{"id":7443,"date":"2022-08-29T19:25:15","date_gmt":"2022-08-29T23:25:15","guid":{"rendered":"https:\/\/www.bu.edu\/las\/?page_id=7443"},"modified":"2023-09-02T12:12:33","modified_gmt":"2023-09-02T16:12:33","slug":"travel-grant-recipients-2021-2022","status":"publish","type":"page","link":"https:\/\/www.bu.edu\/las\/academics\/david-scott-palmer-travel-grants\/travel-grant-recipients-2021-2022\/","title":{"rendered":"Travel Grant Recipients 2021-2022"},"content":{"rendered":"

Ariana Alamonte<\/strong><\/p>\n

From February 21, 2022 to February 27, 2022, I traveled from Boston to Washington D.C. to conduct research at the Library of Congress for my Senior Thesis on Musical Nationalism in 1950s Venezuela<\/em>. I made use of the Hispanic Reading Room, the Newspaper and Periodicals Room, the Performing Arts Center, and the American Folklife Center. The contents I discovered during this research period significantly transformed and developed my analysis of joropo<\/em> in 1950s urbanizing Venezuela. Specifically, I sought out to discover whether or not Afroindigenous Venezuelans participated in a \u201cculture from the bottom\u201d with joropo<\/em>\u2014that is, whether they used the genre to reinterpret and transform the imposed musical nationalism and culture of the Perez Jimenez era. Instead, I found stories and publications pointing me in a slightly different direction\u2014the racialized story of joropo<\/em> as a fluxuating genre representing the contentiousness of mixed-raceness in Venezuela that Perez Jimenez then appropriated in his creation of a whitened, industrial, worker-based Venezuelan national culture.<\/p>\n