In Making Intangible Heritage, Valdimar Tr. Hafstein—folklorist and official delegate to UNESCO—tells the story of UNESCO's Intangible Heritage Convention. In the ethnographic tradition, Hafstein peers underneath the official account, revealing the context important for understanding UNESCO as an organization, the concept of intangible heritage, and the global impact of both. Looking beyond official narratives of compromise and solidarity, this book invites readers to witness the diplomatic jostling behind the curtains, the making and breaking of alliances, and the confrontation and resistance, all of which marked the path towards agreement and shaped the convention and the concept. Various stories circulate within UNESCO about the origins of intangible heritage. Bringing the sensibilities of a folklorist to these narratives, Hafstein explores how they help imagine coherence, conjure up contrast, and provide charters for action in the United Nations and on the ground. Examining the international organization of UNESCO through an ethnographic lens, Hafstein demonstrates how concepts that are central to the discipline of folklore gain force and traction outside of the academic field and go to work in the world, ultimately shaping people's understanding of their own practices and the practices themselves. From the cultural space of the Jemaa el-Fna marketplace in Marrakech to the Ise Shrine in Japan, Making Intangible Heritage considers both the positive and the troubling outcomes of safeguarding intangible heritage, the lists it brings into being, the festivals it animates, the communities it summons into existence, and the way it orchestrates difference in modern societies.

“One of the sexiest Spainards to foray through romance in a long while…sensual, emotional, engrossing.”—Katherine Sutcliffe Gabriel Cristobel de Espinosa y Ramirez has served the Spanish crown with honor, crossing swords with brigands and cutthroats on the high seas. His actions against the British and the French have earned him the name El Condor. But now he finds that his greatest challenge is, of all things, a woman. While searching for his sister and her English husband on the island of Martinique, he meets Lady Sarah Drake, who would have been abducted by a band of cowards had he not intervened. To protect Lady Sarah from further harm, he must stay in a convent where she has yet to give her vows. El Condor has never been so enchanted by a member of the British aristocracy, but conquering her will be more difficult than any army he has ever faced.

This bilingual collection of stories - set in the Southwestern United States and South America0́4deals with love and culture conflict in an evolving political and economic environment in modern-day New Mexico.

A “compelling and shocking account” of a brutal campaign of repression in Latin America, based on interviews and previously secret documents (The Miami Herald). Throughout the 1970s, six Latin American governments, led by Chile, formed a military alliance called Operation Condor to carry out kidnappings, torture, and political assassinations across three continents. It was an early “war on terror” initially encouraged by the CIA—which later backfired on the United States. Hailed by Foreign Affairs as “remarkable” and “a major contribution to the historical record,” The Condor Years uncovers the unsettling facts about the secret US relationship with the dictators who created this terrorist organization. Written by award-winning journalist John Dinges and updated to include later developments in the prosecution of Pinochet, the book is a chilling yet dispassionately told history of one of Latin America’s darkest eras. Dinges, himself interrogated in a Chilean torture camp, interviewed participants on both sides and examined thousands of previously secret documents to take the reader inside this underground world of military operatives and diplomats, right-wing spies and left-wing revolutionaries. “Scrupulous, well-documented.” —The Washington Post “Nobody knows what went wrong inside Chile like John Dinges.” —Seymour Hersh

Melodious panpipes and kena flutes. The shimmering strums of a charango. Poncho-clad musicians playing "El Cóndor Pasa" at subway stops or street corners while selling their recordings. These sounds and images no doubt come to mind for many "world music" fans when they recall their early encounters with Andean music groups. Ensembles of this type known as "Andean conjuntos" or "pan-Andean bands" have long formed part of the world music circuit in the Global North. In the major cities of Latin America, too, Andean conjuntos have been present in the local music scene for decades, not only in Peru, Bolivia, and Ecuador (i.e., in the Andean countries), but also in Argentina, Chile, Colombia, and Mexico. It is solely in Bolivia, however, that the Andean conjunto has represented the preeminent folkloric-popular music ensemble configuration for interpreting national musical genres from the late 1960s onward. Despite its frequent association with indigenous villages, the music of Andean conjuntos bears little resemblance to the indigenous musical expressions of the Southern Andes. Created by urban criollo and mestizo folkloric artists, the Andean conjunto tradition represents a form of mass-mediated folkloric music, one that is only loosely based on indigenous musical practices. Panpipes & Ponchos reveals that in the early-to-mid 20th century, a diverse range of musicians and ensembles, including estudiantinas, female vocal duos, bolero trios, art-classical composers, and mestizo panpipe groups, laid the groundwork for the Andean conjunto format to eventually take root in the Bolivian folklore scene amid the boom decade of the 1960s. Author Fernando Rios analyzes local musical trends in conjunction with government initiatives in nation-building and the ideologies of indigenismo and mestizaje. Beyond the local level, Rios also examines key developments in Bolivian national musical practices through their transnational links with trends in Peru, Argentina, Chile, Mexico, and France. As the first book-length study that chronicles how Bolivia's folkloric music movement articulated, on the one hand, with Bolivian state projects, and on the other, with transnational artistic currents, for the pivotal era spanning the 1920s to 1960s, Panpipes & Ponchos offers new perspectives on the Andean conjunto's emergence as Bolivia's favored ensemble line-up in the field of national folkloric-popular music.