Academic literature on the topic 'Dance music – Australia – 20th century'
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Journal articles on the topic "Dance music – Australia – 20th century"
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Bendrups, Dan. "Latin Down Under: Latin American migrant musicians in Australia and New Zealand." Popular Music 30, no. 2 (May 2011): 191–207. http://dx.doi.org/10.1017/s026114301100002x.
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AbstractThe global significance of Latin American popular music is well documented in contemporary research. Less is known about Latin American music and musicians in Australia and New Zealand (collectively termed ‘Australasia’): nations that have historically hosted waves of migrants from the Americas, and which are also strongly influenced by globalised US popular music culture. This article presents an overview of Latin American music in Australasia, drawing on ethnographic research, with the aim of providing a historical framework for the understanding of this music in the Australasian context. It begins with an explanation of the early 20th-century conceptualisation of ‘Latin’ in Australasia, and an investigation into how this abstract cultural construction affected performance opportunities for Latino/a migrants who began to arrive en masse from the 1970s onwards. It then discusses the performance practices that were most successfully recreated by Latin American musicians in Australia and New Zealand, especially ‘Andean’ folkloric music, and ‘tropical’ dance music. With reference to prominent individuals and ensembles, this article demonstrates how Andean and tropical performance practices have developed over the course of the last 30 years, and articulates the enduring importance of Latin American music and musicians within Australasian popular music culture.
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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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Baier, Martin, Sri Kuhnt-Saptodewo, H. J. M. Claessen, Annette B. Weiner, Charles A. Coppel, Wang Gungwu, Heleen Gall, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 150, no. 3 (1994): 588–623. http://dx.doi.org/10.1163/22134379-90003081.
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- Martin Baier, Sri Kuhnt-Saptodewo, Zum Seelengeliet bei den Ngaju am Kahayan; Auswertung eines Sakraltextes zur Manarung-Zeremonie beim totenfest. München: Akademischer Verlag,1993 (PhD thesis, Ludwig-Maximilian-Universitiy München). - H.J.M. Claessen, Annette B. Weiner, Inalienable Possessions; The paradox of keeping-while-giving. Berkeley: University of California Press, 1992, 232 pp. Bibl. Index - Charles A. Coppel, Wang Gungwu, Community and Nation; China, Southeast Asia and Australia. Sydney: Asian studies of Australia in association with Allen & Unwin, 1992 (2nd revised edition), viii + 359 pp - Heleen Gall, W. J. Mommsen, European expansion and Law; the encounter of European and Indigenous Law in 19th- and 20th- century Africa and Asia. Oxford; Berg publishers, 1992, vi + 339 pp, J.A. de Moor (eds.) - Beatriz van der Goes, C. W. Watson, Kinship, Property and inheritance in Kerinci, Central Sumatra. Canterbury:University of Kent, Centre for Social Anthropology and computing Monographs no: 4. South-East Asian Series, 1992, ix + 255 pp - Kees Groeneboer, Tom van der Berge, Van Kenis tot kunst; Soendanese poezie in de koloniale tijd. Proefschrift Rijksuniversiteit Lieden, November 1993, 220 pp - Kees Groeneboer, J.E.A.M. Lelyveld, ‘... waarlijk geen overdaad, doch een dringende eisch..’’; Koloniaal onderwijs en onderwijsbeleid in Nederlands-Indië 1893-1942. Proefschrift Rijksuniversiteit Utrecht, 1992. - Marleen Heins, R. Anderson Sutton, Variation in Central Javanese gamelan music; Dynamics of a steady state. Northern Illinois University: Center for Southeast Asian Studies, Monograph series on Southeast Asia, (Special Report 28 ),1993. - Marleen Heins, E. Heins, Jaap Kunst, Indonesian music and dance; Traditional music and its interaction with the West. Amsterdam: Royal Tropical Institute/Tropenmuseum, University of Amsterdam, Ethnomusicology Centre `Jaap Junst’, 1994, E. den Otter, F. van Lamsweerde (eds.) - David Henley, Harold Brookfield, South-East Asia’s environmental future; The search for sustainability. Tokyo: United Nations University Press, Kuala Lumpur: Oxford University Press, 1993, xxxii + 422 pp., maps, tables, figures, index., Yvonne Byron (eds.) - Antje van der Hoek, Keebet von Benda-Beckmann, De emancipatie van Molukse vrouwen in Nederland. Utrecht: Van Arkel,1992, Francy Leatemia-Toma-tala (eds.) - Michael Hitchcock, Brita L. Miklouho-Maklai, Exposing Society’s Wounds; Some aspects of Indonesian Art since 1966. Adelaide: Flinders University Asian studies Monograph No.5, illustrations, 1991, iii + 125 pp - Nico Kaptein, Fred R. von der Mehden, Two Worlds of Islam; Interaction between Southeast Asia and the Middle East.Gainesville etc: University Press of Florida 1993, xiii + 128 pp - Nico Kaptein, Karel Steenbrink, Dutch Colonialism and Indonesian Islam; Contacts and Conflicts 1596-1950. Amsterdam-Atlanta, GA: Rodopi, 1993. - Harry A. Poeze, Rudolf Mrázek, Sjahrir; Politics and exile in Indonesia. Ithaca, N.Y.: Cornell University, Southeast Asia Program, 1994. - W.G.J. Remmelink, Takao Fusayama, A Japanese memoir of Sumatra 1945-1946; Love and hatred in the liberation war. Ithaca: Cornell University (Cornell Modern Indonesia Project Monograph series 71), 1993, 151 pp., maps, illustrations. - Ratna Saptari, Diana Wolf, Factory Daughters; Gender, Household Dynamics, and Rural Industrialization in Java. Berkeley: University of California Press, 1992. - Ignatius Supriyanto, Ward Keeler, Javanese Shadow Puppets. Singapore (etc.): Oxford University Press, 1992, vii + 72 pp.,bibl., ills. (Images of Asia). - Brian Z. Tamanaha,S.J.D., Juliana Flinn, Review of diplomas and thatch houses; Asserting tradition in a changing Micronesia. Ann Arbor: University of Michigan Press, 1992. - Gerard Termorshuizen, Dorothée Buur, Indische jeugdliteratuur; Geannoteerde bibliografie van jeugdboeken over Nederlands-Indië en Indonesië, 1825-1991. Leiden, KITLV Uitgeverij, 1992, 470 pp., - Barbara Watson Andaya, Reinout Vos, Gentle Janus, merchant prince; The VOC and the tightrope of diplomacy in the Malay world, 1740-1800. Leiden: KITLV Press, 1994, xii + 252 pp.
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Breyley, Gay. "Diasporic Transpositions: Indigenous and Jewish Performances of Mourning in 20th-Century Australia." Ethnomusicology Forum 16, no. 1 (June 2007): 95–126. http://dx.doi.org/10.1080/17411910701276567.
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Varga, Sándor. "Two Traditional Central Transylvanian Dances and Their Economic and Cultural/Political Background." Acta Ethnographica Hungarica 65, no. 1 (November 11, 2020): 39–64. http://dx.doi.org/10.1556/022.2020.00004.
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This study focuses on a theme that until now has only been addressed to a lesser degree in dance folkloristics, namely the relationship between dance and politics. I examine two types of Central Transylvanian folk dance, the local variations of the dance group called eszközös pásztortánc (Herdsmen’s Dance with implement) and the local variations of the dance group called lassú legényes (slow male dance), attempting to study their transformation in terms of form and function during the 20th century in a traditional and revival context.1 Using two case studies, I also reflect on the unique system of relations between folklorism and folklorisation in an attempt to illustrate Hungarian and Romanian socio-economic factors and cultural policy underlying the transformation of these dances.
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Meftahi, Ida. "The Sounds and Moves of ibtiẓāl in 20th-Century Iran." International Journal of Middle East Studies 48, no. 1 (January 14, 2016): 151–55. http://dx.doi.org/10.1017/s0020743815001579.
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The scene opens with the camera zooming in on a small raised stage where a group of muṭribs (minstrel performers) are enacting a rūḥawzī piece. At stage left, a young man is singing a love song that describes the physical features of his beloved, Chihilgis. He is accompanied by an ensemble that plays rhythmic music (in 6/8 meter) on traditional Iranian instruments—the tunbak, the tār, and the kamānchih. Standing next to the singer is Chihilgis, performed by a crossed-dressed performer (zanpūsh) who sports a long wig and moves flirtatiously to the song, making coquettish gestures with the eyes, lips, and shoulders. Chihilgis then joins the dance center stage with the two other main characters: the protagonist, enacted by the black-faced performer Mubarak, who has a tambourine (dāyirih) in hand; and Haji, Chihilgis’ old father, who sports a white cotton beard. With variations based on the characters, the dance consists of typical muṭribī moves, including exaggerated wrist and hip rotations, facial gestures such as blinking, and sliding head movements. This musical segment is followed by a witty, humorous dialogue between Mubarak and Haji with sexual undertones.
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Taranda, G. L. "Modern Dance As an American Alternative to Classical Ballet." Contemporary problems of social work 6, no. 4 (December 30, 2020): 45–51. http://dx.doi.org/10.17922/2412-5466-2020-6-4-45-51.
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the article analyzes the features of the American modern dance, which formed in the first half of the 20th century as an alternative to the classical ballet of the United States, which had Russian roots. In the article there were formulated both the artistic and aesthetic principles of modern dance and the historical and cultural prerequisites for the formation of the US national choreographic school. The work uses theoretical methods: visual and text analysis of choreographic works and music for performances, comparison of the means of plastic expressiveness, movements and figures of classical ballet and modern dance, the principles of stage development of artistic images of performances. The basis of the empirical study was a generalization of the practical experience of staging performances by leading American dancers of the 20th century. According to the results of the study, it is noted that the features of modern dance are opposite to the classical ballet of the United States, testify to the desire of Americans to illuminate the problems of modern time and convey the unique national features of US culture, using elements of African or Indian dances, as well as movements that are not characteristic of classical ballet, but reflect the spirit of our time. The materials of the article have theoretical and practical value for specialists dealing with the problems of culture and art of the 20th century, including modern choreography
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Vilhovchenko, T. "SOME HISTORICAL ASPECTS FORMATION OF MODERN CHOREOGRAPHY." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 137–45. http://dx.doi.org/10.33989/2226-4051.2021.23.238271.
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The article traces the historical stages of the emergence and development of modern choreography, its main directions, the influence of outstanding choreographers on the development of the plastic language of modern dance. It is noted that modern dance and its many and varied styles, types, forms arouse interest and the most controversial reactions from both the viewer and the critic. The concept of "modern choreography" was used and was relevant at every stage of the historical development of dance. In this or that historical period, dance was considered innovative and in line with the spirit of its time. Particular attention is paid to modern dance in the article. It incorporated both the aesthetic principles of the early 20th century and the further transformation of the modern dance of the second half of the 20th - early 21st centuries. The work also explores the emergence of the theory of movement, which appeared at the turn of the 19th - 20th centuries. However, despite the absence of a system of choreographic structure, tools for its analysis have already been proposed. This dance did not have a specific form and was aimed at conveying a person's spiritual state. In parallel with the birth of modern dance, new views on its perspectives were framed. The innovators sought to minimize the importance of costume, music, and decoration while maximizing lexical material and depth of thought, which rejected any canons of dance composition. It marked the beginning of a new era - the postmodern era, in which modern choreography evolves, moves in search of new forms and means of expression, changes, creating a new vocabulary, artistic symbols, and understandable signs.
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Kwon, Do-hee. "The organizations of 20th century kisaeng and their music and dance －focusing on the modernizing of kisaeng－." STUDIES IN KOREAN MUSIC 45 (June 30, 2009): 5–23. http://dx.doi.org/10.35983/sikm.2009.45.5.
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Decheva, Violeta. "The Theatre of Bauhaus." Sledva : Journal for University Culture, no. 40 (April 7, 2020): 26–31. http://dx.doi.org/10.33919/sledva.20.40.6.
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How Bauhaus movement informs not only modern architecture but also modern theatre, dance, art, music, the structure of the stage, the idea of the space, etc.? The ‘theatre of Bauhaus’ is not a clear system of ideas shared by all the participants in the movement. On the contrary, there are many internal conflicts. But we could speak of concepts that were developed and became influential through Bauhaus, especially after the ‘branding’ of the movement in the US in the second half of 20th century.
Dissertations / Theses on the topic "Dance music – Australia – 20th century"
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Hocking, Rachel School of Music & Music Education UNSW. "Crafting connections: original music for the dance in Australia, 1960-2000." Awarded by:University of New South Wales. School of Music and Music Education, 2006. http://handle.unsw.edu.au/1959.4/27289.
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This thesis documents the artistic connections made between composers and choreographers in Australia during the period 1960-2000. These 40 years saw a growth in the establishment of dance companies, resulting in many opportunities for composers to write original music for original dance works. The findings of original dance-music are tabulated in an extensive database giving details of 208 composers and over 550 music compositions written specifically for dance. Examples of choreographer and composer collaborative relationships and attitudes to each other???s artforms are discussed. Further examination of how these relationships have affected the sound of the music is detailed in four case studies. These concern the works The Display (music by Malcolm Williamson, choreography by Robert Helpmann, 1964), Poppy (music by Carl Vine, choreography by Graeme Murphy, 1978), Ochres (music by David Page, choreography by Stephen Page, 1994), and Fair Exchanges (music by Warren Burt and Ros Bandt, choreography by Shona Innes, 1989). These case studies look at dancemusic collaborated in different styles: ballet, modern dance, dance-theatre and experimental dance. This discussion is carried out through the analysis of the context of the collaborative relationships, and the temporal and interpretive aspects of the original dance-music. It is found through the investigation of collaborative relationships and discussion of these case studies, that similar methods of writing are used when composing music for theatrical dance, regardless of the type of dance. These methods show that composers have intentionally crafted scores that fulfil needs in the dance works and that are suited to choreographers??? intentions. Importantly, it is also found that involvement with dance has influenced some composers??? styles, aided musical innovation and added significantly to the corpus of Australian music.
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White, Bob Whitman. "Modernity's spiral : popular culture, mastery, and the politics of dance music in Congo-Kinshasa." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0020/NQ44627.pdf.
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Paterson, Adrian. "'Words for music perhaps' : W.B. Yeats and musical sense." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:d288984c-254a-40bc-b13d-b8790cc8226c.
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‘Poetry’ insisted Ezra Pound, ‘is a composition of words set to music’: his Cantos remembered ‘Uncle Willie’ downstairs composing, singing poetry to himself. This study examines the nature and effects of W.B.Yeats’s idiosyncratic but profound sense of music. For his poems were compositions set to music. They were saturated with musical themes; syntactically he professed to write for the ear rather than the eye; and he flung himself repeatedly into the breach between music and words, composing ballads, songs, and plays with music, and performing poetry with musical instruments. My thesis is that nature of poetry, spoken, read or sung, obsessed Yeats, and I hold it self evident that such an acutely self-conscious poetry will articulate this obsession: to use his own imagery, will bear the scars of its own birth. What follows is a study of meaning, obsession, and influence, beginning with what Yeats knew and how he came to poetry: his father’s and his own vocalizations of the musical preoccupations of Scott and Shelley, viewed through the annotations of ‘the first book [he] knew Shelley in’ and the solipsistic singers and instrumentalists of his early verse. The theme of chapter two is Ireland: the musical resonances of Anglo Irish ballads and Irish verse are viewed through Yeats’s aurally-oriented canon-formation, as we examine his instinctual recitations and deliberate approach to Irish folksong through the mediation of Douglas Hyde. The aesthetics of Wagner, Pater, and the French symbolistes frame the third chapter, which describes how poetry might approach the condition of music in the motivic organization of The Wind Among the Reeds. In chapter four the impact of Nietzsche’s profoundly musical philosophy is correlated for the first time with the exact moments of Yeats’s discovery of his texts, as Yeats’s plays and poetry move from ‘Apollonian’ languor to ‘Dionysian’ energy, from dream to song and dance. My final chapter uncovers the long history of the practical experiments Yeats made to perform poetry with a ‘psaltery’, and their resonating afterlife in subsequent poetry and poets. No musician himself, Yeats’s musical sense has until now been entirely dismissed: this study shows how central it is to his art and to an understanding of the dominant aesthetic of the age.
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O'Connor, Jennifer. "Black snow by Michael Smetanin : an analysis : and original compositions." University of Western Australia. School of Music, 2004. http://theses.library.uwa.edu.au/adt-WU2004.0054.
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Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen, Keqrops by Xenakis and De Tijd by Andriessen. It was decided, in the light of previous investigations into Smetanin’s music, to take one of these composers, namely Stockhausen and his work Trans, and discover how much Smetanin was influenced by this composer and this particular work. Trans was chosen because the similarities with Black Snow are less obvious. All aspects of Black Snow were examined - namely the harmony, rhythms, the important textures, serial/mathematical techniques, orchestration, the dramatic program, how the instruments are played - and then compared with Trans for similarities and differences. The results of the analytical investigation show that, while the internal organisation of the two works is very different, there are significant similarities between the two works in most of these areas. Serial/mathematical techniques could only be demonstrated in one area, and this is only conjecture.
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Vansteenburg, Jessica. "Understanding folk dance and Gypsy style in selected pieces for clarinet and piano by 20th century Hungarian composers an interpretive guide /." 2009. http://proquest.umi.com/pqdweb?did=1923173201&sid=2&Fmt=2&clientId=14215&RQT=309&VName=PQD.
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Thesis (D.M.A.)--University of Nebraska-Lincoln, 2009.Title from title screen (site viewed February 25, 2010). PDF text: xi, 116 p. : music ; 658 K. UMI publication number: AAT 3380449. Includes bibliographical references. Also available in microfilm and microfiche formats.
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Richards, Donald Frederick, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "The creative ear : the ABC's The listening room and the nurturing of sound art in Australia." 2003. http://handle.uws.edu.au:8081/1959.7/13211.
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This thesis argues that the Australian Broadcasting Corporation’s sound art program The Listening Room has been , both through broadcasting and related activities, a major factor in the life and growth of sound art in Australia. The thesis also argues that, internationally, The Listening Room is accepted as a leading member of the world sound art community by its contribution to the artistic development and wider recognition of the genre. In order to examine the influence of The Listening Room, interviews and case studies with Australian composers and overseas producers and observers are recounted and analysed. Finally, pertinent data from historical summaries, interviews and case studies are conflated to demonstrate the depth and significance of The Listening Room.Doctor of Philosophy (PhD)
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Scully, Michael F. "American folk music revivalism, 1965-2005." Thesis, 2005. http://hdl.handle.net/2152/3522.
Full textBooks on the topic "Dance music – Australia – 20th century"
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Music speaks: On the language of opera, dance, and song. Rochester, NY: University of Rochester Press, 2009.
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Jacaeber, Kastor, ed. The art of the Fillmore: 1966-1971. [New York, NY]: Thunder's Mouth Press, 1999.
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1931-, Rosenblatt Arthur, ed. Who sang what on Broadway, 1866-1996. Jefferson, N.C: McFarland & Co., Publishers, 2006.
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Powell, Anthony. A Dance to the Music of Time: Spring v. 1 (DANCE TO THE MUSIC OF TIME). Mandarin, 1997.
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A Dance to the Music of Time: Spring v. 1 (DANCE TO THE MUSIC OF TIME). Mandarin, 1997.
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Powell, Anthony. A Dance to the Music of Time. Minerva, 1991.
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A Dance to the Music of Time. Minerva, 1991.
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Cook, Susan C., and Sherril Dodds. Bodies of Sound: Studies Across Popular Music and Dance. Taylor & Francis Group, 2016.
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Powell, Anthony. A Dance to the Music of Time: Autumn v. 3. Mandarin, 1997.
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Powell, Anthony. A Dance To The Music Of Time: Vol. 3 - (From The 2nd Movement). Books on Tape, Inc., 1996.
Find full textBook chapters on the topic "Dance music – Australia – 20th century"
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"DANCE MUSIC." In Music in the 20th Century (3 Vol Set), 159–62. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-114.
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"BALLET AND MODERN DANCE MUSIC." In Music in the 20th Century (3 Vol Set), 39–41. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-27.
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Payne, Amaniyea. "Muntu Dance Theatre of Chicago." In Hot Feet and Social Change, 114–22. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042959.003.0008.
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Long famed as a mecca of African-American culture, New Orleans occupies a special place in studies of African diasporic music and dance. By outlining the historical and social factors that shaped unique expressions of African American cultural identity, Ausetta Amenkum provides an experiential account of the formation of the Kumbuka African Drum and Dance Collective, not only as a performance troupe, but also as a community institution. Utilizing poetry and an engaging tone, Amenkum situates the emergence of African dance companies founded by African Americans in the local cultural trajectory of New Orleans mid-20th century. She, then, chronicles her work and the use of African dance as a holistic approach, as she addresses a specific example: women’s incarceration issues in Louisiana.
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Rios, Fernando. "Musical Dimensions of Indigenismo." In Panpipes & Ponchos, 21–57. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190692278.003.0002.
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In 1925, La Paz city residents observed Bolivia’s first centennial of political independence, with official state celebrations that in hindsight appear remarkably devoid of Bolivian nationalist exhibitions of indigenismo. Twenty-three years later, urban La Paz hosted another lavish commemoration, this time to honor the city’s 400th anniversary. But, in a clear departure from the 1925 centennial, the 1948 event included a “folklore” festival that was wholly devoted to Andean indigenous music-dance traditions, the Concurso Folklórico Indígena del Departamento. As the Concurso’s inclusion in the 1948 celebration suggests, mainstream La Paz criollo-mestizo views about the cultural value and meanings of Andean indigenous expressive practices had undergone a significant transformation in the twenty-three years following the 1925 centennial. This chapter elucidates this major shift, by exploring key developments in the paceño indigenista musical scene that transpired in the period from the 1920s to 1940s. Throughout Latin America, elite and middle-class interest in regionally distinctive music-dance expressions reached new heights in the early decades of the 20th century, as part of a quest among a varied cast of politicians, writers, and artists for local traditions that unmistakably demonstrated the nation’s cultural uniqueness. Indigenismo represented a manifestation of this phenomenon. The Bolivian variant of this nativist movement took inspiration from indigenista currents radiating from other Latin American countries, including Mexico and Argentina, but above all else from Peru.