“Musiques métisses”, musiques criollas

• Published in: L'Homme
• Main Author: Bernand, Carmen
• Format: Article in Journal/Newspaper
• Language: French
• Published: Éditions de l’EHESS 2016
• Subjects: musique latino-américaine; musique métisse; rythmes; danse; joutes poétiques; identification nationale; musiques populaires; fandango; Amérique ibérique; Latin American Music; Métis Music; Rhythms; Dance; Musical Contests; National Identification; Popular Music; Latin America; hist; lang; Argentine; Esclave*; Mite
• Online Access: http://journals.openedition.org/lhomme/24692

“Métis Music”, Criolla Music : Sounds, Gestures and Words in Hispanic AmericaCriolla or métis music emerged in two forms, religious and secular, during the 16th century in Latin America. Musical instruments, the poetic repertoire, dances and the rhythmic structure imported from the Iberian peninsula underwent major changes in the New World, especially under the influence of slaves and black freedmen. Among the new hybrid genres, fandango served as a model, even though it is hard to know much about it. Probably related to the 19th century habanera given the similar rhythmic structures, fandango seems to be the ancestor of creole forms of popular music in Latin America. These forms, despite their variety, are characterized by body movements deemed obscene by public authorities and by words that voice feelings of love laden with models of identification. In the late 19th century, creole forms of music became national emblems before, in the 20th century, turning into latinas under the influence of the United States and the entertainment industry. A separate place is to be given to what is defined as criolla music in Mexico, Cuba, Peru and Argentine, where, this music evinces, in different political contexts, the ideological place assigned to the métis phenomenon in the nation. La musique métisse ou criolla apparaît dès le xvie siècle en Amérique ibérique sous les deux formes religieuse et profane. Instruments de musique, répertoire poétique, danses et structure rythmique, importées de la péninsule ibérique, subissent dans les Amériques des modifications importantes notamment sous l’influence des esclaves et Noirs libres. Parmi ces nouveaux genres hybrides, le fandango fait figure de modèle, même s’il est difficile de connaître ses spécificités. Liés probablement à la habanera du xixe siècle par des structures rythmiques comparables, les fandangos apparaissent comme les ancêtres des musiques populaires métisses latino-américaines. Ces musiques sont caractérisées, malgré leur variété, par des mouvements du corps ...