ABSTRACT

From the time of the founding of the Inter-American Indian Institute, its directors used music and media as tools for the documentation and preservation of indigenous cultures, in addition to the promotion of the Institute in the public arena. This article focuses on the role of Henrietta Yurchenco, a U.S. ethnomusicologist, in III recording projects and radio production beginning in 1942. The sociable personality of Yurchenco enabled her to cross cultural borders and maintain long-term friendships in some of the communities where she worked. However, the III developed a model of the archive as a source of indigenous authenticity that displaced direct interaction with indigenous communities, especially in relation to their musical representation in radio programs. The use of the arts in the III also prefigured the regimes of cultural heritage in UNESCO. The article elaborates the significance of Yurchenco’s history in the III which continues to impact discourses today.

摘要

从成立美洲印第安人研究所开始，除了在公共场合促进该研究所的发展外，其董事还使用音乐和媒体作为记录和保存土著文化的工具。本文着重介绍美国民族音乐学家Henrietta Yurchenco在1942年开始的III录音项目和广播制作中的作用。Yurchenco的社交个性使她能够跨越文化边界并在她工作的某些社区中保持长期友谊。但是，三世建立了档案馆的模型，以此作为土著真实性的来源，它取代了与土著社区的直接互动，特别是在广播节目中其音乐表现形式方面。在III中使用艺术也预示着教科文组织的文化遗产制度。这篇文章详细阐述了尤尔钦科在《 III》中的历史意义，该历史继续影响着今天的论述。