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Bambuco, Tango and Bolero: Music, Identity, and Class Struggles in Medell´In, Colombia, 1930–1953

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Bambuco, Tango and Bolero: Music, Identity, and Class Struggles in Medell´In, Colombia, 1930–1953 BAMBUCO, TANGO AND BOLERO: MUSIC, IDENTITY, AND CLASS STRUGGLES IN MEDELL¶IN, COLOMBIA, 1930{1953 by Carolina Santamar¶³aDelgado B.S. in Music (harpsichord), Ponti¯cia Universidad Javeriana, 1997 M.A. in Ethnomusicology, University of Pittsburgh, 2002 Submitted to the Graduate Faculty of the Department of Music in partial ful¯llment of the requirements for the degree of Doctor of Philosophy in Ethnomusicology University of Pittsburgh 2006 BAMBUCO, TANGO AND BOLERO: MUSIC, IDENTITY, AND CLASS STRUGGLES IN MEDELL¶IN, COLOMBIA, 1930{1953 Carolina Santamar¶³aDelgado, PhD University of Pittsburgh, 2006 This dissertation explores the articulation of music, identity, and class struggles in the pro- duction, reception, and consumption of sound recordings of popular music in Colombia, 1930- 1953. I analyze practices of cultural consumption involving records in Medell¶³n,Colombia's second largest city and most important industrial center at the time. The study sheds light on some of the complex connections between two simultaneous historical processes during the mid-twentieth century, mass consumption and socio-political strife. Between 1930 and 1953, Colombian society experienced the rise of mass media and mass consumption as well as the outbreak of La Violencia, a turbulent period of social and political strife. Through an analysis of written material, especially the popular press, this work illustrates the use of aesthetic judgments to establish social di®erences in terms of ethnicity, social class, and gender. Another important aspect of the dissertation focuses on the adoption of music gen- res by di®erent groups, not only to demarcate di®erences at the local level, but as a means to inscribe these groups within larger imagined communities. Thus, bambuco articulates contradictions and paradoxes brought about in the way Antioque~nos (the regional commu- nity) related to the idea of the Colombian nation. Tango articulates an important di®erence between the regional whitened ethnic identity, the so-called raza antioque~na (Antioque~no race), and the mestizo (mixed ethnicity) associated with Bogot¶a,the nation's capital. Fi- nally, the local adoption of bolero embodies the aspirations of the middle classes to gain access to transnational and cosmopolitan ideals of modernity. During a period of turmoil, bolero's middle-class listening practices engendered a certain depolitization of the space of ii social struggles that characterize popular culture of the period. Using a diachronic approach, the dissertation illustrates the variations of musical practices and habits of musical consump- tion according to particular social and political circumstances. The discussion includes the musical and textual analysis of a few representative pieces of the repertoire. iii UNIVERSITY OF PITTSBURGH DEPARTMENT OF MUSIC This dissertation was presented by Carolina Santamar¶³aDelgado It was defended on January 11, 2005 and approved by Andrew Weintraub, Ph. D., Professor Deane Root, Ph. D., Professor Bell Yung, Ph. D., Professor Ana Mar¶³aOchoa, Ph. D., Professor Leonora Saavedra, Ph. D., Professor Dissertation Director: Andrew Weintraub, Ph. D., Professor iv TABLE OF CONTENTS 1.0 INTRODUCTION ................................. 2 1.1 Theoretical Framework ............................. 11 1.1.1 The Problematic of Identity ....................... 11 1.1.2 Collective Identities: the National, the Local, and the Transnational 13 1.1.3 Class Struggles, Ethnic Di®erence, and Symbolic Violence ...... 15 1.1.4 Considerations on the Usage of the Term \Popular" ......... 17 1.1.5 Regional Versus National: Narratives of the Nation in Colombian Music 19 1.1.6 Urban Musics: Tango and Bolero .................... 23 1.1.7 Methodology: The Challenge of Reconstructing the Popular Past .. 26 1.2 Historical Framework: Colombia 1930-1953 .................. 29 2.0 THE CITY AND THE REGION ........................ 33 2.1 Antioquia .................................... 35 2.2 Narratives of Paisa's Regional Identity .................... 40 2.3 Medell¶³n:From the Small Village to the Industrialized Town (1900-1930) . 43 2.4 The Blooming of the Modern City (1930{1953) ............... 49 3.0 NARRATING THE NATION: BAMBUCO AND ANTIOQUENO~ NATIONAL IMAGINATION .......................... 54 3.1 Prelude: Bambuco's Origins, Evolution, and Status ............. 54 3.2 Bambuco on Record: the Rise and Fall of Bambuco-song's Golden Era in the 1920s and 1930s .............................. 57 3.2.1 The musician as agent of civilization .................. 61 3.2.2 Art Music, M¶usica Popular, and M¶usica Populachera ......... 67 v 3.2.3 The Crisis of the Recording Industry .................. 69 3.3 Bambucos on the Radio: the Endeavor to Rescue Bambuco in the Late 1930s and the 1940s .............................. 74 3.3.1 Micro and the New Generation of M¶usicaNacional's Advocates ... 77 3.3.2 The Power of Knowledge: Bambuco's Transcription Dilemma .... 83 3.3.3 \National Industry is Bambuco's Legitimate Sister" ......... 89 3.3.4 The Fabricato Musical Contest ..................... 93 3.3.5 Behind Nationalist Discourses: The Activities of the Performers ... 98 3.4 Re-Conservatization: the Rea±rmation of Bambuco's Myth in the Early 1950s ....................................... 103 4.0 TANGO: GARDEL'S DEATH, RECORDINGS, AND THE CITY .. 112 4.1 Prelude: The Soul of Buenos Aires's Urban Life ............... 112 4.2 The Arrival of Tango-song Records in Medell¶³nDuring the 1920s and Early 1930s ....................................... 116 4.2.1 M¶usica de Anta~no Recordings in Guayaquil .............. 127 4.2.2 Gardel's Movies and the Unexpected End of his Tour ......... 129 4.3 Tango on the Big Screen: Gardel's Fading Memory and Tango-song's Re- newed Popularity in the 1940s ......................... 134 4.3.1 Working-class Tango and Upper-middle-class Tango ......... 138 4.3.2 Tango-Dance: Gender, Class, and the Restrictions on the Body ... 142 4.3.3 Tango-song's Renewed Popularity and the Growth of the Gardelian Myth ................................... 143 4.3.4 Censorship and Tango's Potential for Resistance ........... 148 4.4 Tango in the Early 1950s: Soccer and Mass Entertainment ......... 152 5.0 BOLERO: RADIO AND LATIN AMERICAN COSMOPOLITANISM 157 5.1 Prelude: The Sound of Latin American Modernity .............. 157 5.2 Boleros on the Air: Emulating Mexican Radio in the mid-1930s ...... 161 5.2.1 The Quandaries of Bolero's Moral and Racial Contradictions .... 168 5.2.2 The Invisible Blackness Behind the Microphone ............ 170 vi 5.3 Touring Bolero Stars in the 1940s: The Advent of National and Transna- tional Advertisement .............................. 171 5.3.1 The Competition Between Record Labels and the Introduction of Ar- gentinean Boleros ............................ 174 5.3.2 Fair Social Spaces for Females: the Domestic Realm, the Radio Studio, and the Helader¶³a ............................ 176 5.3.3 Fashionable Social Spaces for Males: Lovaina ............. 181 5.3.4 The New Cosmopolitan Gathering: Middle-class Couples at the Nightclub ................................. 183 5.3.5 Swinging Between Support and Disapproval: Local Bolero Songwrit- ers and Performers ............................ 185 5.4 Bolero in the Early 1950s: a Golden Era as Smokescreen .......... 188 5.4.1 Radioteatros: The Golden Era of Live Music on the Radio ...... 191 6.0 CONCLUSIONS .................................. 195 APPENDIX A. CONTROVERSY ON \MUSICA¶ NACIONAL:" LETTERS PUBLISHED IN EL HERALDO DE ANTIOQUIA, 1928 204 A.1 \El Caso Musical," April 9 1928, p. 2 ..................... 204 A.2 \Sobre M¶usicaNacional," May 15, p.5 .................... 205 A.3 \M¶usicaNacional," June 11, no page number ................ 206 A.4 \M¶usicaNacional," December 18 1928 .................... 207 A.5 \M¶usicaNacional," December 21 1928, p. 3 ................. 208 APPENDIX B. THE MYTH OF BAMBUCO'S SPANISH ORIGIN IN THE 1950S ..................................... 209 B.1 \Para la historia de nuestra m¶usica:el bambuco, expresi¶oncolombiana," by Gabriel Escobar Casas. El Colombiano, September 21 1951. ........ 209 B.2 \Los or¶³genesdel bambuco," by Gabriel Escobar Casas. El Colombiano, Suplemento Dominical p.4. February 24 1952 ................ 211 BIBLIOGRAPHY .................................... 214 vii LIST OF TABLES 1 Population growth in Medell¶³n,1883{1928. ................... 44 2 Population growth in Medell¶³n,1928{1951. ................... 49 viii LIST OF FIGURES 1 Pictures at Casa Gardeliana, Medell¶³n2004. ................... 25 2 Downtown Medell¶³n,June 3 2004. ........................ 34 3 Antioquia's location in Colombia's territory. Map by artist Diego Mendoza. 36 4 Arriero, by Melit¶onRodr¶³guez .......................... 41 5 Teatro Jun¶³n,around 1950. ............................ 51 6 \Escena chibcha," by Ricardo Rend¶on,1930. .................. 58 7 \Alto turmequ¶e:el disc¶obolo," by Ricardo Rend¶on,1930. ........... 60 8 \Cuatro Preguntas" transcribed in 3/4 meter .................. 86 9 \Cuatro Preguntas" transcribed in 6/8 meter .................. 86 10 El Colombiano's front page, April 4 1945. .................... 92 11 Carlos Rodr¶³guezand Tartar¶³nMoreira, 1943. .................. 117 12 \En la Calle" by Carlos Vieco and Tartar¶³nMoreira .............. 123 13 \Amargura" by Carlos Gardel and Alfredo Le Pera ............... 126 14 Libertad Lamarque at the airport, January 1948. Lamarque and Malerba's bronze plaque ................................... 146 15 \Amor de mis amores" by Agust¶³nLara ....................
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