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A canção está na rua. Transnacionalidade da canção de intervenção entre Portugal, Espanha e França (1968-1975)
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Com a presente dissertação proponho-me investigar a canção de intervenção num âmbito transnacional, considerando-a uma experiência partilhada por múltiplas sociedades que, sendo decerto particulares, comportam características comuns (parafraseando Conde, 2018:85). Estes mesmos cruzamentos, focados aqui nas relações entre a canção portuguesa, a espanhola e a francesa entre 1968 e 1975, foram identificados através de três eixos de estudo: primeiramente, nos percursos de Luís Cília, José Mário Branco e José Afonso; depois, de forma mais específica, em três eventos nos quais estes e outros artistas estiveram envolvidos; por fim, em seis canções, duas de cada cantautor referido. Defino este intervalo temporal – de 1968 a 1975 – pois condensa um período da História em que a relação entre a música e os movimentos sociais se evidenciou sobremaneira. Partindo destes três músicos portugueses, a data de 1974 como marco temporal poderia parecer mais pertinente; no entanto, como abordo ainda assim um número considerável de artistas espanhóis,
balizo a minha análise no início do maio de 68 e no final da ditadura franquista, seguindo uma
concepção geográfica triangular entre Portugal, Espanha e França.
Não procuro encontrar no marco temporal do maio de 1968 e, nesse sentido, nos acontecimentos em França, uma causa, um vértice superior, e nos dois restantes países uma consequência direta da vida musical francesa, enquanto vértices inferiores. Ao invés, procurarei identificar uma rede de mediação, de intercâmbio cultural entre estes três países através da música que, necessariamente, se interpenetram e vivem de um constante diálogo. Pretendo, assim, inserir a expressão individual de cada movimento da canção nas pontes
estilísticas, culturais e sociais que se criaram entre estes pontos do mundo, e demonstrar como
se estabeleceu entre os intervenientes um sentimento de solidariedade e de comunidade musical
e política.
In this dissertation, my objective is to delve into the concept of the intervention song within a transnational context, considering it as a shared experience among multiple societies. This experience is marked by its individuality whilst possessing common features, echoing Conde’s (2018:85) perspective. These intersections, focused here on the relationships between Portuguese, Spanish and French song between 1968 and 1975, have been identified through three axes of investigation: first, the journeys of Luís Cília, José Mário Branco and José Afonso; then, more specifically, three events involving these and other artists; finally, through six songs, two per each of the singers mentioned above. I have chosen this period – from 1968 to 1975 – because it summarises a period in history when the relationship between music and social movements was very evident. Taking these three Portuguese musicians as a starting point, the year 1974 would seem more appropriate as a time frame; however, since I am still dealing with a considerable number of Spanish artists, I set my analysis between the beginning of May ‘68 and the end of Franco’s dictatorship, following a triangular geographical conception involving Portugal, Spain and France. I do not try to attribute a cause in the time frame of May 1968 and, in this sense, in the events occurred in France as the higher apex nor to see other the two countries as a direct consequence of French musical life, as the lower apex. Rather, I want to insert the individual expression of each song movement into the stylistic, cultural and social bridges that were built between these parts of the world and show how a sense of solidarity and musical and political community were created between those involved.
In this dissertation, my objective is to delve into the concept of the intervention song within a transnational context, considering it as a shared experience among multiple societies. This experience is marked by its individuality whilst possessing common features, echoing Conde’s (2018:85) perspective. These intersections, focused here on the relationships between Portuguese, Spanish and French song between 1968 and 1975, have been identified through three axes of investigation: first, the journeys of Luís Cília, José Mário Branco and José Afonso; then, more specifically, three events involving these and other artists; finally, through six songs, two per each of the singers mentioned above. I have chosen this period – from 1968 to 1975 – because it summarises a period in history when the relationship between music and social movements was very evident. Taking these three Portuguese musicians as a starting point, the year 1974 would seem more appropriate as a time frame; however, since I am still dealing with a considerable number of Spanish artists, I set my analysis between the beginning of May ‘68 and the end of Franco’s dictatorship, following a triangular geographical conception involving Portugal, Spain and France. I do not try to attribute a cause in the time frame of May 1968 and, in this sense, in the events occurred in France as the higher apex nor to see other the two countries as a direct consequence of French musical life, as the lower apex. Rather, I want to insert the individual expression of each song movement into the stylistic, cultural and social bridges that were built between these parts of the world and show how a sense of solidarity and musical and political community were created between those involved.
Descrição
Palavras-chave
Canção de intervenção Transnacionalidade Luís Cília José Mário Branco José Afonso Maio de 1968 Intervention song Transnationality May 1968