01909nas a2200145   4500000000100000000000100001008004100002260002300043100002200066245014700088856014900235300001200384520132000396020004701716       2021                            d  bTaylor and Francis1 aR. Hellier-Tinoco00aDancing resistance, controlling singing and rights to name heritage: Mexican Indigenous autonomy, P’urhépecha practices, and United Nations  uhttps://www.scopus.com/inward/record.uri?eid=2-s2.0-85104393923&doi=10.4324%2f9781003120315-13&partnerID=40&md5=1c4e9cb868a8089298c8c9f62881378b  a163-1803 aAll cultural practices, including dance and music, take place in specific sociopolitical-economic contexts within ideological-historical environments and trajectories. They are, therefore, clearly embedded in matters of power relations, which inherently involve issues of human rights. In some contexts, dance and music are categorized as “heritage” for a united nation and for United Nations through the UNESCO Representative List of Intangible Cultural Heritage of Humanity. Through the coloniality of heritage thinking, within authoritarian nationalistic and touristic frameworks, covert forms of human rights violations take place in such contexts of dance and music. This chapter considers a case involving Indigenous P’urhépecha practices; the Dance of the Old Men of the Island of Jarácuaro; the P’urhépecha a song form, pirekua; and the Zacán P’urhépecha Artistic Contest. Tracing a trajectory of incorporation of the Dance of the Old Men as national heritage in the postrevolutionary years of the 1920s, to processes of reappropriation of the narrative through the Indigenous P’urhépecha Autonomous movement, to the 2010 designation of the pirekua as Intangible Cultural Heritage of Humanity through UNESCO, this chapter raises questions around spheres of control and artistic production.  a9781000359657 (ISBN); 9780367636913 (ISBN)