Collaborative Intimacies in Music and Dance by Evangelos Chrysagis

Author:Evangelos Chrysagis [Chrysagis, Evangelos]
Language: eng
Format: epub
ISBN: 9781785334542
Publisher: Berghahn Books
Published: 2017-09-15T05:00:00+00:00

Conclusion

This chapter has analysed huayno spectacles as ethical events and charted corresponding processes of ethical subject formation. It has emphasized the role of the animador, who, through his or her verbal and gestural performance, repeatedly constructs a series of moral expectations and ethical contexts in which spectators are coaxed into and afforded the opportunity to adopt particular subject positions. In conjunction with other elements of huayno performance, the animador encourages a series of behaviours and identifications surrounding alcoholic intoxication. Drinking beer at huayno shows is a polyvalent act, variously enabling the embodiment of social ideals of reciprocity and individualistic notions of escape and remembrance. Moreover, it has been argued here that drinking often functions as an embodied affirmation of Andean migrant identity, a subject position that people often inhabit with a sense of ambivalence due to long histories of ethnic discrimination. As spectators respond somatically to questions such as ‘Who’s drinking?’ and ‘Where are the sufferers?’, notions of sensorial and emotional excess combine, creating crossovers between drinking/drunken and sentimental subjects. Public displays of emotion are a central component of ethical practices at huayno events. Through the animador’s patter, audience members are frequently hailed as emotional subjects that have loved and been betrayed. Spectators, too, typically evaluate performers on their ability to demonstrate lived experiences of such intense emotion through their vocal and bodily performance and, in turn, to empathize with the emotional and ethical lives of ordinary people. In sum, huayno spectacles act as privileged sites for embodied, affective and intersubjective ethical practices.

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