Keywords
abuso
álbum conceptual
vallenato
memoria
How to Cite
Abstract
As a tribute to Máximo Jiménez, who died recently, a musician, composer, member of ANUC (National Association of Peasant Users) and a committed social leader, I revise my musical practice when I used to accompany him as a caja player (a typical drum) in order to recognize in his songs and records a discourse —in the form of vallenato song— of resistance and social complaint for abuses undergone by the peasants, which is an expression opposite to the traditional discourse expressed in this musical genre. I start by outlining the context of social and economic conditions of the Caribbean Coast since the middle of the 20th century in order to evince the scenario of precapitalism (both feudalist and enslaving) in the plantations and estates. Next, I highlight the work of the ANUC that makes visible this situation, denounces the abuses by the estate owners and the complicity —or absence— of the government and, finally, fosters the reconstruction of the collective memory through a research-participatory action (RPA) with Orlando Fals Borda. This effort provides a feedback to the artistic practice of the ANUC peasants. From their assorted musical productions, I chose the record El indio del Sinú by Máximo Jiménez to unveil his conceptual intent, explore his songs and study them under the criteria and categories of the Critical Discourse Analysis, study the record cover to uncover its symbolic content, and then highlight the importance of this musical production for the vision of the ANUC that seeks to systemically return the knowledge to the community. I conclude with an acknowledgement to Victor Negrete in an interview and present herein some statistics about repairs. I present the recognition by the State that the elites in the Caribbean Coast did such abuses and that the ANUC members were persecuted, including Máximo Jiménez himself and his family, after denouncing such abuses in their vallenato songs.
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