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CHILOÉ RELIGIOUS PROJECTS AND STUDIES RELATED TO THE FESTIVAL

The origin of the idea of \u200b\u200bthis festival has been the intention of supporting and consolidating the work of the study, preservation and dissemination of religious and musical heritage of Chiloé, and work for several years Cultural Enterprise Centre at the Museum of Evangelization Parish Achao.

Therefore, during the first version of the festival began planning actions aimed at achieving the medium term that the valuable collection of audiovisual material treasured by the Parish of Achao can have a proper documentation that allows it known to the academia and scholars of the cultural heritage of peoples, both nationally and internationally.

Associated with this objective, three Chilean musicologists have made contributions that should be mentioned here.

Sebastian and Ursula San Cristóbal Gallardo carried out the project entitled "Cataloging and digitization of audiovisual and sound of the parish of Santa Maria de Loreto Achao" (funded by the Online Music Promotion Research in Music National 3CL13113200865326 Folio). Its main objectives were:

1. contribute to the preservation music records of oral tradition, through the development of a catalog of audiovisual material preserved in the archives of the Church of Our Lady of Santa Maria de Loreto Achao.
2. promote the dissemination of religious and cultural heritage of oral tradition, through the publication of the catalog on the network.

existing audiovisual material in the Church of Our Lady of Santa Maria de Loreto Achao is composed mainly by sound and audiovisual recordings of religious celebrations, meetings and festivities in which members of the community Achao and different islands of the archipelago of Chiloé. Within the framework festive music reappear linked to ritual practices of the early community of European colonization and evangelization in Chiloé, which still have symbolic meaning, religious and aesthetic of the early Jesuit missionaries. Despite their relationship, it would be naive to say that these songs have remained intact throughout the history: their present existence is strictly possible by reworking chilotas communities have made on them over time. The aesthetic stamp that human groups from different eras have been printed on multiple pieces holiday-music-now in force, allows us to postulate the patrimonial character of the music. Hence the importance of preserving this cultural property through specific actions for the classification and recording of information, which indicate, first, the creation of a catalog. This initiative comes Achao community, which has expressed its desire to install a system of organization of material heritage preserved in the Church of Our Lady of Santa Maria de Loreto, which allows easy access to it, both for the community chilota as researchers from different areas to show interest in local oral heritage.

Creating a catalog is a first step towards the creation of a file, which, no doubt, contribute to the unveiling of new horizons in the field of music research (for example, the association study between the documented and devotional music colonial music), and establish new points of convergence between the different disciplines interested in the subject, among which are counted Musicology, History, Folklorología, anthropology, aesthetics, and more.

The musician, historian and musicologist Victor Rondon, meanwhile, has worked with the festival by an adaptation his edition of Mission Song "Chilidúgú" especially dedicated to the implementation on children's voices and instruments chilotes, whose family origins refer specifically to meet the original cultures of the archipelago of Chiloé and Hispanic cultural matrix.

extracts reported here an account of the Rondon research, conducted by musicologist Rodrigo Torres and published in the Revista Musical Chilena, Santiago V.52 n.190 July 1998:

"The evangelical fervor of the Society of Jesus was the main driver of its business in the kingdom of Chile (1593-1767), and this win to the church, the souls of the natives of the New World was the crusade he joined the Bavarian priest Bernard of Havestadt (1714-1781), in the heyday of the Jesuit missions in the colony.

The intense experience, encounters and clashes with the Indians he visited, the loss of his equipment and even the very strong blow dealt to his head by a young missionary Pehuenche probably trigger an intention to conduct a work that it took many years to complete and several more to post. Is this your Chilidúgú sive tractatus Linguae Chilensis, written in the Araucanía (approx. 1752-1756) and Santiago (1756-1765) after many vicissitudes and published shortly before his death in Westphalia in 1777. To date, the book is the only known source where missionaries are songs with texts in Mapudungun and music "solfa start." Notes

Chilidúgú Rondón that is, in essence, a work for teaching and learning of the Mapuche language, but above all we feel is an attempt to install the core of the Mapuche culture, within their language, Mapudungun, the basic categories of conceptual and ideological apparatus that supported the company evangelical, ecclesiastical and imperial at the same time representing the latest attempt Jesuit-domain strategy before his exile, one of the indigenous peoples most refractory to this process across the continent.

This publication is a sound and documented missionary theme installation in local musicological agenda. On the one hand provides valuable information on this source of musicology and music Jesuit missionary in Chile and, secondly, provides the initial fruits of laborious research in this area. Rondón moving beyond purely descriptive elucidation of the primary sources with which it works, build relationships and interpretations that complicate the phenomenon renovadoramente missions, connect with their ethnic and cultural environment, and suggests an interesting opening to the past and the present projection, an issue that is only suggested but will be undoubtedly an important line of research to develop future work. "

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