Peñas, canción de protesta y transformación política en Chile (1965-1973)

Abstract

El presente artículo busca estudiar las peñas folclóricas que florecieron a mediados de la década del 60 en Chile. Estos espacios funcionaron como centros de sociabilidad en locales donde se presentaban números musicales en vivo. Con la asistencia de un público numeroso pero sin llegar a ser masivo se transformaron en sitios donde la discusión política e ideológica también se hizo presente. A su vez resultaron los primeros ámbitos en dar acogida a un movimiento musical que alcanzó relevancia mundial: la Nueva Canción Chilena. El intento es demostrar como las peñas folclóricas fueron un importante centro de discusión y transformación política con una importante tarea de irradiación ideológica y cultural a partir de la práctica musical.

Political Participation and Engagement in East Germany Through ChileanNueva Canción

“…Considering the Chilean tradition of the peña , or coffee house-style events where artists and performers came to discuss politics and engage with political songs, although there may be a clear line between performer and audience, the proscription of space is less defined as people are brought in to engage with the political content of songs. As Ariel Mamani describes, these events became “a project that prioritised the word in the song form and that intended to form the peña as a privileged space for listening, reflection, and artistic and political discussion, a goal quite far from the more traditional and commercial musical events” (2013:129). In this way, even though audience members were engaged in a frame not strictly inclusive of the bodily and the sonic as in Turino’s model, they were engaged discursively as political participants in the production of this space.…”

From ‘we shall prevail’ to ‘weapon of struggle’: Populism, Chile's Unidad Popular government and Nueva Canción

“…Advis Vitaglich 1996; García 2013; González Rodríguez et al . 2009; Inostroza 2007, 2018; Mamani 2013, 2019; McSherry 2015a, b; Morris 1986; Palominos Mandiola 2018; Pino-Ojeda 2015, 2021; Taffet 1997). Rather, we aim to complement these works with new information arising specifically from a music-focused analysis of the Assembly, offering a re-evaluation of the correlation between CNS as a cultural movement with its political environment.…”