<i>Identificaciones</i>: músicas mestizas, músicas populares y contracultura en América (siglos XVI-XIX)

Bernand, Carmen

doi:10.7440/histcrit54.2014.02

“…Jara's approach to folklore was built on a Latin American tradition that sees music as connected to social and political stirrings (Bernand 2014). In the peasant tradition, 'popular culture' and 'popular music' are not media artifacts of massive appeal.…”

Section: Music Politics and Revolutionmentioning

confidence: 99%

Songs of Exile: Music, Activism, and Solidarity in the Latin American Diaspora

Bucciferro

¹

2017

JOMEC

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This article addresses the long-standing connection between music and social activism in Latin America, centering on a discussion of 'the music of exile' as a cultural artifact of historical and conceptual significance for diasporic Latin American communities. The music produced by artists who were persecuted during the years of military rule was characterized by an engagement with social and political affairs, and often helped bring people together in the struggle for democratization. Despite censorship laws and other repressive measures enacted by the dictatorships, the music not only endured but traveled across nations and continents, carried by the millions of people who were displaced due to State-sponsored violence. Now distributed through new media platforms, such as YouTube, this music functions as a repository of memory and an emblem of solidarity that connects dispersed Latin American communities. Using Cultural Studies as a theoretical framework and employing an interpretive methodology, this study focuses on a selection of songs written between 1963 and 1992, presenting an analysis that centers on their lyrics and connects their meanings to larger social processes.

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“…Because it was collaborative and sought to articulate a continental popular consciousness, it was transnational in nature, affirming local heritages but striving to find commonalities in experiences across postcolonial Latin America (Bernand 2014). These movements were also anti-imperialist and anti-elitist, rejecting both the influence exercised by the United States in the affairs of smaller nations and the control of local governments by entrenched political elites (Balabarca 2013).…”

Section: Music Politics and Revolutionmentioning

confidence: 99%

“…After all the potentially incriminating books were burned or buried (including works by Dostoyevsky, Dorfman, and Neruda), when all political activities ceased and the official curfew forced everyone to stay inside, and when speech was laced with fear, a melody had the power to stir an awakening. The guitar -which had always been imbued with symbolic and spiritual powers in the countrysidebecame an instrument of healing and of political reactivation (Bernand 2014 Roniger explains that 'exile is an institutionalized mechanism of political exclusion' (Roniger 2009: 83) that implies a systematic effort to marginalize certain people from the public sphere of particular nations. Exiled people lose not only their right to live in their country, but also their capacity to exercise citizenship and participate in local debates.…”

Section: Carrying the Torch Of Memory And Hopementioning

confidence: 99%

“…Víctor Jara's music is an example of this, with his life and work forever linked to the emergence of a type of music that has been a source of inspiration for people in various places for decades (Krajnc 2008). Jara's approach to folklore was built on a Latin American tradition that sees music as connected to social and political stirrings (Bernand 2014). In the peasant tradition, 'popular culture' and 'popular music' are not media artifacts of massive appeal.…”

Section: Music Politics and Revolutionmentioning

confidence: 99%

“…In rural communities, they are held in high esteem and are called-in for weddings, funerals, and other events, where they help conjure up an emotional tone. Their craft is a mix of native elements (music was an important part of ritual for indigenous communities) and instruments and styles (like the guitar and accordion, suitable for melodies such as the tonada) brought to the New World by the Spanish conquistadors (Bernand 2014;Moreno Chá 1999).…”

Section: Music Politics and Revolutionmentioning

confidence: 99%

See 2 more Smart Citations

Songs of Exile: Music, Activism, and Solidarity in the Latin American Diaspora

Bucciferro

¹

2017

JOMEC Journal

0

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This article addresses the long-standing connection between music and social activism in Latin America, centering on a discussion of 'the music of exile' as a cultural artifact of historical and conceptual significance for diasporic Latin American communities. The music produced by artists who were persecuted during the years of military rule was characterized by an engagement with social and political affairs, and often helped bring people together in the struggle for democratization. Despite censorship laws and other repressive measures enacted by the dictatorships, the music not only endured but traveled across nations and continents, carried by the millions of people who were displaced due to State-sponsored violence. Now distributed through new media platforms, such as YouTube, this music functions as a repository of memory and an emblem of solidarity that connects dispersed Latin American communities. Using Cultural Studies as a theoretical framework and employing an interpretive methodology, this study focuses on a selection of songs written between 1963 and 1992, presenting an analysis that centers on their lyrics and connects their meanings to larger social processes.

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Los marxismos negros y la historiografía sobre las músicas negras latinoamericanas de los siglos XVII y XVIII

Eckmeyer

2023

Hist. Soc.

0

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el artículo reconsidera críticamente los estudios sobre músicas afroamericanas que sostienen que sus rasgos de africanidad oficiaron, durante la esclavitud africana en América Latina durante los siglos XVII y XVIII, como elemento de resistencia frente al orden colonial. Mediante una revisión bibliográfica de autores paradigmáticos de esta corriente musicológica, se analizaron sus rasgos epistémicos como parte de una concepción escencialista y ahistórica. En contraste se recuperaron conceptos centrales de la historiografía sobre la esclavitud transatlántica provenientes de los marxismos negros —como Frantz Fanon, C.L.R. James o Eric Williams— y los desarrollos sobre la relación entre raza y cultura de autores como Stuart Hall y Oliver Cox. Con base en una transferencia disciplinar y cotejando con los principios de la estética musical occidental hegemónica se especificaron los rasgos de las músicas correspondientes a la plantación esclavista de los siglos XVII y XVIII, para concluir que son parcialmente afirmativos y funcionales a la producción de diferencia colonial, constitutivos del comercio triangular atlántico y del sistema mundo moderno/colonial. Finalmente se diferenciaron estos rasgos funcionales de las músicas de plantación con las músicas de los espacios sociales de la evasión y la cimarronería, en donde se encontraron rasgos efectivos de resistencia a partir del camuflaje de los vínculos con las tradiciones africanas.

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Identificaciones: músicas mestizas, músicas populares y contracultura en América (siglos XVI-XIX)

Cited by 7 publications

References 9 publications

Songs of Exile: Music, Activism, and Solidarity in the Latin American Diaspora

Songs of Exile: Music, Activism, and Solidarity in the Latin American Diaspora

Songs of Exile: Music, Activism, and Solidarity in the Latin American Diaspora

Los marxismos negros y la historiografía sobre las músicas negras latinoamericanas de los siglos XVII y XVIII

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