| dc.contributor.author | Vik, Alissa | |
| dc.date.accessioned | 2023-12-28T08:41:31Z | |
| dc.date.available | 2023-12-28T08:41:31Z | |
| dc.date.created | 2023-08-02T19:06:24Z | |
| dc.date.issued | 2023 | |
| dc.identifier.citation | Latin American perspectives. 2023, 50 (3), 87-103. | en_US |
| dc.identifier.issn | 0094-582X | |
| dc.identifier.uri | https://hdl.handle.net/11250/3108947 | |
| dc.description.abstract | The song “Apagando el sistema” was released in 2015 during protests against the youth labor law known as the Ley Pulpín and frequently reposted on Facebook to show solidarity with various political and social issues. Analyzed from the perspective of what I call “fusion aesthetics,” it can be considered to build on the tradition of the Latin American Nueva Canción, reflect the fragmented nature of protests, and help the musicians negotiate their identities as mestizos and fight racism and discrimination in Peru. | en_US |
| dc.description.abstract | “Apagando el sistema”: Fusion Music as Protest Soundscape in Lima, Peru | en_US |
| dc.language.iso | eng | en_US |
| dc.publisher | SAGE | en_US |
| dc.title | “Apagando el sistema”: Fusion Music as Protest Soundscape in Lima, Peru | en_US |
| dc.title.alternative | “Apagando el sistema”: Fusion Music as Protest Soundscape in Lima, Peru | en_US |
| dc.type | Journal article | en_US |
| dc.type | Peer reviewed | en_US |
| dc.description.version | publishedVersion | en_US |
| dc.source.pagenumber | 87-103 | en_US |
| dc.source.volume | 50 | en_US |
| dc.source.journal | Latin American perspectives | en_US |
| dc.source.issue | 3 | en_US |
| dc.identifier.doi | 10.1177/0094582X231180852 | |
| dc.identifier.cristin | 2164566 | |
| cristin.ispublished | true | |
| cristin.fulltext | original | |
| cristin.qualitycode | 1 | |
