Description
The city of Morelia, Mexico, founded in the 16th century in the midst of the struggle between the Spanish and indigenous peoples, resulted in a city with a hybrid identity and an intricate cultural mosaic (Canclini, 2012). At the same time, colonial violence brought with it a Western musical culture that became deeply rooted in the city. As a result of this history, Morelia has many institutions of recognized musical importance. This heritage has been recognized in the declarations granted by UNESCO 1) as Cultural Heritage of Humanity (1991) and 2) as part of the Network of Creative Cities (2017) - cities in which art is a fundamental factor of development (Zherdev, 2014).
Since 1966, the year of the first edition of the Alfonso Vega Núñez International Organ Festival, the local tradition has been festivalized (Bennet et al., 2014), proliferating in events of this nature. Music festivals are a laboratory that allows us to delve into a complex network of facets: repertoires, discourses, performers, circulation (Marín, 2007), transfers, etc., are just a few examples of the richness of the field grouped under the umbrella of festival studies (Getz, 2010).
The aim of this communication is to analyze the first 25 years (1966-1988) of the Alfonso Vega Núñez International Organ Festival, and to observe its role as a port of arrival and departure for musicians and repertoires from all over the world, placing Morelia in a global network of sacred music. Using the metaphor of the Mediterranean as a sea where cultures meet, the processes of international circulation in Morelia are highlighted, with emphasis on works and performers, captured in newspaper and magazine sources and programs that paint a network of musicians with emphasis on America. The conclusions are discussed from the perspective of critical discourse analysis (Van Dijk, 2015).
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