TEXTOS Y CONTEXTOS: ENTRAMADOS MÚSICO-LITERARIOS EN LA NARRATIVA COLOMBIANA, 1969-2004 By MARTHA EUGENIA OSORIO-CEDIEL A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2015 © 2015 Martha Eugenia Osorio-Cediel To Carole and My Family ACKNOWLEDGEMENTS I want to give my heartfelt gratitude to Dr. Reynaldo Jiménez, my committee chair, for acting as my Cicerone through the decade it took me to complete coursework and to bring to fruition the writing of this dissertation leading to this degree. He agreed to work with me on this topic long before it was clear where I was going. I am grateful for his steering me away from Proustian sentences and convoluted, difficult ideas toward clear and focused writing. His insightful readings and patience have been the motivation for me to see this project through to the end. My recognition also goes to my committee members Dr. Efraín Barradas, Dr. Charles Perrone and Dr. Augusto Oyuela-Caycedo for their feedback. Taking classes with teachers and scholars of this caliber of talent and humanity in the Department of Spanish and Portuguese Studies at the University of Florida has fortified my faith in academia. My classes with Dr. Andrés Avellaneda and Dr. Shifra Armon gave me the greatest gifts one person can receive: knowledge and generosity of spirit. Additionally, I would like to thank my fellow graduate students at the University of Florida for their support and input: Belkísima Suárez, Luisa Quiroga, Alex Torres, Paola Arboleda and Herlinda Flores. They are impressive human beings, as intelligent as they come. I cannot forget to remember and to thank Dr. Beth Pollack, who was my chair in the Department of Languages and Literatures at New Mexico State University during my master’s studies there. Also among my supporters at NMSU, were Sandra and Gloria, administrative assistants for the department, who always welcomed me with a smile and shared their food with me when there were no funds to sustain me. My family and friends have been a presence that took shape even before my arrival on this earth; because of their sound waves, I vibrate and enjoy their bickering about their musical 4 taste. A long line of women and men on both sides of my family have encouraged me to continue when the journey got tough: Ita, Ofelia Pinzón, Stella Melo (precious mom), Ángela Esparza (wise, sobering sister—I respect and admire you so much), Ofelia “Marcela” Luquetta (aunt in heaven), Nelly Cediel and Leonor Morejón (aunts of strong will), Lubín Osorio (wild thing, extremely intelligent, fun dad), Bernardo Cediel (uncle), my three brothers, Diego, Gerald, and Steve, each one of them unique. All compassionate, hard-working, great dancers, and knowledgeable souls, they are my family who have come to my rescue when I needed it. My nieces and nephews, Isabel, Matt, Olivia and Robert, are sources of joy and make me proud as I see them turn into wonderful forces of nature. And I thank my Luquetta cousins who were my brothers while in Colombia and now have a special place in my heart from a distance. In the 1990s at Kean University, I met Dr. Marilyn White, who introduced me to Anthropology and the American Folklore Society and was first a teacher, later my friend and colleague. She instilled in me the equalizing power of enjoying life while in the quest for knowledge. Dr. White first, now Marilyn “a secas,” has been an inspiration who never ceases to surprise me with her fresh grasp of every human situation and experience. Finally, I thank my friends that everybody should have: Comadre Méndez and my favorite Quarter, Ansa Reams-Johnson; Dr. Miriam Bornstein and Dr. Óscar Somoza, who through the years have become family—I treasure you. And then, there are those friends with magical hands who made haute cuisine happen on my scholarly journey, Eugenia and Manuel in El Mofongo, Esmeralda and Fernando in Antojitos Colombianos, Liz in La Placita, Serafina in Ponce de León Springs, and María in Mezzaluna in Palm Coast. Their delicacies have sustained body and soul. I am grateful to the many students who have allowed me to enter their minds and who have shared their thoughts with me while learning a new language. This journey could have 5 not been possible without Carole, my partner, who for 18 years has shared my love and a series of dogs: Terry, Lance, Chacho, Lorenzo, Little Bear and Chacha—these last two my favorites because they have my brown eyes. Carole, our conversations have taught me so much and rewarded me on so many levels that I can’t convey. I love y’all people y ¡que siga el baile! 6 TABLE OF CONTENTS page ACKNOWLEDGEMENTS .............................................................................................................4 ABSTRACT .....................................................................................................................................8 CHAPTER 1 MARCO TEORICO .................................................................................................................9 2 CONTEXTOS HISTÓRICO Y LITERARIO ........................................................................31 Historia latinoamericana siglo XX, 1960 en adelante ............................................................35 Historia del Caribe Colombiano, 1900 a 1950 .......................................................................39 Cali y Buenaventura ...............................................................................................................45 Breve cronología literaria de América Latina y Colombia .....................................................57 3 SISTEMAS MUSICALES Y ARRAIGAMIENTOS DE NUEVAS TRADICIONES SONORAS ..............................................................................................................................69 Hibridando la casa del aire narrativo en clave musical en Bomba camará de Umberto Valverde y ¡Que viva la música! de Andrés Caicedo. ........................................................69 Umberto Valverde y su Bomba camará .................................................................................70 Andrés Caicedo en la cauda de su narrativa auditiva .............................................................87 4 MATRICES EXOGÁMICAS Y ENDOGÁMICAS EN EL CARIBE COLOMBIANO ....102 Composición de un retrato musical y literario con bemoles y sabores en Esa Gordita sí baila de Lya Sierra y Maracas en la ópera de Ramón Illán Bacca ..................................102 Rememorizaciones musicales en Esa Gordita sí baila.........................................................105 Disimetrías problemáticas en Maracas en la ópera .............................................................122 5 EN RUTA CON EL TANGO ...............................................................................................134 “Tanguedia” territorializada con el tango del héroe .............................................................134 Tangueando en narrativa Aire de tango de Manuel Mejía Vallejo .......................................138 Búsqueda de la historia de la ruta del féretro de Carlos Gardel en Colombia ......................148 6 CONCLUSIÓN: EXPLORACIÓN DE PAISAJES MUSICALES EN NARRATIVA COLOMBIANA ...................................................................................................................162 LIST OF REFERENCES .............................................................................................................173 BIOGRAPHICAL SKETCH .......................................................................................................178 7 Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy TEXTOS Y CONTEXTOS: ENTRAMADOS MÚSICO-LITERARIOS EN LA NARRATIVA COLOMBIANA, 1969-2004 By Martha Eugenia Osorio-Cediel May 2015 Chair: Reynaldo Jiménez Major: Romance Languages -Spanish This dissertation examines the relationships between music and narrative in six texts by Colombian novelists: Umberto Valverde, Andrés Caicedo, Lya Sierra, Ramón Illán Bacca, Manuel Mejía Vallejo, and Fernando Cruz Kronfly. Each novel’s plot reflects a different set of regional and cultural tendencies and is unraveled via an extensive use of musical texts, lyrics and references that offer a parallel interpretation of narrated events, a disruption to the plot, or an explanation for the behavior of characters. The narrative texts were published during a brief period, from 1969 to 2004, and they are informed by music from the Caribbean, Europe, the United States, and the Southern Cone of South America. In each novel, songs and singers from the salsa, tango, and opera traditions (among others) mediate the narrative and function as cultural referents, which reveal the cultural heterogeneity, transculturalization, deterritorialization, and reterritorialization in the Colombian habitus of the latter half of the 20th Century. 8 CHAPTER 1 MARCO TEORICO La relación entre la música y la literatura crea productos culturales que, si bien se enmarcan en las tapas de un libro, ofrecen al crítico la oportunidad de estudiar esa producción de textos como inacabados. Los sonidos intersectan la narración y convierten esas coyunturas en puntos de inflexión que la música, por su naturaleza intromisoria, puntea de acuerdo a la búsqueda de sentido del estudioso cultural. Se verificará cómo se representan las