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Resignificando Al Rap Como Narrativa Artística: Una 1 RESIGNIFICANDO AL RAP COMO NARRATIVA ARTÍSTICA: UNA APROXIMACIÓN A LA CONSTRUCCIÓN DE MEMORIA, LENGUAJE METAFÓRICO Y ESTÉTICA EN LAS CANCIONES DE CEJAZ NEGRAZ. BRAYAN STEVEN SIERRA RODRÍGUEZ 20081160039 MARCOS ALEJANDRO DAZA BARRETO 20082160028 Trabajo monográfico presentado para optar al título de Licenciado en Educación Básica con Énfasis en Humanidades y Lengua Castellana UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE CIENCIAS Y EDUCACIÓN LICENCIATURA EN EDUCACIÓN BÁSICA CON ÉNFASIS EN HUMANIDADES Y LENGUA CASTELLANA BOGOTÁ 2016 2 RESIGNIFICANDO AL RAP COMO NARRATIVA ARTÍSTICA: UNA APROXIMACIÓN A LA CONSTRUCCIÓN DE MEMORIA, LENGUAJE METAFÓRICO Y ESTÉTICA EN LAS CANCIONES DE CEJAZ NEGRAZ. BRAYAN STEVEN SIERRA RODRÍGUEZ 20081160039 MARCOS ALEJANDRO DAZA BARRETO 20082160028 Trabajo monográfico presentado para optar al título de Licenciado en Educación Básica con Énfasis en Humanidades y Lengua Castellana Director WILMER VILLA AMAYA UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE CIENCIAS Y EDUCACIÓN LICENCIATURA EN EDUCACIÓN BÁSICA CON ÉNFASIS EN HUMANIDADES Y LENGUA CASTELLANA BOGOTÁ 2016 3 NOTA DE ACEPTACIÓN ______________________________________ ______________________________________ ______________________________________ ______________________________________ ______________________________________ ______________________________________ Firma del presidente del jurado ______________________________________ Firma del jurado ______________________________________ Firma del jurado ______________________________________ Bogotá, Colombia Mayo de 2016 4 AGRADECIMIENTOS I A mi padre Juan Daniel Sierra Vecino, que me enseñó de lealtad sin hablar de ella. BSSR. II A mi madre María Magdalena, quien nos acompañó y compartió su constante apoyo en nuestro proceso de formación, en el andar de este sueño de ser maestros. III A todos los raperos que resisten a través de la palabra y se niegan al olvido. 5 TABLA DE CONTENIDO INTRODUCCIÓN............................................................................................................................10 RESEÑA DEL PROCESO DE INVESTIGACIÓN………………………………………….14 CAPÍTULO PRIMERO. GENERAL……………………………………………………...……...17 1.Aproximación al estudio del RAP como discurso productor de conocimiento………………17 1.1 El Hip-Hop en los Estados Unidos de Norte América.…………………………………17 1.2 El nacimiento del Hip-Hop en Estados Unidos………………………………………....19 1.3 El Rap en Colombia………………………………..……………………………………21 2. Breve estado del arte……………………………………………………………………..……23 3. El RAP de Cejaz Negraz, el problema de investigación………………………………………32 3.1 Descripción del problema………………………………………………………………32 3.2 Formulación del problema………………………………………………………………34 4. Justificación…………………………………………………………………………………...34 5. Objetivos………………………………………………………………………………………36 5.1 Objetivo general…………………………………………………………………………36 5.2 Objetivos específicos…………………………………………………………………....36 6 CAPÍTULO SEGUNDO. LOS REFERENTES TEÓRICOS………………………………..37 6. Fundamento teórico………………………………………………………………………...…37 6.1 El discurso, el contexto y el sentido………………………………………………..……37 6.2 La noción de discurso…………………………………………………………….......…37 6.3 El contexto y el sentido…………………………………………………………….……38 6.4 La metáfora……………………………………………………………………...………38 6.4.1 Metáforas estructurales…………………………………………………………...39 6.4.2 Metáforas orientacionales………………………………………………….……..40 6.4.3 Metáforas ontológicas………………………………………………………....….41 6.5 La experiencia y la narración: El lenguaje como mediador del código…………….…..44 6.6 La memoria colectiva………………………………………………………………....…45 6.7 Los marcos sociales de la memoria………………………………………………..……48 6.8 Artefacto de memoria…………………………………………………………………...50 6.9 La escultura de sí…………………………………………………………………..……51 6.10 Intelectuales y subalternidad………….……………………………………………..54 7. Contextualización……………………………………………………………………..………55 7 7.1 Primeros contactos con el RAP………………………………………………………….55 CAPITULO TERCERO. RUTA METODOLÓGICA………………………………………57 8. Perspectiva epistemológica para una metodología que se sustenta en la interpretación……..57 8.1 Selección y muestreo……………………………………………………………………60 8.2 El corpus………………………………………………………………………………...64 8.3 Metodología del análisis del discurso…………………………………………………...64 8.4 Metodología para el análisis de un artefacto de memoria……………………………….64 8.5 Metodologia para un análisis estético…………………………………………………..67 8.6 Metodología para una pedagogía de la memoria a partir del RAP………………….…68 CAPÍTULO CUARTO: ANÁLISIS DE LA INFORMACIÓN………………………….…69 9. Preliminar…………………………………………………………………………………...…69 9.1 Las marcas semánticas y las marcas enunciativas………………………………………69 9.2 Las marcas retóricas…………………………………………………………………..…86 9.3 El RAP, la metáfora, y sus implicaciones pedagógicas……………………………...…98 10. El rap y la construcción de memoria………………………………………………………....99 8 10.1 Conociendo a Cejaz Negraz a través de sus canciones………………………….……102 10.2 Rememorando la calle de El Cartucho y su destrucción……………………………...106 10.3 Recordando a una chica amable…………………………………………………..….109 10.4 El Mundo Blanco desde el barrio………………………………………....................111 10.5 Esto es verdad de la calle del Bolívar………………………………………...……..114 10.6 El RAP como texto social y artefacto de memoria en la escuela……………...…..…116 11. La construcción de una figura estética por medio del Rap……………………………........117 11.1 El RAP y la escultura de sí………………………………………………………...…117 11.2 La estética desde el lenguaje performativo. La vida del artista a través de su obra……………………………………………………………………………………………..121 11.3 El rap como performance…………………………………………………………......127 11.4 La figura estética del rapero y sus aportes a la escuela………………………………129 12. El RAP como apuesta pedagógica……………………………………………………...…..130 12.1 Una aproximación al RAP desde los estudios culturales………………………….….131 12.2 La literacidad en las metáforas del RAP de Cejaz Negraz y sus aportes a la pedagogía……………………………………………………………………………………….133 12.3 El RAP, ética y estética: Una aproximación a una pedagogía performativa……..…..136 12.4 Hacia una pedagogía de la memoria…………………………………...……………..137 9 CONCLUSIONES…………………………………………………………………...………..140 BIBLIOGRAFÍA…………………………………………………………………...…………145 ANEXOS……………………………………………………………………….………………148 Corpus seleccionado…………………………………………………………………………...148 10 INTRODUCCIÓN. Los análisis del discurso son unos de los estudios que más auge han tenido en los últimos años pues estos han permitido un acercamiento y comprensión de distintos textos. El RAP es uno de los que no ha escapado a ser analizado por semiólogos y lingüistas, pues son estos quienes principalmente han decidido adentrarse en estos discursos para comprender los significados que contienen.1 Si bien es cierto, los análisis del discurso han ido ampliando los conocimientos que sobre el RAP se tienen, hay que resaltar que dichos estudios han tenido una perspectiva enfatizada en disciplinas como la lingüística y la historia2. Es por lo anterior que nuestro interés versó en hacer una interpretación de las canciones de Cejaz Negraz, las cuales pudieran resignificar su valor no sólo estético, social, histórico y lingüístico, sino que se considera imprescindible incluir el componente pedagógico que en él hay. Este trabajo se encuentra enmarcado en una perspectiva de los estudios culturales, pues es gracias a este campo que se logró transgredir la hegemonía disciplinar ( y universalizante) que estas imparten, para que esta investigación lograra entablar un diálogo con múltiples saberes, entre ellos los estudios del discurso, la estética y la pedagogía. 1 Esta afirmación parte de los trabajos encontrados al elaborar el estado del arte en la presente investigación, entre ellos se encuentran El Rap es mi Nación: De representaciones y marginalidad, el barrio de Las Cruces escenario de confluencia de conflictos; Figuras retóricas en el hip-hop español; El Rap español en el ámbito de los discursos de especialidad, entre otros. 2 Para conocer las investigaciones enfocadas e disciplinas ir al estado del arte de este trabajo. 11 Es por lo anterior que la presente monografía se ubica en una perspectiva epistemológica sustentada en la interpretación; es gracias a este enfoque hermenéutico que el Análisis del Discurso adquiere relevancia, logrando ir más allá de la simple identificación de marcas discursivas en un corpus de canciones, a una descripción, análisis e interpretación de las mismas a partir de las lecturas que se hacen de dichas narrativas desde este aquí y ahora. Este trabajo analiza un corpus de 15 canciones el cual fue extraído de la obra discográfica de Cejaz Negraz y cuya selección se realizó teniendo en cuenta que sus temáticas giraran en torno a las tres categorías propuestas, memoria, metáfora y estética. El presente trabajo está estructurado en cuatro capítulos. El primer capítulo se encuentra subdividido en cuatro partes, en la primera de ella se realiza una aproximación al HIP-HOP desde su nacimiento en Estados Unidos hasta su aparición como RAP en Colombia. En la segunda parte se encuentra un breve estado del arte, que incluye algunas tesis basadas en la cultura del HIP-HOP y en el RAP específicamente. En la tercera parte se propone el problema de investigación con su formulación y una descripción del mismo, en base al RAP de Cejaz Negraz. Como cuarta parte está la justificación de la presente investigación, con sus objetivos generales y específicos pretendidos en esta monografía. En el capítulo segundo se encuentran los referentes teóricos de la monografía. Las nociones de Discurso, Contexto y Sentido, se fundamentan
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