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The Sounds of Indigenismo

Chapter 3 discusses the problematic fictional indigenista film genre. Falling under the political ideology of indigenismo—discourses advocating for the social and economic integration of indigenous populations at the beginning of the twentieth century—the intended goal of the film genre was to introduce the “indigenous experience” to urban, mestizo audiences. Cinema held a unique position in this construction, but presented contradictory messages: it neither fully promoted nor totally negated integrationist procedures through the cinematic constructions of indigenous cultures. Within these representations, music played a crucial role in not just providing adequate changes in atmosphere but also in sonically depicting the indigenous experience. The chapter focuses on two films, Janitzio (1935) and María Candelaria (1944). These films both enforce exoticist representations that moved against integrationist discourses. While the cinematic interpretations indicate that modern society attempted to integrate these communities, the exoticist aural and visual representations of these communities amplified their Otherness.