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Ecuadorian independent music is a localized manifestation of global music genres that mix in multiple ways with local music cultures. Employing ethnography and media production, the author develops a nuanced understanding of the music's cultural significance and the complexities stemming from their mixed heritage. Ecuadorian independent music, encapsulating opposing elements, gives rise to liminal spaces where traditions and modernity, rural and urban, local and global converge. While potential misinterpretations may see Latino versions of international styles as threats to native music, the focus of the argument lies in highlighting the resilience and continual generation of diversity within subaltern locations. The author's ethnographic endeavor seeks to unveil the obscurity defining this musical scene and scrutinize the processes of marginalization. With ethnography approached as a flexible methodology, the author advocates for countering colonial and capitalistic logics, emphasizing a postcolonial/decolonial agency. Reflecting on the challenges of conducting endogenous ethnography, the author queries the thorough familiarity of alternative music experiences, ultimately suggesting the concept of an open-ended creative ethnography.
Keywords: decolonialism ; endogenous ethnography ; Global South ; globalization ; Latin American popular music ; liminality ; mestizaje ; music ethnography ; peripheries ; postcolonialism
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https://doi.org/10.1386/9781835950579_14 Published content will be available immediately after check-out or when it is released in case of a pre-order. Please make sure to be logged in to see all available purchase options.