The sonorous-musical performativity of parrandero musical genre. A symbolic dispute in the Colombian Andes
DOI:
https://doi.org/10.62230/antec.v8i2.249Keywords:
Coloniality, Decoloniality, Ethnomusicology, Parrandera music, EmberáAbstract
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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