Música, cultura y racializaciones. Debates en torno a la definición de música negra en Estados Unidos
Fecha
2016
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Investigaciones Socio Históricas Regionales, Unidad Ejecutora en Red - CONICET
Resumen
Descripción
Este artículo propone un abordaje conceptual de la denominada música afroamericana. Sostendré, primeramente, la necesidad de una concepción histórica de lo racial, sintetizada en el concepto de racialización, de acuerdo al cual se comprende lo racial como un conjunto de procesos de adscripción producidos desde diferentes fuentes y por diversos agentes (políticos, culturales, económicos, mediáticos), referenciados a discursos, tramas institucionales, saberes y poderes heterogéneos. Esa radicalización histórica de la idea de raza permite ir al encuentro de las “puestas en escena de lo racial”, es decir, de las interacciones sociales que funcionan como instancias donde tiene lugar la creación, comunicación e interpretación socialmente significativa de las diferencias y desigualdades raciales. Considerando la insistencia de la racialización de la música en Estados Unidos buscaré construir, en diálogo con otras interpretaciones, una noción de música negra que permita observar sus cambios y discontinuidades. Finalmente plantearé que la noción música negra se resiste a ser comprendida como una unidad homogénea y que su investigación histórica en términos discontinuistas propicia nuevas consideraciones sobre la variaciones de sus significados culturales así como abre nuevas perspectivas en torno a la conformación de negritudes en Estados Unidos.
This article proposes a conceptual approach to the so-called African American Music. I argue, first, the need for a historical conception of racial, synthesized in the concept of racialization, according to which the racial condition is understood as a set of adscription processes secondment produced by different sources and by different actors (political, cultural, economic, media), referenced to heterogeneous discourses, institutional frames, knowledge and powers. This historical radicalization of the race allows us to meet the "staging of the race", the social interactions that function as instances where the creation, communication and interpretation of socially significant racial differences and inequalities. Considering the insistence of racialization of United States music I will seek to build, in dialogue with other interpretations, a notion of black music for observing its changes and discontinuities. Finally, I will argue that black music refuses to be understood as a homogeneous unit and its research in historical discontinuity terms encourages new considerations about the variations of their cultural meanings and opens new perspectives on the making of blacknesses in the United States.
This article proposes a conceptual approach to the so-called African American Music. I argue, first, the need for a historical conception of racial, synthesized in the concept of racialization, according to which the racial condition is understood as a set of adscription processes secondment produced by different sources and by different actors (political, cultural, economic, media), referenced to heterogeneous discourses, institutional frames, knowledge and powers. This historical radicalization of the race allows us to meet the "staging of the race", the social interactions that function as instances where the creation, communication and interpretation of socially significant racial differences and inequalities. Considering the insistence of racialization of United States music I will seek to build, in dialogue with other interpretations, a notion of black music for observing its changes and discontinuities. Finally, I will argue that black music refuses to be understood as a homogeneous unit and its research in historical discontinuity terms encourages new considerations about the variations of their cultural meanings and opens new perspectives on the making of blacknesses in the United States.
Palabras clave
Música negra, Racializaciones, Discontinuidad histórica, Negritudes, Black music, Racializations, Historical discontinuity