Publication: Música afroamericana, autenticidad y prensa escrita: la recepción del blues en España durante la década de 1950
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2019
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Sociedade Portuguesa de Investigação em Música
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Abstract
Este artigo explora a recepção do blues em Espanha durante a década de 1950, concentrando-se nos
concertos de música ao vivo organizados pelo Hot Club de Barcelona. A análise baseia-se nos contextos
da recepção e nos discursos dos média sobre três concertos históricos dos seguintes artistas: Big Bill
Broonzy (1953), que se tornou no primeiro bluesman a apresentar-se em Espanha; Louis Armstrong
(1955), o principal representante do hot jazz, um estilo fortemente influenciado pelo blues e promovido
pelo Hot Club; e Sister Rosetta Tharpe (1958), uma cantora e guitarrista inovadora e eclética associada
ao gospel e ao blues. Esta análise revela uma relação profunda entre aspectos musicais, socioculturais e
raciais, assim como a centralidade do conceito de autenticidade na música popular. De um modo geral, a
organização deste tipo de concertos e a sua reconstrução discursiva pela imprensa escrita demonstram
um intenso fascínio e uma identificação com a música e a história dos negros nos EUA. Apesar de
manifestarem, por vezes, uma abordagem essencialista e parcial da música negra, estas iniciativas são
representativas da construção de espaços e práticas alternativas aos preceitos oficiais usados pelo regime de Franco para a configuração da identidade nacional espanhola.
This article explores the reception of blues in Spain during the 1950s by focusing on the live music productions promoted by the influential Hot Club of Barcelona. The analysis is based on the reception contexts and media discourses about three historic concerts by legendary artists: Big Bill Broonzy (1953), who became the first bluesman to perform in Spain; Louis Armstrong (1955), a key representative of the blues-infused hot jazz that was promoted by the Hot Club; and Sister Rosetta Tharpe (1958), an innovative and eclectic singer-guitarist associated with gospel and blues. The analysis reveals the profound interrelation between musical, sociocultural and racial aspects, as well as the centrality of authenticity within popular music. Overall, the production of these types of concerts and its discursive reconstruction in the written press show the intense fascination and identification developed in relation to the music and history of black people in the United States. In spite of performing, at times, an essentialist and partial treatment of blackness and black music, these initiatives are representative of the construction of alternative spaces and practices regarding the official precepts used by the Franco regime in the configuration of Spanish national identity.
This article explores the reception of blues in Spain during the 1950s by focusing on the live music productions promoted by the influential Hot Club of Barcelona. The analysis is based on the reception contexts and media discourses about three historic concerts by legendary artists: Big Bill Broonzy (1953), who became the first bluesman to perform in Spain; Louis Armstrong (1955), a key representative of the blues-infused hot jazz that was promoted by the Hot Club; and Sister Rosetta Tharpe (1958), an innovative and eclectic singer-guitarist associated with gospel and blues. The analysis reveals the profound interrelation between musical, sociocultural and racial aspects, as well as the centrality of authenticity within popular music. Overall, the production of these types of concerts and its discursive reconstruction in the written press show the intense fascination and identification developed in relation to the music and history of black people in the United States. In spite of performing, at times, an essentialist and partial treatment of blackness and black music, these initiatives are representative of the construction of alternative spaces and practices regarding the official precepts used by the Franco regime in the configuration of Spanish national identity.
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Música Afro-Americana, Espanha, Autenticidade, Imprensa, Franquismo, African-American Music, Spain, Authenticity, Press, Francoism
Bibliographic citation
Revista Portuguesa de Musicología, Vol.6, N.2 (2019), pp. 351-374