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Sentidos Decoloniais Na Nueva Canción Chilena: O Idioma Musical De Víctor Jara Letícia Porto Ribeiro

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Sentidos Decoloniais Na Nueva Canción Chilena: O Idioma Musical De Víctor Jara Letícia Porto Ribeiro Sentidos decoloniais na Nueva Canción Chilena: o idioma musical de Víctor Jara Letícia Porto Ribeiro To cite this version: Letícia Porto Ribeiro. Sentidos decoloniais na Nueva Canción Chilena: o idioma musical de Víctor Jara. Musicology and performing arts. UFAC, 2019. Portuguese. tel-03060433 HAL Id: tel-03060433 https://hal-hprints.archives-ouvertes.fr/tel-03060433 Submitted on 14 Dec 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSIDADE FEDERAL DO ACRE PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS: LINGUAGEM E IDENTIDADE LETÍCIA PORTO RIBEIRO SENTIDOS DECOLONIAIS NA NUEVA CANCIÓN CHILENA: O IDIOMA MUSICAL DE VÍCTOR JARA RIO BRANCO/AC 2019 LETÍCIA PORTO RIBEIRO SENTIDOS DECOLONIAIS NA NUEVA CANCIÓN CHILENA: O IDIOMA MUSICAL DE VÍCTOR JARA Dissertação apresentada ao programa de pós-graduação em Letras: Linguagem e Identidade da Universidade Federal do Acre, como requisito parcial para a obtenção do título de Mestre em Letras: Linguagem e Identidade. Área de concentração: Linguagem e Cultura. Linha de Pesquisa: Culturas, Narrativas e Identidades. Orientador: Prof. Dr. Marcello Messina RIO BRANCO/AC 2019 LETÍCIA PORTO RIBEIRO SENTIDOS DECOLONIAIS NA NUEVA CANCIÓN CHILENA: O IDIOMA MUSICAL DE VÍCTOR JARA Dissertação apresentada ao Programa de Pós-Graduação Stricto Sensu da Universidade Federal do Acre – UFAC, como pré-requisito para obtenção do grau de Mestre em Letras: Linguagem e Identidade. Aprovada em 25 de fevereiro de 2019. BANCA EXAMINADORA: ____________________________________ Professor Dr. Marcello Messina Presidente/orientador ____________________________________ Dra. Francielle Maria Modesto Mendes Examinadora Interna ____________________________________ Professor Dr. Edoardo Sbaffi Examinador Externo (UEA) ____________________________________ Professor Dr. Fransico Bento da Silva (suplente) AGRADECIMENTOS Fazer uma lista de agradecimentos é difícil, pois na nossa vida muitas pessoas aparecem e saem dos nossos caminhos e nem sempre nos lembramos daqueles que contribuiram para enriquecer nossa jornada. Peço desculpas antecipadamente a quem possa não estar aqui. À minha mãe, Ana Rita, pelo apoio e incentivo sempre incondicionais e por todo o sacrifício em buscar dar o melhor a mim e minha irmã. Ao meu pai, Luiz Ricardo, por me ensinar o olhar crítico para a realidade. À minha irmã, Maíra, por mostrar que devemos questionar as formas de ver a vida que nos são impostas. À minha avó Giselda, por sempre mostrar orgulho por ter uma neta que escolheu a música. Aos meus avós que já se foram: meu avô Themistocles, minha avó Ana e meu avô Guido. Ao meu marido Leonardo por ser meu companheiro e meu incentivador ao longo desses anos, se não fosse por ele certamente eu não teria feito este mestrado. Aos meus sogros, Bela e Toninho, por sempre me tratarem com carinho desde o primeiro momento. Ao meu orientador Marcello Messina pela dedicação, indicações de leitura, disponibilidade e por ter aberto meus olhos para coisas que passavam despercebidas na pesquisa e na vida. À sua esposa e minha amiga Teresa por ter estudado comigo para o ingresso no mestrado, um incentivo para estudar sempre mais, e também por ter me cedido livros e materiais que eu não tinha. Aos meus amigos Maíra, Diego, Márcia e Elder pela amizade e companheirismo, pela força, pelas conversas filosóficas e não-filosóficas e por estarem sempre presentes. Agredeço igualmente aos amigos Cleuton Batista e Nágila Lemos Batista pelo apoio e pela disposição a ajudarem e ouvirem. À amiga Jaqueline Theoro pelas dicas e pelo incentivo a continuar os estudos após a graduação. Ao meu compadre Dr. Bruno Madeira pela amizade e pelas contribuições na parte da técnica violonística nesta dissertação, e minha comadre Daniela Rivera Madeira pelos anos de amizade, ambos desde a graduação em Música na Unicamp. Ao PPGLI e aos professores do mestrado em Letras: Linguagem e Identidade pelas valiosas aulas e leituras, bem como aos professores da banca de qualificação, pelas correções e sugestões: Prof. Dr. Francisco Bento da Silva, Profa. Dra. Francielle Maria Modesto Mendes, Prof. Dr. Yvonélio Nery Ferreira. Aos colegas do mestrado, muitos que viraram amigos, companheiros nessa jornada. Aos meus colegas e chefes da Dacic-Proex da Ufac, por terem compreendido meus momentos de ausência. Aos professores do Departamento de História da UnB que foram banca do meu TCC, por terem incentivado meu trabalho e sugerido que eu fizesse um mestrado sobre o tema. Aos cantores e artistas revolucionários da América, por acreditarem que um mundo melhor é possível. Yo canto a la chillaneja si tengo que decir algo y no tomo la guitarra por conseguir un aplauso. Yo canto la diferencia que hay de lo cierto a lo falso. De lo contrario, no canto. (Violeta Parra – Yo canto a la diferencia) Mi canto es una cadena sin comienzo ni final, y en cada eslabón se encuentra el canto de los demás. (Víctor Jara – Canto Libre) En tus telares Angelita Hay tiempo, lágrima y sudor Están las manos ignoradas De este mi pueblo creador (Víctor Jara – Angelita Huenumán) RESUMO Esta pesquisa tem como objetivo analisar como músicos da Nova Canção Chilena, particularmente Víctor Jara, se colocavam como representantes de uma classe social específica que era racializada, como representantes de uma classe artística e de um ideal sócio-político. Para isso, além da análise histórica, serão analisadas canções escolhidas de Víctor Jara sob o viés da análise musical, fraseológica e harmônica, principalmente através da análise do Método Tripartite de Semiologia Musical de Nattiez, conjugadas à perspectiva teórica decolonial e aos estudos culturais. A partir do conhecimento de que os músicos da Nueva Canción Chilena em geral, e Jara, em particular, buscavam em suas obras propagar a revolução socialista, e, após a eleição de Allende, apoiar o governo da Unidad Popular, tem-se o intuito de analisar como a letra e a música de Jara se entrelaçam com a temática abordada pelo compositor. A Nueva Canción Chilena constituiu um movimento musical que aliava o resgate de canções e manifestações folclóricas ao protesto político e social, florescendo no Chile aproximadamente entre os anos de 1965 e 1973, junto a movimentos semelhantes na América. Um estudo do contexto chileno foi realizado, com destaque para a polarização política até o golpe militar contra o governo de Salvador Allende em 1973. A seguir, aspectos da Nueva Canción Chilena foram abordados, com seu levantamento histórico, formas de representação, de divulgação, e seu entrelaçamento com as eleições chilenas de 1969. Uma análise biográfica de Jara também foi realizada, com vistas a situar o músico/compositor dentro do seu contexto histórico e dentro do movimento da Nueva Canción Chilena. Foi realizado um levantamento bibliográfico de livros, teses, dissertações, artigos científicos, matérias de jornal, programas de televisão e documentários, bem como análise das partituras publicadas. Os principais autores utilizados como referenciais teóricos foram Walter Mignolo (2005), Enrique Dussel (1992), Aníbal Quijano (2005), Stuart Hall (1998), Roger Chartier (1988), Raymond Williams (1979), Édouard Glissant (2005), Jean Jacques Nattiez (2002), Phillip Tagg (2003), Marcos Napolitano (2002) e Franco Fabbri (1981). Foram levantadas questões sobre como os músicos, e, particularmente, Víctor Jara, representaram a si mesmos, ao povo e ao seu contexto, incluindo noções relativas à racialização e dominação de países ou elites imperialistas e as formas pelas quais Jara buscou aliar as temáticas abordadas pelas letras a aspectos melódicos, harmônicos e instrumentais. PALAVRAS CHAVE: Nueva Canción Chilena. Jara. Música. Protesto. Chile. ABSTRACT This research aims to analyze how the musicians of the New Chilean Song, particularly Victor Jara, placed themselves as representatives of a specific social class that was racialized, as representatives of an artistic class and a socio-political ideal. For this, in addition to the historical analysis, songs by Victor Jara were analyzed under the bias of musical, phraseological and harmonic analysis, mainly through Nattiez’s musical semiology, combined with the decolonial theoretical perspective and cultural studies. From the knowledge that the musicians of the Nueva Canción Chilena in general and Jara, in particular, sought in their works to propagate the socialist revolution, and, after Allende's election, to support the Popular Unity government, it has the intention of analyze how the lyrics and the music of Jara intertwine with the theme approached by the composer. The Nueva Canción Chilena constituted a musical movement that allied the rescue of songs and folk manifestations to the political and social protest, flourishing in Chile approximately between the years of 1965 and 1973, next to similar movements in America. A study of the Chilean context was made, highlighting the polarization of its political context until the military coup against the government of Salvador Allende in 1973. Next, aspects of the Nueva Canción Chilena were approached, with their historical survey,
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