Music (and maps) shows a field in which movement can occur, intervals, interrelationships and intersections. And just as on maps, we realize that the musical territories are there to be navigated and inhabited by diverse languages \u200b\u200band cultures. I want to highlight here are passages and transfers that are painted on the field of music Chabuca Granda. Well, for me, she is a singer and travel processes
His work is a celebration of diversity, cross paths, to love in all its forms, to the mixture of flavors and aromas that we find in every city and every skin.
His songs also bring a tremendous wealth of poetry, we show that the mixing evidenced in the musical composition itself.
sensitivity and concern to our composers are not afraid to cross paths rhythmic or social conventions. Spend the waltz with seafood disrupting the rhythm, tone and rhythm, moves from the Creole to the song popular with American musical nuances, such as bossa nova, bolero, etc..
with letters cross in neologisms to transgress the boundaries of language in an orgy of words and meanings. He dares to combine English with English in the song "Tomorrow Will Be Tomorrow" to remove advantage of the sound of both languages \u200b\u200bat the same time introduce an element of fun and expressive.
Chabuca besides English, he wrote in English (as we have seen) and Frances (the creole waltz)
also sings the Latin American countries and Spain. Trying to gather together with our accents, the uniqueness, temperament and flavor (which she knew to pick up) of each culture.
On the other hand, Chabuca shows the possibility of constant transformation. She is always another, explores the nuances and seems to reinvent not sit still in a one place. In this sense he is never mixing it at a fixed site. (For something their constant references to roads, sidewalks, steps ...)
In marie dream (song dedicated to his experience) tells us
For forests, suns and moons gorge his dreams
fly bends and slopes Mary, Mary dreams
will staining in the chest the heart of peoples
She travels, interacts with the others who live there. Be lost, forgotten ... lives asleep, freed, and then waking up and ... how will their awakening?
Throughout his work, make changes and movements Chabuca makes a route that goes from singing to the tradition to the forefront, through the exploration of female sensuality.
could say that the celebration goes Chabuca mobilization
I will work here 2 times (not necessarily chronological): Longing time and suspension time
time I call longing to group songs in which he sings the old Lima lost (here are the most famous songs ... Listen you Sr. Manuel, and we're running out of the Lima of yesteryear).
is the phase of the streets, vereditas, the Bridge of Sighs, the balconies, the horse's step and the whole description of the nuances that occur between the streets, including smells, tastes and sensations .
This paradigm is that scent of mixing chest bearing the Flower of Cinnamon.
Then there is a change, one step at a time much more abstract in which he explores other sensations. The body and sensuality are evidenced
This other time I call it: Time suspension, and is represented by the question What will my skin with your skin? Chabuca here explores depths and vertigo are two spaces.
vertigo (as sung in a song) in the same match ... we find that abysmal. Union and empty.
There
in love to a kind of fusion, a meeting that is not only sweet mix, but contains the paradoxes of thistle or ashes that (having seen how it can sustain Chabuca while opposing elements) might call thistle and ashes ", as in the mixture of smooth and rough live love.
This coexistence of opposites is precisely what makes the mixture. This is because the effort to sustain the paradox and in this sense, it is remarkable how Chabuca at stake in his lyrics paradoxes as
dream and waking forget and remember
Company and loneliness
And between both elements, at that threshold, Chabuca displays his work.
With time suspensory seems to lean a time when, because without the guarantee of tradition, far from the idealized father figures, there is the hidden desire, erotic musical time and poetry as ways of approaching a peculiar enjoyment. Enjoy that psychoanalysis is named as enjoyment Another, which involves the strangeness of not being tamed by the conventional narrative, they do not get to the signifier and its chain to realize such ineffable feelings to which, yes, poetry can at least touch.
Along with this we find a new form of desire, which has to do with the very human sense of loss that does nothing to feed the desire. To usher in the sphere of sensuality and enjoyment of poetry, we find that the letters emphasize the desire. This focus is what makes producing a sort of question by the Other, the Other loved, wanted, lost, hoped, whose presence promises to the completeness of our most critical gaps. This question is open to the sound of drawers Guitars in a sultry mysterious spells Landa What will my skin with your skin?
This group of songs allows me to approach this "Suspensive Time", to the extent that, through them, you can capture a holding position, waiting for the Other in a time uncertainty tinged works as a trigger to fantasize, illusions and frustrations. The subject is here alienated the time of the other, dancing to the rhythms of their signs.
In these songs are no longer with the longing for a past tense, no longer seeks the dominion lost. Now it appears the wait love to come and, well, streets, squares, aromos ... give rise to skin, night, the sheets, the body.
But who is the Other? Who do you sing? Who do we expect?
We can accompany these questions with some psychoanalytic reflections that show us that we are constituted through an Other that will interpreting and naming what the baby seems to need. We are marked by the word, in which we live but, however, is not able to capture the unspeakable feelings. Puzzles and wounds are left open. The subject and coming back empty look again and again to that other pending an answer that fill or calm before the finitude and anxiety.
is in relation to an Other that is constructed subjective space tied to the pleasure of meeting with the voice and the look by printing out the uniqueness of each gesture. Speech has a recipient, is addressed to someone who receives not only a message but, rather, the entire frame around the communication and that has to do with deep feelings that make the raw material of the body itself and sensuality.
When the call to another is through singing, moving from the exacting demands and violent to invoke love, music that puts on the body to dance, swaying in a measure to be seeking the sensuality of the encounter with someone else. This is the question: "How will my skin next to your skin," anticipates questions erotic time, holding the wait through the music, it's time, rhythm, silence and are.
The abstraction of the letters of this group of songs plunges us into an area not outlined by the speech, a lot of feelings in which diluted the identity tells us that our name, image and identity card are merely holding masks an evolution of flows ... mestizos. In this territory is reached through an aesthetic experience, with a tone or a voice type that physically scrapes every word spoken.
From this place, weather what we hold? and more particularly articulate how the threads that hold these pieces are grouped loose with apparent nonsense, shaping to be sexual?
be sexed and mortal is the condition of our subjectivity, support this is not achieved without some devices (such as construction of ideals, love, art, religion, etc.) through which we try to enter the world body and the relationship with the other as a continuous line, without cracks or hollows ...
However the very fact of sex, (as little has to do with the order of meanings and rational explanation) is related to the size of drives and with those joys, strange and inevitable, living in each one of us.
The solid line is interrupted again and again, failure is present, disruption and breakdown of the premeditated and calculated pure contingency brings the event. And in this area, or learn to dance, or we sweeps the tide of the indecipherable, the impossible real.
The disruptive nature of the event disturbs us, putting anticipated breaking against the enigmatic. The questions gnaw away at the thought powerless.
found solace in poetry, music or, as in the case of Chabuca in the mixture of the two: in the song.
why resonates both the poet when he sings:
"How will whine and cry how
to escape my life from yours
and how the lethargy that I give
when numb sleep in your sleep "
If I cast my space in front of yours
how will your body when crossing
and as my heart if I death ...
my heart if I death
Death and eroticism merge into the song and the question that introduces both the timing and the size of otherness. Between you and me is an enigma. Between my desire and tomorrow there is a timeout occurs fantasize and, in this case, a song.
is interesting to see how it moves the feeling of longing in the musical architecture of this composer, this constellation of songs and it is not long for the last time but the time to come. Is waiting for a while so deeply sensed that only leads to dizziness, vertigo before the concealment of meaning what else is done in love?
Chabuca in Vertigo Says:
"when will the day I lost in your arms
come, come for vertigo
soft slow, sweet, long
as the long road I walk with you
Where, when, dizziness
When taken away from the tradition, inheritance, the father, when in the solitude of symptom, in order to surprise us the encounter with that ceaseless frenzy of pleasure that we can not avoid and which, when taken up, seems to choke the language and discursive possibilities and encounters with reality, when the feeling is writing How early morning survive?
survive "what? if perhaps the issue is giving rise to this report arises, which gives us the encounter with radical amazement at the price of the collapse of the cystic and standardized identity.
nomad's sensations, without clinging to the origin of feeling, or the feeling of home. This is the Mestizaje in us, the emergence of that other thing that breaks no good telling us who we are. That event dizzying pace which we hold to no drift ...
figure similar to the newborn, lost in sensation, is structured through the mother's voice. If you also think that birth is something that happens continuously as that, as Arendt says, we have the ability to start something new .... How to do it without the music of our words?
This also brings dose of pain before the fall of mirrors and common benchmarks.
A woman without a reference axis, without looking for an Other to let you know that is desired. A woman lost in the frenzy of their feelings in what is an anchor?
As the character refers Chabuca Granda (the way I read it and translate) the nakedness of the "long night" is possible thanks to support, just the letter, the ripple and voice, sheltering the naked skin and makes possible a pattern to spell the objects and absent love.
Why is the night as long
and hallucinations and so alone and so heartless
If only if it is just a long night
Zamacueca, zamacueca
is only a long night
The night should be
Long aurora scented, clear
and blue, a blanket embroidered
of rumors and love
or star am
Invasive unveiled
my window closed
Zamacueca, zamacueca
From my window closed
My night is never aurora
That comes in the morning
long ledge is only
That turns to nothing,
Zamacueca, zamacueca
Turning to nothing.
Something has changed here in this song, the lover's absence leads to another couple: The Zamacueca, and with this, a different management of solitude. A take away from total dependence to a pace set by an Other (embodied in romantic love) to open the possibility of singing the same dance, building an object of love, there where love is lost.
We are in an opaque zone, night, bohemia. One area where the borders that delimit the letters are hazy. The Chabuca descriptive detail urban or family customs seems to deliver in a more indefinite poetic, abstract, in which words take on their full value ambiguous and open us to a plurality of meanings with a pleasure that stays in the body, without reference to the very meaning of point.
How well can shake a verse without giving us the clarity of meaning?
Chabuca has samples of these games memorable allegorical, poetic and sound:
Canterurias For example, says:
Cantero, quarry Cantereria me.
Cantero, quarry Cantereria me.
That but I do not Cantereria quarries.
That but I do not Cantereria quarries.
I always thought that the sound is there where the meaning is exhausted. The footprint of the route marks a lull in love, the whisper in which letters are interspersed and that "understand nothing" opens a space for the vibration that is pure body enjoys.
holes in the sense where there does not hold a meaning but rather the sound, the singing voice is modulated set of phonemes bodies. That's where is located a special type of song, a song that touches us even if the voice is not big or tune. Between the body and the word significant, making a swing that rocks, there Chabuca sings.
Speaking of that area sound, drive, or snatches that rocks leads us to believe that at birth, when the human being is only a sort of jumble of drives without even a subjective organization, is the possibility structuring from the voice of the Other that is introduced by setting the first tracks. These first words are to chart a course that will command the fate of the subject, skeleton required so as not to fall prey to the psychoses but which, however, will be necessary to remove some to build a singular life that can stand out from previous molds (escaping the determination).
Here the voice has a fundamental role because it involves, first, the first articulations of meaning that place us in a speech to relate to the world by introducing limits and law (this will open the dimension of fear to the mandate and the threat), and secondly, the calm and modulation of these imperatives when the voice sings a song separating from his position for transmitting orders and processes significant sense, to be a kind of musical instrument serving to temper the instincts.
Two places for voice: the articulation of meaning and sound modulation.
The peculiarity of the song is that it manages to make articulate speech, subject to the dictates of reason and the laws of the social world becomes lullaby to link meaning and sound, lyrics and music, meaning and pleasure. Making a fabric made of company and solitude, meeting with one another and with their own echo.
There is a clear message in the letter while an implicit touching skin to skin through the air coming out of the womb, the breath comes thick friction in the muscle, the passage through the throat, teeth, cut into words. Barthes says:
"It's in the throat, place where the phonic metal hardens and cut in the mask, that is where the significance explodes, raising, not the soul, but the pleasure"
mestizo In this dance is the match to mismatch, from solitude to the company, of having to lose her, the singer, her voice makes an instrument that conveys these vicissitudes, getting out of self-absorption infertile pain that haunts most of us, to cross the way of the 'power loss' to, from there, giving rise to greater satisfaction. The singing voice.
Meeting on the song "Poor voice a beautiful start of this movement:
" That desire to sing to the river channels talkative
only desire to stay on bridges to watch it go
and let my voice go to the sea
and travel and travel and roam and roam
up there beyond the beyond.
And then ascend to heaven in my voice
and screaming winds in the clouds mourn
rain and rain with my voice
and returning to the voiceless bridges
retaking it in the laughter of the river talkative again.
Balbucearte bridges back into my voice
and leave poor voice dropped again, again "
We have here an interesting route:
started seeing a further missed, which are located in "Thistle or Ashes", or the dance itself (when the zamacueca sings in a "long night") to then come to find that otherness in herself (in her voice) ....
This is a movement from voice calling to one another, in the form of a lover with whom she hopes to raise up the voice singing it, here is "that other" within. It is this same voice, the one who goes the wish.
eroticism which we're introducing with Chabuca is complex. The author, once delivered to the poetry seems to open the doors to knowledge about this relationship with the Other which never fill our lack, that will never heal the wound. Thus, if we stay in the time we risk Suspensive entrenched in the application, pending the response from someone in the expectations we have placed.
On the other hand, musically, Chabuca is able to make a shift towards a love object that it produces, object that the game resumes to have and lose, the voice that is hers, but without however, must fall, must be lost as a condition to function as an instrument of both enjoyment and expression of meaning.
0 comments:
Post a Comment