DECIPHERING THE LANDSCAPE OF CERRO COLORADO (CÓRDOBA, ARGENTINA): THE SPATIAL REMINISCENCIES IN THE POETRY AND THE MELODY OF ATAHUALPA YUPANQUI
Abstract
This article wishes to explore the landscape of Cerro Colorado and its relationship with the compositions of Atahualpa Yupanqui. Based on the poetic and melodic components of some songs by the singer-songwriter, the aim is to describe the way in which the geographical imaginaries were constructed. In this sense, the elements of nature that Yupanqui used to decipher the landscape are identified. As a methodology, a qualitative approach was used that consisted, on the one hand, in the selection of songs and the qualitative analysis of their content and melody and, on the other, field work was carried out in the town of Cerro Colorado (Argentina), in which participant observation and individual interviews were made. The results confirm that Yupanqui, captured symbolic and conceptual elements that make the configuration of a singular and poetic geographic imagery.
References
AROSTEGUY, A. Territorio y Música – un diálogo, múltiples ecos: entre tonalidades, sonoridades, acústicas y bullicios de los espacios. Revista GEOgraphia, Niterói, v. XXII, n. 49, p. 1-12, 2020a. https://doi.org/10.22409/GEOgraphia2021.v22i49.a29448
__________. Infinito particular: análisis de las letras de las canciones de Atahualpa Yupanqui como configuradores de imaginarios geográficos. Revista Cardinalis, Córdoba, v. VIII, n. 14, p. 359-379, 2020b.
BARRIONUEVO, D. Reserva natural Cerro Colorado. 2008. Disponível em:
BURGOS, R. Geografía de la música en la región de la Huasteca Potosina, Municipio de Tamazunchale, S.L.P., en los inicios del siglo XXI. Revista Geográfica, v. 140, Julio-Diciembre, p. 91-133, 2006. DOI: 10.2307/40996733
CANAL ENCUENTRO. Los caminos de Atahualpa: Un viaje a caballo. 1985a. Disponível em:
__________. Los caminos de Atahualpa: El filósofo. 1985b. Disponível em:
CARNEY, G. The Sounds of People and Places: a geography of American folk and popular music. Lanham: Rowman & Littlefield, 1994. 335p.
CELMA, R. Atahualpa y el árbol (pintura). 2013.
CORRÊA, R. L.; ROSENDAHL, Z. Literatura, música e espaço. Rio de Janeiro: EdUERJ, 2007. 150p.
COSGROVE, D. Social formation and symbolic landscape. London and Sydney: Croom Helm, 1984. 293p.
DEBARBIEUX, B. L´espace de l´imaginaire: essais et détours. Paris: CNRS Editions, 2015. 310p.
DEBARBIEUX, Bernard. Los Imaginarios de la naturaleza. In: LINDÓN, A.; HIERNAUX, D. (Eds.). Geografías de lo Imaginario. Barcelona: Anthropos Editorial; México: Universidad Autónoma Metropolitana, 2012. p. 140-156.
DIDI-HUBERMAN, G. Pensadores contemporáneos, en Síntesis. Gerardo de la Fuente entrevista a Didi-Huberman. 2018. Disponível em:
DOZENA, A. Os sons como linguagens espaciais. Revista Espaço e Cultura, Rio de Janeiro, v. 45, Enero/Junio, p. 31-42. 2019a. https://doi.org/10.12957/espacoecultura.2019.48532
__________. A geografia da música. Entrevista com Alessandro Dozena. 2019b. Disponível em:
EL LITORAL. Aves y Chamamé 2: En la soledad del lamento, el crespín. 2019. Disponível em:
ENCICLOPEDIA DIGITAL DE LA PROVINCIA DE SALTA – ARGENTINA. El gato. (2013). Disponível em:
FRITH, S. Ritos de la Interpretación: sobre el valor de la música popular. Buenos Aires: Editorial Paidós, 2014. 496p.
FROBENIUS, L. Der westafrikanische Kulturkreis. Harvard: Harvard University Press, 1897. 17p.
FUNDACIÓN ATAHUALPA YUPANQUI – ARCHIVO PROPIO. 1992.
GIRONCOURT, G. DE. Recherces de Géographie musicale dans le Sud Tunisien. La Géographie, Paris, v. LXXL, n. 6, p. 65-74, 1939.
GUTDEUTSCH, G. Mitología de los árboles. 2017. Biblioteca Acrópolis. Disponível em:
KONG, L. Popular music in geographical analysis. Progress in Human Geography, New York, v. XIX, n. 2, p. 183-198. 1995. https://doi.org/10.1177/030913259501900202
LA GACETA. La significación del caballo en la obra de Yupanqui es profunda. Entrevista con Roberto Chavero. 2018. Disponível em:
LINDÓN, A.; HIERNAUX, D. Geografías de lo imaginario. Barcelona: Anthropos Editorial, 2012. 241p.
MALINOWSKI, B. Uma teoria cientifica da cultura. São Paulo: Zahar, 1975. 240p.
MAYRING, P. Qualitative content analysis. Forum Qualitative Social Research, Berlin, I/2/ 20, p. s/p, 2000.
MELLO, J. B. F. DE. O Rio de Janeiro dos compositores da música popular brasileira: 1928/1991 – uma introdução à geografia humanística. 1991. 299 f. Tese (Doutorado em Geografia) – Programa de Pós-Graduação em Geografia, Universidade Federal do Rio de Janeiro, Rio de Janeiro, 1991.
MIS MEMORIAS DE COCINA. Tortilla al rescoldo. 2014. Disponível em:
MOZAS, L. Leda Valladares y el significado de una expresión cultural. En el folklore, nuestra raíz (Entrevista a la autora). Clarín, (6/04/1978), Suplemento Cultura y Nación.
PANITZ, L. M. Geografa e música: uma introdução ao tema. Biblio 3W, Revista Bibliográfica de Geografía y Ciencias Sociales, Barcelona, v. XVII, n. 978, p. s/p, 2012.
PERNIOLA, M. Los Situacionistas: historia crítica de la última vanguardia del siglo XX. Madrid: Acuarela y A. Machado Libros, 2007. 175p.
POCOCK, D. Sound and the geographer. Geography, Sheffield, v. 74, p. 193-200, 1989. https://doi.org/10.20630/chirikagaku.46.1_41
RICHARDSON, R. J. Pesquisa social: métodos e técnicas. São Paulo: Atlas, 1999. 424p.
ROJAS, R. Eurindia (vol. 1 & 2). Buenos Aires: Centro Editor de América Latina, 1980. 235p.
SMITH, S. J. Beyond geography’s visible worlds: a cultural politics of music. Progress in Human Geography, New York, v. 21, p. 502–529, 1997. https://doi.org/10.1191/030913297675594415
VALIENTE, S. Discursos de la identidad territorial según el cancionero folklórico. ACME: An international e-journal for critical geographies, Bristish Columbia, v. 8, p. 46-68, 2009.
VENA, M. Entrevista a través de Whatsapp. 2020.
YUPANQUI, A. Cerro Bayo. Córdoba: Editorial Cerro Negro, 2015. 108p.
__________. Aires indios. San Luis: Nueva Editorial Universitaria, 2012a. 117p.
__________. Del algarrobo al cerezo: apuntes de un viaje por el país japonés. San Luis: Nueva Editorial Universitaria, 2012b. 70p.
__________. Piedra sola: poemas del Cerro. San Luis: Nueva Editorial Universitaria, 2009a. 72p.
__________. Guitarra. San Luis: Nueva Editorial Universitaria, 2009b. 112p.
__________. Este largo camino – memorias (Victor Pintos compilador). Buenos Aires: Cántaro, 2008. 304p.
__________. Cartas a Nenette (Victor Pintos compilador). Buenos Aires: Sudamericana, 2001. 335p.
__________. El payador perseguido. Buenos Aires: Siglo Veinte, 1984. 107p.
__________. El canto del viento. Buenos Aires: Ediciones Honegger, 1965. 231p.
__________. Tierra que anda. Buenos Aires: Editorial Anteo, 1948. 208p.
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Policy Proposal for Free Access Journals
Authors who publish in this journal agree to the following terms:
a. Authors retain the copyright and grant the journal the right of first publication, with the work simultaneously licensed under the Creative Commons Attribution License which allows the sharing of the work with acknowledgment of the authorship of the work and initial publication in this journal.
b. Authors are authorized to take additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (eg publish in institutional repository or as a book chapter), with acknowledgment of authorship and initial publication in this journal.
c. Authors are allowed and encouraged to publish and distribute their work online (eg in institutional repositories or on their personal page) at any point before or during the editorial process, as this can generate productive changes, as well as increase the impact and The citation of published work (See The Effect of Free Access).
