科研之友
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摘要
This article discusses the development of the concept of folk roots, introduced by Chilean singer-songwriters in the mid-seventies, as a strategy to legitimize their divergent practice from the norm of folklore in times of military rule. The institutionalization of this concept with the return of democracy in the early nineties and its continued tightening from a third generation of Chilean singersongwriters and bands derivatives from theater companies, allow us to discuss the problem of folk roots in times of globalization. We propose the concepts of posfolklore and hydroponic roots, attached to the trend of Chilean listeners and musicians to incorporate world music to their artistic practices and consumption. These concepts would facilitate the discussion of the mixing of influences in Chilean music and the consequent proliferation of intermediate rather than hegemonic identities in contemporary Chilean culture. Este art赤culo aborda el desarrollo del concepto de ra赤z folkl車rica, introducido por cantautores chilenos a mediados de los a os setenta, como estrategia para legitimar corrientes divergentes del folklore de la norma imperante en tiempos del r谷gimen militar. La institucionalizaci車n de este concepto con el retorno a la democracia y su continuo tensionamiento desde una tercera generaci車n de cantautores nacionales y desde los nuevos grupos musicales derivados de compa 赤as teatrales, permite reflexionar sobre el problema de las ra赤ces en tiempos de globalizaci車n. Se proponen los conceptos de posfolklore y de ra赤ces hidrop車nicas, adscritos a la permanente tendencia del m迆sico y del auditor chileno a incorporar m迆sicas del mundo a su pr芍ctica y consumo musical. Estos conceptos permiten discutir las mezclas en la m迆sica chilena y la consiguiente multiplicaci車n de identidades intermedias m芍s que hegem車nicas en la cultura chilena contempor芍nea.
