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Performing National Identity, Civic ...

Sandi-Diaz, Gina.

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Performing National Identity, Civic Resistance and Cultural Memory in Costa Rica's Masked Traditions = = Performing Identidad Nacional, Resistencia Civil y Memoria Cultural en las Tradiciones Mascareras del Valle Central y en El Juego de los Diablitos de Boruca, Costa Rica.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Performing National Identity, Civic Resistance and Cultural Memory in Costa Rica's Masked Traditions =/
Reminder of title:	Performing Identidad Nacional, Resistencia Civil y Memoria Cultural en las Tradiciones Mascareras del Valle Central y en El Juego de los Diablitos de Boruca, Costa Rica.
Author:	Sandi-Diaz, Gina.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
Description:	223 p.
Notes:	Source: Dissertation Abstracts International, Volume: 79-02(E), Section: A.
Contained By:	Dissertation Abstracts International79-02A(E).
Subject:	Performing arts. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10280373
ISBN:	9780355346589

Performing National Identity, Civic Resistance and Cultural Memory in Costa Rica's Masked Traditions = = Performing Identidad Nacional, Resistencia Civil y Memoria Cultural en las Tradiciones Mascareras del Valle Central y en El Juego de los Diablitos de Boruca, Costa Rica.
Sandi-Diaz, Gina.

Performing National Identity, Civic Resistance and Cultural Memory in Costa Rica's Masked Traditions =Performing Identidad Nacional, Resistencia Civil y Memoria Cultural en las Tradiciones Mascareras del Valle Central y en El Juego de los Diablitos de Boruca, Costa Rica. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 223 p.

Source: Dissertation Abstracts International, Volume: 79-02(E), Section: A.

Thesis (Ph.D.)--University of Kansas, 2017.

"Performing National Identity, Civic Resistance and Cultural Memory in Costa Rica's Masked Traditions" studies two performance traditions that date to the 17th century: Las mascaradas del Valle Central and El juego de los diablitos in Boruca. The project was developed during twenty months and included three research trips to Costa Rica ranging three to six weeks each, to witness performances, conduct interviews and recollect bibliographical resources. Methodologically, this project borrows from observant-participatory ethnography and historiography to analyze these two performance traditions through the lenses of Performance Studies and Cultural Studies.

ISBN: 9780355346589Subjects--Topical Terms:

523119
Performing arts.

Performing National Identity, Civic Resistance and Cultural Memory in Costa Rica's Masked Traditions = = Performing Identidad Nacional, Resistencia Civil y Memoria Cultural en las Tradiciones Mascareras del Valle Central y en El Juego de los Diablitos de Boruca, Costa Rica.
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245 1 0 $a Performing National Identity, Civic Resistance and Cultural Memory in Costa Rica's Masked Traditions = $b Performing Identidad Nacional, Resistencia Civil y Memoria Cultural en las Tradiciones Mascareras del Valle Central y en El Juego de los Diablitos de Boruca, Costa Rica.
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300 $a 223 p.
500 $a Source: Dissertation Abstracts International, Volume: 79-02(E), Section: A.
500 $a Adviser: Henry Bial.
502 $a Thesis (Ph.D.)--University of Kansas, 2017.
520 $a "Performing National Identity, Civic Resistance and Cultural Memory in Costa Rica's Masked Traditions" studies two performance traditions that date to the 17th century: Las mascaradas del Valle Central and El juego de los diablitos in Boruca. The project was developed during twenty months and included three research trips to Costa Rica ranging three to six weeks each, to witness performances, conduct interviews and recollect bibliographical resources. Methodologically, this project borrows from observant-participatory ethnography and historiography to analyze these two performance traditions through the lenses of Performance Studies and Cultural Studies.
520 $a This dissertation examines the process of appropriation of popular culture by colonial authorities and later by the Costa Rican state to shape, disseminate and legitimate a national identity project based on an assumption of whiteness and of a heteronormative, Catholic, European-descended nation. This construction is based on the ideals and values of 19th century's dominant class and excludes large portions of the population such as Indigenous, African and Asian communities that have resided in the nation,---in many cases prior to colonial time---actively contributing to the economy, social development and cultural heritage of the country.
520 $a The study traces the origins and development of masked performance traditions parallel to the construction of a national identity project in Costa Rica, unveiling the points of contact suture and rupture between popular culture and the state and unpacking the ways in which the performances are complacent or subversive to the official narrative of Costa Rica's national identity. The discussion of these points of contact, suture, and rupture emphasize the crucial role of embodied practice and oral tradition in the transmission of cultural memory, and the potential these traditions offer to develop coded performances for their communities that mock and subvert authority while appearing to be complacent to the status quo.
520 $a This dissertation contributes to the fields of Performance Studies, Latin American Studies, Central American Cultural Studies and Performance Ethnography.
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