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La Escena Musical Del Reggae En México: Expresiones Locales De Una Escena Translocal

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La Escena Musical Del Reggae En México: Expresiones Locales De Una Escena Translocal ISSN: 2014-4660 ISSN: 2014-4660 La escena musical del reggae en México: expresiones locales de una escena translocal CHRISTIAN EUGENIO LÓPEZ-NEGRETE MIRANDA 2018. Cuadernos de Etnomusicología Nº12 Palabras clave: Reggae, escena musical, niveles de localidad, etnografía digital, etnomusicología aplicada. Keywords: Reggae, music scene, local levels, digital ethnography, applied ethnomusicology. Cita recomendada: López-Negrete Miranda, Christian E. 2018. “La escena musical del reggae en México: expresiones locales de una escena translocal”. Cuadernos de Etnomusicología. Nº12. <URL> (Fecha de consulta dd/mm/aa) Esta obra está sujeta a la licencia de Reconocimiento-NoComercial-SinObraDerivada 4.0 España de Creative Commons. Puede copiarla, distribuirla y comunicarla públicamente siempre que cite su autor y la revista que lo publica (Cuadernos de Etnomusicología), agregando la dirección URL y/o un enlace a este sitio: www.sibetrans.com/etno/.No la utilice para fines comerciales y no haga con ella obra derivada. La licencia completa se puede consultar en: http://creativecommons.org/licenses/by-nc-nd/4.0/deed.es_ES This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license. You can copy, distribute, and transmit the work, provided that you mention the author and the source of the material (Cuadernos de Etnomusicología), either by adding the URL address of the article and/or a link to the web page: www.sibetrans.com/etno/. It is not allowed to use the work for commercial purposes and you may not alter, transform, or build upon this work. You can check the complete license agreement in the following link: http://creativecommons.org/licenses/by-nc-nd/4.0/. NÚMERO 12 – OTOÑO 2018 177 ISSN: 2014-4660 LA ESCENA MUSICAL DEL REGGAE EN MÉXICO: EXPRESIONES LOCALES DE UNA ESCENA TRANSLOCAL. Christian Eugenio López-Negrete Miranda Resumen Este artículo aborda la escena musical del reggae en México. Además de estudiar su desarrollo y conformación, trata la existencia e importancia de los niveles de localidad que existen dentro de la escena nacional. Estos niveles de localidad son relevantes porque en ellos se han generado diversas expresiones e identidades particulares a partir de la adopción y reinterpretación de este género en contextos distintos que son mediadas por la época y el lugar en que surgen, posibilitando la incorporación de determinados rasgos culturales mexicanos. Al mismo tiempo, estos niveles nos permiten observar la dinámica de escenas regionales que cuentan con un foco en una escena del reggae más fuerte que influye en las localidades a su alrededor. Estas escenas, tanto locales como regionales, se encuentran en comunicación entre ellas y también con otros países, tanto físicamente como a través de Internet, por lo que la escena del reggae en México, existe y se desarrolla simultáneamente como escena local, translocal y virtual. Así pues, se presenta un panorama global de la escena del reggae en el país, no solamente centrado en la Ciudad de México por representar la principal escena local en torno a este género. Este acercamiento ha requerido de la creación de una herramienta metodológica basada en propuestas de la etnografía digital, que posibilitó la realización del “1er Censo de la Escena Musical del Reggae en México”. Siguiendo las ideas de la etnografía aplicada, se quiere aportar una herramienta que ayude a conocer y visibilizar esta escena. Estudiar y entender la escena del reggae en México desde esta perspectiva demuestra que no se trata de una única escena sino de varias (por generaciones, regiones, subgéneros, sectores) que se encuentran interconectadas de diferentes maneras. NÚMERO 12 – OTOÑO 2018 178 ISSN: 2014-4660 Palabras clave: Reggae, escena musical, niveles de localidad, etnografía digital, etnomusicología aplicada. Abstract This article is about the study of the reggae music scene in Mexico. Besides studying its development and conformation, it focuses on the existence and importance of the local levels that exist within the national scene. These levels of locality of the reggae scene in the country are relevant because the diverse expressions and identities generated from the adoption and reinterpretation of reggae in different contexts and mediated by the time and place in which they arise, enabling the incorporation of certain Mexican cultural features. At the same time, these levels allow us to observe the dynamics of regional scenes that have a focus with a stronger reggae scene that influences the surrounding localities. These scenes, both local and regional, are in communication with each other and with other countries, both physically and through the Internet, so the reggae scene in Mexico exists and develops simultaneously as a local, translocal and virtual scene. This approach presents a global panorama of the reggae scene in the country, and not only centered in Mexico City because it represents the main local scene around this genre. However, this required the creation of a methodological tool based on proposals of digital ethnography that made it possible to carry out the “first census of the reggae music scene in Mexico” that, following the ideas of applied ethnography, will seek to provide a tool that will help to make this scene known and visible. Studying and understanding the reggae scene in Mexico from this perspective shows us that it is not just one scene but several (by generations, regions, sub-genres, sectors) that are interconnected in different ways. Keywords: Reggae, music scene, local levels, digital ethnography, applied ethnomusicology. NÚMERO 12 – OTOÑO 2018 179 ISSN: 2014-4660 Introducción ¿Cuáles son las particularidades culturales que expresa la música reggae en México y cómo estas enriquecen la música reggae global? El reggae como expresión musical y cultural local de Jamaica ha atravesado un proceso de internacionalización que ocasionó su globalización actual y, al mismo tiempo, ha generado nuevas reinterpretaciones locales. Este artículo explica algunas de las particularidades culturales que expresa la escena musical del reggae en México, una escena que posee un carácter local, translocal y virtual simultáneamente. Del mismo modo, este artículo se desprende del trabajo realizado en la tesis doctoral en etnomusicología titulada La escena musical del reggae en México: historia y expresiones de glocalización y translocalidad. La escena nacional del reggae en México es significativa debido a sus particularidades, sus reinterpretaciones y su diversidad; conocer la historia y el desarrollo de esta escena, así como su relación con lo local y lo global, nos permite entender los aportes de la música reggae a las culturas musicales mexicanas, y las contribuciones de México a la música reggae global. La noción de escena El concepto de escena musical ha sido utilizado cotidianamente para delimitar el espacio local en el que surge o es apropiado un género o estilo musical específico. En el ámbito académico ha sido utilizado a partir de la década de los noventa buscando dejar atrás nociones como “subcultura” o “comunidad”, consideradas como deterministas, por no contemplar la agencialidad y la capacidad de actuar de las personas; idealistas, por considerar a los grupos como homogéneos, cohesionados y coherentes; y rígidas, por ignorar la posibilidad de que las personas experimenten distintos grados de pertenencia a un grupo o incluso experimentar múltiples pertenencias. En cambio, el concepto de escena musical hace énfasis en la relación entre la música y el espacio localizado, así como en los actores y protagonistas que dan vida a diferentes escenas musicales en torno a diversos géneros. La notoriedad del concepto de escena en los estudios de música popular y su carácter dinámico han ocasionado que este haya sido objeto de varios desarrollos y que no exista una definición unívoca. Andy Bennett (2004) NÚMERO 12 – OTOÑO 2018 180 ISSN: 2014-4660 ha explicado que la noción de escena se utilizó inicialmente entre músicos y reporteros musicales como un término frecuente para designar a conglomerados de músicos, promotores y aficionados congregados en torno a un género de música en particular y también a ordenamientos locales en que un estilo particular se ha originado o ha sido apropiado y adaptado. Los primeros intentos de presentar el concepto como un modelo de análisis teóricamente fundamentado fueron realizados en los años noventa por Will Straw (1991). Dos décadas después, este autor señala que el concepto se ha desarrollado en dos direcciones: por un lado, como un espacio o comunidad en donde se presume que existe determinada música, emparentado así con otros conceptos como tribu o subcultura y, por el otro, como un intento de teorizar la relación entre música y espacio. Esta última tendencia permite entender que además de los músicos, aficionados y otras personas que participan, es importante tomar en cuenta el papel de las diversas locaciones que son parte de, o que se articulan con la escena. Por lo que Straw plantea que: se requiere prestar una mayor atención al papel de instituciones de bajo nivel como bares, tiendas, lugares en la creación de redes a través de las cuales circulan las prácticas musicales y la gente. Una noción de escena no necesita tener agentes humanos activos en su centro; también puede tratarse de redes circulatorias, nodos y vías” (Straw en Janotti, 2012: 3). Hay que recordar, como señala Straw, que “todo el mundo entra en una escena en un momento determinado de su constitución y desarrollo. Las escenas
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