<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1659-4940</journal-id>
<journal-title><![CDATA[Cuadernos Inter.c.a.mbio sobre Centroamérica y el Caribe]]></journal-title>
<abbrev-journal-title><![CDATA[Inter.c.a.mbio]]></abbrev-journal-title>
<issn>1659-4940</issn>
<publisher>
<publisher-name><![CDATA[Centro de Investigación en Identidad y Cultura Latinoamericanas (CIICLA) de la Universidad de Costa Rica]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1659-49402022000200004</article-id>
<article-id pub-id-type="doi">10.15517/c.a..v19i2.50498</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[El baile de la loquera: lo carnavalesco en la práctica músico-bailable mosh y slam de las juventudes urbanas durante la década de 1990 en Costa Rica, el caso del ska]]></article-title>
<article-title xml:lang="en"><![CDATA[El baile de la loquera: the carnival aspect of danceable music practice of Mosh and Slam for the urban youth in Costa Rica during the decade of 1990, the Case of Ska Music]]></article-title>
<article-title xml:lang="pt"><![CDATA[A dança da folía: o carnavalesco na prática músico-dançável mosh e slam da juventude urbana durante a década de 1990 na Costa Rica, o caso do ska]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Hernández Parra]]></surname>
<given-names><![CDATA[Sergio Isaac]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Costa Rica, San José  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Costa Rica</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2022</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2022</year>
</pub-date>
<volume>19</volume>
<numero>2</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.sa.cr/scielo.php?script=sci_arttext&amp;pid=S1659-49402022000200004&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.sa.cr/scielo.php?script=sci_abstract&amp;pid=S1659-49402022000200004&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.sa.cr/scielo.php?script=sci_pdf&amp;pid=S1659-49402022000200004&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Este artículo aborda una práctica musical de carácter bailable del mosh y del slam con el fin de explicar las actitudes de transgresión y subversión presentes en un sector de la juventud costarricense, las cuales se releen en clave carnavalesca, de acuerdo con la teoría de Mijail Bajtín. Para ello se elaboró una metodología transdiciplinaria que, por medio de fuentes etnográficas, discográficas y de hemeroteca, triangula aspectos musicales, discursivos y sociales. De esta forma se cumple con el objetivo general de analizar el aspecto carnavalesco en la práctica músico-bailable del ska de las juventudes urbanas costarricenses en la década de 1990.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article discusses the danceable music practice of &#8220;mosh&#8221; and &#8220;slam&#8221; as a form of subversive attitude for the urban youth, based on the carnival theory of Mijail Bajtín. In particular, proposes a transdisciplinary methodology based in the analysis of social discourse, discographic production and ethnographic data. All this allows to achieve the following objective: analyze the carnivalesque form in the danceable practice of &#8220;ska. music for Costa Rican urban youth during the decade of 1990.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Este artigo aborda uma prática musical dançante de mosh e slam para explicar as atitudes de transgressão e subversão presentes em um setor da juventude costarriquenha, que são relidas em chave de carnavalesca, de acordo com a teoria de Mijail Bajtín. Para isso, foi desenvolvida uma metodologia transdisciplinar que, por meio de fontes etnográficas, de registros e de jornais, triangula aspectos musicais, discursivos e sociais. Desta forma, é cumprido o objetivo geral de analisar o aspecto carnavalesco na prática músico-dançável do ska em jovens urbanos costarriquenhos nos anos 1990.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Bajtín]]></kwd>
<kwd lng="es"><![CDATA[discurso musical]]></kwd>
<kwd lng="es"><![CDATA[jóvenes]]></kwd>
<kwd lng="es"><![CDATA[festividad]]></kwd>
<kwd lng="es"><![CDATA[carnaval]]></kwd>
<kwd lng="en"><![CDATA[Bajtín]]></kwd>
<kwd lng="en"><![CDATA[musical discourse]]></kwd>
<kwd lng="en"><![CDATA[youth]]></kwd>
<kwd lng="en"><![CDATA[festivity]]></kwd>
<kwd lng="en"><![CDATA[carnival]]></kwd>
<kwd lng="pt"><![CDATA[Bajtín]]></kwd>
<kwd lng="pt"><![CDATA[discurso musical]]></kwd>
<kwd lng="pt"><![CDATA[juventude]]></kwd>
<kwd lng="pt"><![CDATA[festividade]]></kwd>
<kwd lng="pt"><![CDATA[carnaval]]></kwd>
</kwd-group>
</article-meta>
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