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  • Acknowledgments  vii
    Introduction. Thinking Site in Sound  1
    1. Sounding Place Over Time: On the Sonic Transits of "El Cóndor Pasa"  25
    2. Putumayo and Its Discontents: The Andean Music Industry as a World Music Geography  64
    3. (Inter)national Stages, Mujeres Bravas, and the Spatial Politics of Diaspora  95
    4. "You Can't Have a Revolution without Songs: Neighborhood Soundscapes and Multiscalar Activism in La Misión  145
    Epilogue. Musical Pirates, Sonic Debts, and Future Geographies of Transit  175
    Notes  189
    Bibliography  217
    Index  236
  • “Boldly investigating the post-1960 rise of political and social economies of South American music that anticipated and responded to the past, present, and future of colonial discipline, Kirstie A. Dorr works with populations that are too often left out of the narratives of hemispheric cultural activism. Dorr's interventions are necessary and provocative, making On Site, In Sound a crucial and vivifying touchstone for the future horizon of U.S. Latina/o studies.” — Alexandra T. Vazquez, author of, Listening in Detail: Performances of Cuban Music

    “For Kirstie A. Dorr, geography is never a stable site or a fixed idea that merely marks the imagined place of musical production and circulation. Dorr's nuanced engagement between musical sound and geography shows geography to be the site and sound of the transnational and transgenerational. A rare work in Latina/o studies that concentrates on Andean and Afroperuvian music, On Site, In Sound is a unique sonic force that contributes critical questions pertaining to blackness and Latinidad in the field of Latina/o studies as well as a critical signpost for reimagining sound studies through sexuality, race, and gender.” — Deborah R. Vargas, author of, Dissonant Divas in Chicana Music: The Limits of La Onda

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  • Description

    In On Site, In Sound Kirstie A. Dorr examines the spatiality of sound and the ways in which the sonic is bound up in perceptions and constructions of geographic space. Focusing on the hemispheric circulation of South American musical cultures, Dorr shows how sonic production and spatial formation are mutually constitutive, thereby pointing to how people can use music and sound to challenge and transform dominant conceptions and configurations of place. Whether tracing how the evolution of the Peruvian folk song "El Condor Pasa" redefined the boundaries between national/international and rural/urban, or how a pan-Latin American performance center in San Francisco provided a venue through which to challenge gentrification, Dorr highlights how South American musicians and activists created new and alternative networks of cultural exchange and geopolitical belonging throughout the hemisphere. In linking geography with musical sound, Dorr demonstrates that place is more than the location where sound is produced and circulated; it is a constructed and contested domain through which social actors exert political influence.

    About The Author(s)

    Kirstie A. Dorr is Associate Professor of Ethnic Studies at the University of California, San Diego.
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