caa a22 4500 386388806 CHVBK 20180307112107.0 cr unu---uuuuu 161130e198901 xx s 000 0 eng 10.1017/S0261143000003135 doi S0261143000003135 pii (NATIONALLICENCE)cambridge-10.1017/S0261143000003135 Fairley Jan Analysing performance: narrative and ideology in concerts by ¡Karaxú! [Elektronische Daten] [Jan Fairley] In September 1974 a group of musicians came together in Paris to perform at meetings to mark the first anniversary of the 1973 Chilean coup d'état. The group took the name ¡Karaxú! which is variously translated in performance as ‘to go forward' or as ‘a war cry'. In fact ¡Karaxú! is a Quechuasied version of the spanish carajo which colloquially can be loosely translated as ‘bugger off' but in fact means grito de couraje y de rebeldía (a cry of courage and rebellion). This analysis focuses specifically on a set of performances by ¡Karaxú! which took place in the United Kingdom some five years later during 1978 and 1979. It differs from other studies of the music of Chilean exiles and indeed other approaches to modern urban musical concerts by focusing on the concert performance as a whole entity. I analyse the music in performance, providing an analytical framework abstracted from participant observation work with the musicians, and focusing on the negotiation of meaning through the organisation of repertoire into a performance structure. Copyright © Cambridge University Press 1989 Popular Music Cambridge University Press 8/1(1989-01), 1-30 0261-1430 8:1<1 1989 8 PMU https://doi.org/10.1017/S0261143000003135 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0261143000003135 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Fairley Jan NATIONALLICENCE 773 0- Popular Music Cambridge University Press 8/1(1989-01), 1-30 0261-1430 8:1<1 1989 8 PMU CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge