Dissertação apresentada ao Programa de Pós-Graduação Interdisciplinar em Estudos Latino-Americanos da Universidade Federal da Integração Latino-Americana, como requisito parcial à obtenção do título de
Mestre em Estudos Latino-Americanos. Orientadora: Profa. Dra. Alai Garcia Diniz. / Submitted by Victor Hugo Gutierrez Fornells (vangeel2001@yahoo.com.br) on 2016-05-21T17:15:55Z
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Previous issue date: 2016-05-21 / The musical performances of a minority social groups that inhabit the researched area
present the bonds that join those groups to a historic past maintained in their social memory.
That ―alive‖ repertoire, represented by ephemeral moments, where predominates the intoned
or declaimed voice of the folkloric subject can be defined as performance and not as a
folkloric ―object‖. Tradition is necessary to maintain the repertoire handed down from
generation to generation, but it can never being stuck in an archivist memory and be
cataloged as folkloric music, being delimited to regionalist geographic borders. The first part
of this work had a theoretical base from episteme of performance, music, sociology,
philosophy, ethnomusicology, among others. As a second moment, it was conducted a field
research, which results have shown the hegemonic of the folkloric thought in the Andean
region; the little value that is still given to the copla singers on society that exists there, being
relegated to small originated hybrid communities; to their representatives who emigrated to
urban centers and for the ownership of the cultural industry that ―chooses‖ from festival and
meetings, which are destined to copla and baguala singers and players – especially to the
ones (woman or man) who have a differing and outstanding performance, to offer them to
record a CD and, this way, to show their ―bagualero‖ image – becoming an icon of the
folklore with regional Indian reminiscences – to a global world. In addition, the research
allowed to differ two main types of performances done by the copla singers and players: a
particular, ordinary, directed to a selected group formed by family members, friends,
acquaintances and for themselves, without audience or any other ―public‖ performance,
subsidized and encouraged by the media and governmental authorities that represent the
cultural industry, directed or produced (re-performed) to a different public. These
performances are undertaken in festivals, international meetings of popular singers,
television programs, etc. / Las performances musicales de un grupo social minoritario que habita poblaciones localizadas en la región andina y subandina pesquisada presentan los lazos que unen esos grupos a un pasado histórico mantenido en su memoria social. Ese repertorio "vivo",representado por efímeros momentos donde predomina la oralidad en la voz entonada o declamada del sujeto coplero puede definirse como performance y no como un objeto folclórico. La tradición es necesaria para manutenciónde un repertorio que pasa de generación a generación a través del ejemplo de cantar coplas - estrofas de cuatro versos octosílabos de rima consonante, ritmo lento y sentimental en bagualas, vidalas y tonadas y de versos hexasílabos en canciones con ritmo más alegre y rápidos, en el cancionero andino – pero jamás podrá estar presa a una memoria archivista y ser catalogada de música folclórica, siendo delimitada a fronteras geográficas regionalistas. La primera parte de este trabajo tuvo una base teórica a partir de epistemes de la performance, música, sociología, filosofía, etnomusicología, entre otras. Como segundo momento, fue realizada una pesquisa de campo cuyos resultados mostraron la hegemónica del pensamiento folclórico en la región andina, el poco valor que aún se le da a los cantores copleros, dentro de la sociedad que allí habita, quedando relegados a pequeñas comunidades mestizas de originarios; a sus representantes que emigraron para los centros urbanos y por la apropiación de la industria cultural que "escoge", a partir de festivales y encuentros destinados a sujetos copleros – bagualeros, principalmente – aquel (mujer u hombre) que posee una performance diferenciada, eximia, para ofrecerle grabar un CD y así mostrar su imagen de "bagualero" – convertido en icono del folclore regionalista con reminiscencia indígena - para el mundo global. La pesquisa permitió diferenciar también los dos tipos principales de performances realizadas por los sujetos copleros: la particular, cotidiana, dirigida a un selecto público compuesto por familiares, amigos y conocidos, o, para sí mismo, sin audiencia y otra performance ―pública‖, subvencionada y estimulada por la media, entes gubernamentales que representan la industria cultural, dirigidas o producidas (reperformatizadas) para un
público diferente. Estas performances son realizadas en festivales, encuentro internacional de copleros, programas televisivos, etc.
| Identifer | oai:union.ndltd.org:IBICT/oai:dspace.unila.edu.br:123456789/531 |
| Date | 21 May 2016 |
| Creators | Gutiérrez Fornells, Victor Hugo |
| Contributors | Diniz, Alai Garcia |
| Source Sets | IBICT Brazilian ETDs |
| Language | Spanish |
| Detected Language | English |
| Type | info:eu-repo/semantics/publishedVersion, info:eu-repo/semantics/masterThesis |
| Source | reponame:Repositório Institucional da UNILA, instname:Universidade Federal da Integração Latino-Americana, instacron:UNILA |
| Rights | info:eu-repo/semantics/openAccess |
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