La performatividad sonoro-musical del género parrandero. Una disputa simbólica en los Andes colombianos
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2024-12-03
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Universidad Nacional de Música
Resumen
El objetivo de este trabajo es estudiar los aspectos de apropiación y (re)significación de las prácticas sonoro-musicales de un grupo musical indígena Emberá Chamí, a través de lo músico performativo y textual de sus canciones, estudiando aspectos en torno a los procesos identitarios y sonoro-musicales de colonialidad/decolonialidad. Considerando toda una inmersión de estudio cualitativo e interpretativo alrededor de un intercambio de conocimiento con los interlocutores indígenas, esta investigación surge a partir de las actuaciones performativas de un grupo musical indígena del Resguardo de San Lorenzo. Un grupo que, a través de la apropiación del género musical parrandero propiamente campesino, representa todo un complejo de disputa simbólica en el territorio. Por tanto, a través de las distintas narrativas tejidas, el género musical se establece como una especie de artefacto cultural contra los procesos de colonización que sucedieron en el territorio. En este sentido, las performances del grupo comprometen elementos de una cosmo-sónica que es comprendida, no solo, por las sonoridades desplegadas, sino también por las dimensiones estéticas que comprometen un pensamiento cosmo-político, derivado de una agentividad con elementos materiales y simbólicos de otras sociedades, para impactar y subvertir un proceso de colonialidad. Aquí, se establecen algunos puntos de inflexión como punto de partida para formar procesos de colonialidad/decolonialidad a través de las prácticas culturales como la música en el contexto colombiano.
The objective of this work is to study the aspects of appropriation and (re)signification of the sound-musical practices of an indigenous Emberá Chamí musical group, through the performative and textual musicianship of their songs, studying aspects around identity processes and sonorous-musicals of coloniality/decoloniality. Considering an entire immersion of qualitative and interpretive study around an exchange of knowledge with indigenous interlocutors, this research arises from the performative executions of an indigenous musical group from the San Lorenzo reservation. A group that, through the appropriation of the specifically rural parrandero musical genre, represents an entire complex of symbolic dispute in the territory. Therefore, through the different narratives woven, the musical genre is established as a kind of cultural artifact against the colonization processes that occurred in the territory. In this sense, the group's performances involve elements of a cosmo-sonic that is understood, not only by the sonorities displayed, but also by the aesthetic dimensions that compromise a cosmo-political thought, derived from an agentivity with material and symbolic of other societies, to impact and subvert a process of coloniality. Here, some turning points are established as a starting point to form processes of coloniality/decoloniality through cultural practices such as music in the Colombian context.
The objective of this work is to study the aspects of appropriation and (re)signification of the sound-musical practices of an indigenous Emberá Chamí musical group, through the performative and textual musicianship of their songs, studying aspects around identity processes and sonorous-musicals of coloniality/decoloniality. Considering an entire immersion of qualitative and interpretive study around an exchange of knowledge with indigenous interlocutors, this research arises from the performative executions of an indigenous musical group from the San Lorenzo reservation. A group that, through the appropriation of the specifically rural parrandero musical genre, represents an entire complex of symbolic dispute in the territory. Therefore, through the different narratives woven, the musical genre is established as a kind of cultural artifact against the colonization processes that occurred in the territory. In this sense, the group's performances involve elements of a cosmo-sonic that is understood, not only by the sonorities displayed, but also by the aesthetic dimensions that compromise a cosmo-political thought, derived from an agentivity with material and symbolic of other societies, to impact and subvert a process of coloniality. Here, some turning points are established as a starting point to form processes of coloniality/decoloniality through cultural practices such as music in the Colombian context.
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Colonialidad, Decolonialidad, Etnomusicología
Citación
Molano Zuluaga, J. C. (2024). La performatividad sonoro-musical del género parrandero. Una disputa simbólica en los Andes colombianos. Antec: Revista Peruana De Investigación Musical, 8(2), 146-169. https://doi.org/10.62230/antec.v8i2.249
