Hardly any Parisians had heard of the young Chilean group. In late 1967, future Nueva Cancion (New Song) superstars Quilapayun left Moscow for Paris amid the news of Ernesto Che Guevara's execution in Bolivia, where the Argentine revolutionary had tried to spark the "next Vietnam." (1) Quilapayun, with a Mapuche name inspired by Guevara and Fidel Castro's famous beards (Carrasco Pirard 1988, 9-10), (2) arrived in France with little fanfare. Palavras chave: Musica Andina, Nueva Cancion, Cosmopolitanismo, Globalizacion, Musica latinoamen'cana en Francia Concluyo este ensayo con algunas reflexiones. Sostengo que este estudio presta credito a la observacion de Thomas Turino (2003) que procesos musicales transnacionales generalmente entendidos por analistas como interacciones interculturales entre lo local y lo global pueden ser conceptualizados con mas precision en muchos casos como fenomenos que ocurren dentro de la misma cultura cosmopolita. Este articulo no solo documenta como las tradiciones indigenas han sido representadas erroneamente sino tambien revela un momento temprano en la politizacion de la musica no-occidental para el mercado europeo que ha sido ignorado en la literatura sobre World Beat. Explico que musicos argentinos de Buenos Aires introdujeron generos e instrumentos andinos al ambiente artistico de Paris, donde la musica andina Ilego a ser asociada con el izquierdismo bien antes de la Ilegada de artistas exiliados del movimiento Nueva Cancion. RESUMO: Este articulo presenta una cronica de la historia temprana de la musica andina folklorica-popular en Francia, analizando su influencia en la aparicion de Nueva Cancion durante la decada de los anos 1960 en Chile y la recepcion de este movimiento artistico despues de 1973 en Europa.
Keywords: Andean music, Nueva Cancion, Cosmopolitanism, Globalization, Latin American music in France
Rounding out this essay are some closing thoughts and a brief postlude.
I argue that this case study lends credence to Thomas Turino's general observation (2003) that transnational musical processes usually viewed by scholars as cross-cultural interactions between the local and the global can be often conceptualized more accurately as phenomena occurring within the same cosmopolitan cultural formation. This article not only documents yet another instance of nonindigenous (mis)representations of Amerindian musical traditions, but also reveals an early moment in the politicization of non-Western music for European mass markets that has been overlooked in World Beat scholarship. I explain that Argentine artists from Buenos Aires introduced highland Andean instruments and genres into Paris's artistic milieu, where Andean music became associated with leftism well before the arrival of exiled Nueva Cancion artists. ABSTRACT: This article chronicles the early history of Andean folkloric-popular music in France and discusses its impacton the Nueva Cancion movement's emergence in 1960s Chile and reception in post-1973 Europe.
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