Intersections between Vanguard and Indigenism in Ecuadorian academic music for guitar. ABYA YALA by Juan Mullo Sandoval

Abstract

The Latin American musical avant-gardes of the 20th century constitute a space of crosses, intersections, resignifications, and reconceptualizations of the paradigms and ruptures raised in Europe, settled in territories such as the Ecuadorian one, where at the same time that they generated new searches, new disputes, also new spaces and new opportunities for reorganizing local music. An interesting case, the guitar repertoire, an “appropriate” instrument, reinterpreted and reused by our societies, until it became a repository of identities, despite its colonial origin. We specifically analyze the case of the work ABYA YALA, by the composer Juan Mullo, identifying the musical resources through which ancestral sonorities, considered identity, are inserted within the framework of the ecuadorian musical avant-garde dynamics. We discuss this process from the decolonial line of thought, headed by Catherine Walsh, to conceptually understand, in the proposed coordinates, the postulate that Juan Mullo enunciated at the time, as a nationalist vanguard.

Keywords: musical avant-garde, ecuadorian guitar, XX Century music, Musical decoloniality.