Interesante artículo de Birgit Mertz-Baumgartner sobre inmigración y ‘clandestinidad’ en la música popular española contemporánea

La Campanillas Blues Band, reseñada en un artículo académico de 2018 de Birgit Mertz-Baumgartner, de la Universidad de Innsbruck.

Negociaciones (trans)culturales en el Mediterráneo. Inmigración y ‘clandestinidad’ en la música popular española contemporánea

Birgit Mertz-Baumgartner

2018 I innsbruck university press, Innsbruck
ATeM I ISSN 1562-6490 I www.atem-journal.com

Nr. 3,1, 2018 I DOI 10.15203/ATeM_2018.03

Universität Innsbruck
Institut für Romanistik
Innrain 52
A-6020 Innsbruck

Abstract

For many decades, Spain has been a country of emigration. Its transformation to a country of immigration (e.g. from Latin America and Africa) is a quite recent phenomenon, which only started in the 1970s due to the economic upturn of the country. From 1991 onwards (signing of the Schengen Agreement) the ‘illegal’ immigration across the Strait of Gibraltar has increasingly been perceived as a problem.

Spanish popular music is a fine seismograph of social changes, such as the increase of immigration. The first musical productions reflecting on (‘illegal’) immigration date from the early 1990s, such as Barricada’s “Oveja negra”, El Chojín’s “Ponte en mi piel” and “Sí, Buana”, or Nach’s “Tierra prometida”. Based on a corpus of 50 songs of different musical styles (rock, rap, world music), this article aims at investigating the key thematic lines in songs about ‘illegal’ immigration: the subalternity of the migratory subject; the fraught relations between the migrant subject (‘I’) and the Spanish ‘you’, relations characterized by prejudice, racism, and exclusion; finally, the perspective of a ‘we’ in a transcultural Spanish society.

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