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Pan-Latin American Subaltern Solidarity and the Music of Nueva Cancion

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Pan-Latin American Subaltern Solidarity and the Music of Nueva Cancion :g 4”: {£11.}: 57...: . .. Ezra?) .x 9‘ II? t! . [£1.11 61.1....‘0r l .92 \ '9 (2...: (4...: .. ¢ ‘. a ,. ... an up > {.9 a...” m1 an by mtg?“ f tor/\"Y g“ & —t:v‘. ‘1 ‘3t1 1 '1’: .\: n P‘I’\ :- 02 i .l\-‘!uiC'- P'sra.n C-Lale 2/0 : Uni :. re; .. an; at. I This is to certify that the thesis entitled IMAGINING “EL PUEBLO": PAN-LATIN AMERICAN SUBALTERN SOLIDARITY AND THE MUSIC OF NUEVA CANCION presented by JAMES RYAN BODIFORD has been accepted towards fulfillment of the requirements for the MA. degree in MUSIC /[//'/‘“¥ / A’T’K Major Professor’s Signatu [/ AdClet'r— w. Date MSU is an affinnative-action, equal—opportunity employer PLACE IN RETURN BOX to remove this checkout from your record. TO AVOID FINES return on or before date due. MAY BE RECALLED with earlier due date if requested. DATE DUE DATE DUE DATE DUE 5/08 K1/Proj/Acc8Pres/ClRC/DateDue,indd [MAC IMAGINING “EL PUEBLO”: PAN—LATIN AMERICAN SUBALTERN SOLIDARITY AND THE MUSIC OF NUEVA CANCION By James Ryan Bodiford A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Music 2007 lMAl Americ represc Latin A EIOball) ABSTRACT IMAGINING “EL PUEBLO”: PAN-LATIN SUBALTERN SOLIDARITY AND THE MUSIC OF NUEVA CANCION By James Ryan Bodiford This thesis is an examination of the origin and diffusion of the Pan-Latin American song movement nueva cancio’n. It argues that the nueva cancién movement represents a cultural process, through which members of the middle and lower classes in Latin America, in order to more effectively challenge the hegemonic presence of a globally interconnected elite, have “imagined” themselves to be part of a singular transnational subaltem community, signified in music through folkloric and historical references, and commonly referred to as “el pueblo”(the people). This discussion includes an analysis of the concatenated sense of aesthetics through which nueva cancio’n artists have attempted to simultaneously reflect their “subaltern” social and political solidarity at both the national and international levels. It also argues that the lyrical themes included in many nueva cancién compositions often function as a traditionalizing process through which the artists and aficionados connected to the genre symbolize their social condition and identity in the present by associating themselves with events and personalities in the past. Throughout this thesis the Chilean manifestation of the nueva cancion movement is highlighted as it represents an adequate local reflection of the entire transnational community. Copyright by James Ryan Bodiford 2007 INTROII CHAPT' THE OR CHILE. l ............. TABLE OF CONTENTS INTRODUCTION .............................................................................. 1 CHAPTER 1 THE ORIGINS AND POLITICAL CONTEXT OF N UE VA CANCION IN CHILE ........................................................................................... 17 Class Conflict in Chile 1960-1970 ................................................. 19 Cultural Imperialism, Folkloric Resurgence, and the Early Originators of Nueva Cancién ........................................................................................... 21 The Use of Alternative Venues and Means of Distribution. .. ....................... 27 Participation in the Political Process ............................................... 32 CHAPTER 2 ALTERNATIVE NATIONALISM, PAN-LATIN AMERICAN SOCIALIST COSMOPOLITANISM, AND THE AESTHETIC S OF COUNTER-HEGEMONY ................................................................................................................................... 38 Theoretical Explanation of Hegemony and Counter-Hegemony ................... 43 The Musical Aesthetics of Alternative Nationalism in Chile ................... 45 Pan-Latin American Socialist Cosmopolitanism ................................. 62 CHAPTER 3 THE THEMATIC TRADITIONALIZATION OF “EL PUEBLO” .................... 74 Themes of Solidarity ................................................................. 77 Themes of Oppression ............................................................... 84 Themes of Resistance ................................................................ 91 CHAPTER 4 THE CONTEMPORARY CONTINUATION OF THE IMAGINED COMMUNITY “EL PUEBLO” ............................................................................... 100 NOTES ......................................................................................... 109 BIBLIOGRAPHY ............................................................................ 1 12 iv hghm: bencfi' unrais l0 pro] grQUp Ollhe eVenir IECOur SOUlhc IOcall mOnth politic nahgn SubSec Il0\\ei OPUIer approa INTRODUCTION On a mild December evening in the heart of downtown Grand Rapids, Michigan, lights above the atrium of a small community theatre illuminated a sign reading “Oxaca benefit 7PM”. Shrugging off the irony of the failure of an event that had been organized to raise consciousness and funds for the peasant struggles occurring in southern Mexico to properly spell the state of “Oaxaca” correctly, I silently shuffled through the small group of strangers smoking and conversing outside and proceeded towards the entrance of the venue. I had come both to support the cause and to observe the two featured events of the evening; the first being the premier screening of a documentary film that promised to recount the ongoing peasant resistance movements occurring in Guatemala and the southern Mexican states of Oaxaca and Chiapas, and the second - the performance of a local Latin rock band, with whom I had been conducting field research for the past few months. Since the repertoire of this band included a diverse collection of socially and politically conscious songs drawn from a variety of Latin American styles and nationalities, I assumed the juxtaposition of this music with the documentary and subsequent discussion session would present itself as an interesting ethnographic subject. However, as I passed through the doors of the recently renovated and yet still less than opulent theatre, I was completely unaware how significantly this event would alter my approach to this project. sc pri Oa Ila Per the: scar Cl'Ou aPPF intcH “Ore CUllu: the fro fihnrnz Umpm askedf} gmhsh a J mEmOn-a Once inside the small and clustered lobby, I maneuvered through a small group of people who were busy mingling, buying concessions, and glancing over two tables scattered with various commodities available for purchase. On one lay an assortment of printed t-shirts and buttons next to a small sign indicating that they were “Made in Oaxaca”. The other nearly overflowed with left-leaning literature ranging from works by Karl Marx and Michael Moore to news pamphlets with titles like Socialist Worker, People ’5 Tribute, and Revolution. Having arrived just minutes before the 7PM start time, I quickly moved into the theatre and settled into one of the stiff retractable seats near the rear of the room. As I scanned the audience for familiar faces, I was stuck by both the size and diversity of the crowd that had already assembled. Of the five hundred seats in the theatre, approximately a third were filled by boisterous students, grey-haired artists and intellectuals, entire Latino families, and a significant presence of young individuals who wore dreadlocks or who otherwise could be identified as part of the American counter- culture. Soon a middle-aged man with a long grey ponytail approached a microphone at the front of the room and addressed the assembly. After introducing himself as the filmmaker and thanking the crowd for their attendance, he simply stated that the film was the product of twenty years working with the peasant class in Oaxaca and Guatemala and asked for feedback after the screening. Moments later the lights dimmed and the crowd grew still. The film commenced with the camera slowly panning across an informal memorial adorned with the names and faces of dozens of individuals who had ‘dna; econt nnnu expci docur randc thati throu in 1h: pohc cont unan -Annr Iriu, Clix Con \\cr SCe] fun shc) ‘disappeared’ or perished in the enduring struggle for greater political power and economic security for the peasant and working classes in southern Mexico. After several minutes, the voice of the filmmaker broke through the silence as he began to recount his experience working to organize labor solidarity in the region. Throughout the rest of the documentary these personal reflections were used to connect otherwise seemingly random images of peasant life and political action into a coherent narrative, an endeavor that in my view fell somewhat short. However, several interesting interviews dispersed throughout the film did allow members of the local population to articulate persuasively, in their own words, their perspective of the class struggle in the area. While themes of police brutality, economic suffering, and political marginalization were common in these conversations, by far the most lasting impression left on me arose from the nearly unanimous admonition by various interviewees of the U. S Army School of the Americas'. As one woman eloquently stated, the last thing Latin American countries need is more training on how to kill, torture, interrogate, and assassinate; instead, what is needed are individuals being trained to be doctors, engineers, and teachers. For the climax of the film the filmmaker included some well-shot footage of a triumphant protest march in which several hundred unarmed peasants secured the release of
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