Juan Antonio Flores Martos

Juan Antonio Flores is an associate lecturer and doctor of Social Anthropology in the Social Sciences Faculty at Talavera de la Reina, University of Castilla-La Mancha. He has developed ethnographic field work in anthropology of the body and emotions, daily violence and social suffering, along with new spiritual imaginaries – especially in the port of Veracruz, Mexico, Bolivia and Spain. Senior researcher, holding the “Gonzalo Aguirre Beltrán” chair in 2012, Bi-Institutional Commission of the Research Centre and Higher Studies in Social Anthropology (CIESAS) and Universidad Veracruzana. He has published several studies on the Mexican Santa Muerte (Our Lady of Holy Death), and is the editor of the book Etnografías de la muerte y las culturas en América Latina (2007). He has undertaken research periods at the Institute of Anthropological Research (UNAM), Institute of Historical and Social Research (Universidad Veracruzana), CIESAS-Gulf Unit (Xalapa), the universities of Bologna and Sienna and Universidad Nova in Lisbon. He currently works on the effect of violence in the state of Veracruz on its inhabitants.

Research at MEDIOS

His contribution to the project is focussed on the study and analysis of the uses that indigenous people make of different musics in the north of the state of Veracruz, specifically the regions of Totonacapan and Huasteca – which cross state boundaries, forming territories that encroach on the states of Puebla and Hidalgo. Through the exploration and registration of channels such as Youtube, blogs, radios and social networks, he is interested in analysing the contrasts in such uses and consumption, the use of indigenous languages and Spanish, and their means of exposure and dissemination. The foci of his attention and research are both the musics initially considered more “traditional”, connected to more of a common folkloric view – huapangos, sones, etc. – and also musics typical of national Mexican culture – more mestizo or popular, such as band music, rancheras or northern fusion rhythms – or globalised musics, such as hip-hop or rock. He will focus both on formal and aesthetic aspects, connected in the shaping of that particular indigenous musical taste, such as the rhetoric of exposure – and overexposure – of content referring to identity politics.

The corpus of materials compiled for the analysis covers the products of indigenous musicians in this area, both whether they make their music in their indigenous language or not, and musicians originally from the region, who are migrants and make and promote their music outside the region. Another strategic consideration was investigating the nature of the media on which such musics are played, promoted and consumed.

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