Folklore and Transition (1982-1984): Strategies around the Song "Grito Santiagueño" of Raúl Carnota
In this work we try, from the comparison of two versions of the song Grito santiagueño, to understand the intervention strategies of a central reference and an emerging reference in the Argentine folklore of the transition to democracy. It's about Mercedes Sosa and Raúl Carnota. The first recor...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Investigaciones de la Facultad de Filosofía y Humanidades
2019
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/recial/article/view/27020 |
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| Sumario: | In this work we try, from the comparison of two versions of the song Grito santiagueño, to understand the intervention strategies of a central reference and an emerging reference in the Argentine folklore of the transition to democracy. It's about Mercedes Sosa and Raúl Carnota. The first recorded the song in Como un pájaro libre (1982), his first studio album after returning from exile. The second, author of the song, records it in Suna Rocha/Raúl Carnota (1983), a shared debut album.
Following the socio-discursive model proposed by Claudio Díaz (2009/2013/2016) for folklore we propose a reconstruction of the trajectories and positions of Sosa and Carnota within the system of relationships in which they participated at the time of producing each version of the song (which we analyze as a particular enunciation device). The comparison of the versions as well as the positions of those who produce them and some repercussions in the field of folklore, allow us to affirm that Sosa works as a legitimizer of Carnota's proposal, enabling the latter and its proposal of renewal intention. |
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