Global InformationHistory of folkloric music in Argentina information
The folkloric music of Argentina traces its roots to the multiplicity of native indigenous cultures.[1] It was shaped by four major historical-cultural events: Spanish colonization and forced African immigration caused by the slave trade during the Spanish domination (16th–18th centuries); the large wave of European immigration (1880–1950)[2] and the large-scale internal migration (1930–1980).[3]
Although strictly speaking "folklore" is only that cultural expression that meets the requirements of being anonymous, popular and traditional, in Argentina folklore or folkloric music is known as popular music of known authorship, inspired by rhythms and styles characteristic of provincial cultures, mostly of indigenous and Afro-Hispanic-colonial roots. Technically, the appropriate denomination is "music of folkloric projection of Argentina".[4][5]
In Argentina, the music of folkloric projection began to acquire popularity in the 1930s and 1940s, coinciding with a large wave of internal migration from the countryside to the city and from the provinces to Buenos Aires, to establish itself in the 1950s, with the "folklore boom", as the main genre of national popular music, together with tango.
In the sixties and seventies, the popularity of Argentine "folklore" expanded and was linked to other similar expressions in Latin America, due to various movements of musical and lyrical renovation, and the appearance of great festivals of the genre, in particular the National Folklore Festival of Cosquín, one of the most important in the world in this field.
After being seriously affected by the cultural repression imposed by the civic-military dictatorship installed between 1976 and 1983, folkloric music resurfaced after the Falklands War of 1982, although with expressions more related to other genres of Argentine and Latin American popular music, such as tango, the so-called "national rock", the Latin American romantic ballad, the cuarteto and the Colombian cumbia.
The historical evolution was shaping four large regions in folkloric music of Argentina: the Cordoba-Northwest, the Cuyo, the Littoral and the southern Pampa-Patagonian, at the same time influenced by, and influential in, the musical cultures of the bordering countries: Bolivia, southern Brazil, Chile, Paraguay and Uruguay. Atahualpa Yupanqui is unanimously considered the most important artist in the history of folkloric music in Argentina.[6]
- ^ In Argentina the word "folklore" is generally written with "k", being valid in Spanish the forms that are written with both "k" and "c". Real Academia Española (2005). "Folklore" (in Spanish). Diccionario panhispánico de dudas. Retrieved November 26, 2013.
The forms that preserve the etymological -k- are also valid: folklor(e), folklórico and folklorista.
- ^ "Inmigración europea y sus aportes culturales" (in Spanish). Archived from the original on March 13, 2008.
- ^ Aharonián, Coriún: Factores de identidad musical latinoamericana tras cinco siglos de conquista, dominación y mestizaje. in: Revista de Música Latinoamericana, Vol. 15, Nº 2: University of Texas,1994, pp. 189 - 225. "American culture in general and American music in particular, and we refer here to the American continent as a whole, are the result of the interaction of three great aspects: the indigenous, that is, the native of the American lands; the western European, that is, the conquistadors and invaders; and the black-African or aguisimbia, that is, the peoples brought as slaves from a third continent. The distribution and the proportion of each one of these three aspects in the long and wide American territory will determine through the centuries a very varied miscegenation of the contribution of each one of them, with very big differences between one region and another one... The outline of the three cultural aspects is only valid as a general outline. Because, first of all, America was not populated, in 1492, by a single ethnic group. And the very diverse ethnic groups were not culturally homogenized. There were a great number of cultural systems and these systems were rarely confined to precise geographical limits. Moreover, cultures, languages and music coexisted in a diffuse territory, with islets and islands and small islands dotted in spaces of many thousands of kilometers. Indigenous America is a beautiful conglomerate of very dissimilar cultures and musics, with different structuring principles and syntactic logics".
- ^ Tobías, Rafael (1998). "El Folklore y la moda del Folklore" (in Spanish). El Folklore Argentino. Retrieved March 11, 2009.
- ^ 1848-1929. Groussac, Paul (1893). Popular customs and beliefs of the Argentine provinces (in Spanish). Donohue, Henneberry & Co. OCLC 1050822884. Retrieved May 6, 2021.
{{cite book}}: CS1 maint: numeric names: authors list (link) - ^ "Atahualpa Yupanqui". Premios Konex. Fundación Konex. 1985. Archived from the original on April 10, 2009. Retrieved March 11, 2009.