the past three decades the practice of urban-popular cueca has represented a space for popular resistance. Notions of el pueblo and the fiesta popular are crucial to grasping the cultural specificity of this revival process and this cueca as a site of resistance. Through ethnographic methods, I analyse three dimensions within which I understand such resistance to operate. First, a political one, which entails notions of folklore and national identity, examining how the cueca has moved away from such hegemonic identifications in a process of de-folklorisation. Secondly, a social dimension involving the vindication of a popular identity that is central to this revival cueca style, and which is grounded on the figure of the roto and the practice of canto a la rueda. And thirdly, a gender dimension concerning the (re)construction of a contemporary urban cantora archetype as an essential part of the process of women’s entrance into the male-dominated world of urban-popular cueca. Moreover, reflexive research methods involving my own experience of music learning and social interactions in the field have helped me interrogate my positionality within the cueca scene and its historical processes. Finally, through music analysis, I build a stylistic history of the genre that further illustrates these political, sociocultural and gender dynamics and tensions.
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MA Cultural Studies Dissertation, 2014
This dissertation broadly draws upon the ways we listen to music, and how through this process ce... more This dissertation broadly draws upon the ways we listen to music, and how through this process certain forms of time-perception might be apprehended. The idea is to compare, in two different contexts, how two specific musical phenomena were produced and perceived by their corresponding communities, and to recognize the notions of time and consciousness which may have been derived from those experiences. The starting point is Wagnerian music, the Romantic period in Europe, and how the experience associated to this social-musical phenomenon is particularly framed in a European philosophy of history, from which specific notions of time and consciousness are derived. The following development is centred on the analysis of a specific Chilean music called Cueca –contemporary to Wagnerian music– which involves music, dance and poetry, and is the national dance, declared by Decree on 1979 –though it has been widely spread since the nineteenth century. The idea is to analyse how the thought and experience of music has been developed in these two different scenarios, and to examine the philosophical consequences which can be derived from these developments.
This will start by trying to partly unfold the philosophical discourse which has followed the Wagnerian influence, and to draw a comparison with the ideas that may be associated to Chilean Cueca, also as part of the broader context of Latin American culture. The aim of this work is therefore to develop a formal analysis of Cueca, and put it under the scope of time consciousness, in order to examine the possibility of a philosophical conception of life which grows from a completely different background than that of European Philosophy.
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Taller de Titulación II - Sociología, 2010
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Memoria de Grado - Licenciatura en Arte, 2010
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Taller de Titulación I - Sociología, 2009
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Conference Presentations by María B. Batlle
SPLAS Seminar Series, KCL. April 2020
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Chile Woke Up affected by inequalities: a multi-sectoral reflection. The Bartlett, UCL. November ... more Chile Woke Up affected by inequalities: a multi-sectoral reflection. The Bartlett, UCL. November 2019
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Second International Conference on Women's Work in Music. University of Bangor, September 2019
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BFE Annual Conference, University of Aberdeen, April 2019
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Hundred Violets, Latin American House.
King’s College London, October 2017
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LAMS Senate House, London, November 2016
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Journal Articles by María B. Batlle
Book Reviews by María B. Batlle
Latin American Music Review, Volume 41, Number 2, Fall/Winter 2020, pp.
232-234
Published by University of Texas Press
Thesis by María B. Batlle
This will start by trying to partly unfold the philosophical discourse which has followed the Wagnerian influence, and to draw a comparison with the ideas that may be associated to Chilean Cueca, also as part of the broader context of Latin American culture. The aim of this work is therefore to develop a formal analysis of Cueca, and put it under the scope of time consciousness, in order to examine the possibility of a philosophical conception of life which grows from a completely different background than that of European Philosophy.
Conference Presentations by María B. Batlle
Latin American Music Review, Volume 41, Number 2, Fall/Winter 2020, pp.
232-234
Published by University of Texas Press
This will start by trying to partly unfold the philosophical discourse which has followed the Wagnerian influence, and to draw a comparison with the ideas that may be associated to Chilean Cueca, also as part of the broader context of Latin American culture. The aim of this work is therefore to develop a formal analysis of Cueca, and put it under the scope of time consciousness, in order to examine the possibility of a philosophical conception of life which grows from a completely different background than that of European Philosophy.
Disponible online en: https://issuu.com/portalpatrimonio/docs/inventario_de_patrimonio_cultural