Abstract
The author analyzes protest songs and art from postwar Peru using Nestor García Canclini's understanding of the current reorganization of culture as a struggle over symbolic capital and cultural goods. The author also seeks to place her own work on the dialogical ground occupied by Peruvian performers through her creation of laments by the means of dedications to the disappeared. In so doing, she seeks not only to influence readers' perceptions of the political violence in Peru, but also to transform the relationship of researchers to and the rules of academic discourse about such events.
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