<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2007-8110</journal-id>
<journal-title><![CDATA[Cultura y representaciones sociales]]></journal-title>
<abbrev-journal-title><![CDATA[Cultura representaciones soc]]></abbrev-journal-title>
<issn>2007-8110</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional Autónoma de México, Instituto de Investigaciones Sociales]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2007-81102019000200010</article-id>
<article-id pub-id-type="doi">10.28965/2019-27-10</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Construcción de la marginalidad de los músicos callejeros. El caso del &#8220;Rey Oh Beyve&#8221;]]></article-title>
<article-title xml:lang="en"><![CDATA[Construction of the marginality of street musicians. The case of &#8220;King Oh Beyve&#8221;]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Bieletto Bueno]]></surname>
<given-names><![CDATA[Natalia]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Mayor Facultad de Artes Centro de Investigación en Artes y Humanidades]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Chile</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2019</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2019</year>
</pub-date>
<volume>14</volume>
<numero>27</numero>
<fpage>309</fpage>
<lpage>347</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S2007-81102019000200010&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S2007-81102019000200010&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S2007-81102019000200010&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Este estudio, de carácter documental, aborda el caso del cantautor oaxaqueño e indígena Rey Oh Beyve y plantea el problema de la representación del subalterno en sus dimensiones aural e historiográfica. Vinculo mi propia experiencia de escucha de sus canciones con el naciente campo de los estudios de auralidad a fin de discutir la construcción de la marginalidad estética de su obra. Conceptos como estéticas de la purificación (Ochoa 2006, 2014), escucha del encuentro (García, 2012) y abyección aural (Alegre y Hernández, 2018) permiten poner bajo escrutinio el papel que juega el sentido del oído en mecanismos intersubjetivos de desidentificación cultural. Recurro a la crítica postcolonial para cuestionar las formas de representación usadas en fuentes más tradicionales como notas de prensa y registros audiovisuales y fotográficos, con el fin de debatir sus usos como material de archivo seleccionado. Concluyo que la actividad musical en la vía pública de este personaje tensionó los marcos de reconocimiento de la cultura dominante y que la falta de inteligibilidad de su performance puede también ser interpretada como un caso de agencia política.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article deals with the case of the indigenous street musician from Oaxaca, Rey Oh Beyve to suggest a debate concerning the representation of the subaltern using the aural and historiographical dimensions. Connecting my own listening experience of his songs with the nascent field of aural studies, I debate the aesthetic marginalization of his music. I use concepts such as &#8220;aesthetics of purification&#8221; (Ochoa, 2006, 2014), &#8220;hearing encounters&#8221; (escucha del encuentro) (García, 2012) and &#8220;aural abjection&#8221; (Alegre y Hernández, 2018) as recourses to scrutinize the role of listening in intersubjective mechanisms of cultural disidentification. I make use of postcolonial critique to question the traditional forms of representation such as press news, audiovisual registers and photographs to debate their use in the selection of the material that makes up an archive. I conclude that the musical activity of this man tensions the frames of recognition (Butler) and that the unintelligibility of his performance in the streets can nonetheless be interpreted as a case of agency policy.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[subalteridad]]></kwd>
<kwd lng="es"><![CDATA[música callejera]]></kwd>
<kwd lng="es"><![CDATA[auralidad]]></kwd>
<kwd lng="es"><![CDATA[intersubjetividad]]></kwd>
<kwd lng="es"><![CDATA[crítica postcolonial]]></kwd>
<kwd lng="en"><![CDATA[subalterity]]></kwd>
<kwd lng="en"><![CDATA[street music]]></kwd>
<kwd lng="en"><![CDATA[aurality]]></kwd>
<kwd lng="en"><![CDATA[intersubjetivity]]></kwd>
<kwd lng="en"><![CDATA[postcolonial critique]]></kwd>
</kwd-group>
</article-meta>
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