La canción de autor latinoamericana a través de la voz de las cantantes españolasCrossover y traducción intercultural (1968-1983)

Resumo

The 1960s began to see the emergence of a group of women who added their voices to the social and political song scene in Spain. These manifestations are just another expression of a Spanish woman who gradually took on a more active role in the country's society and culture, in this case in the area of music and within the scene that advocated political change or a greater space for freedom. It is therefore not surprising that these women, in favour of an alternative musicalliterary proposal and social content, assume in their voice the new Latin American repertoire, seeking an option where freedom, justice or revolution had a prominent place. Some of the proposals of this shared repertoire include Maite Idirin singing Atahualpa Yupanki translated into euskera (1968); Elisa Serna singing the cubans Milanés (1972) and Nicola (1975); Ana María Drack singing Silvio Rodríguez (1978); Rosa León singing María Elena Walsh (1975) or Ana Belén and Víctor Manuel (1983) singing Gilberto Gil, Quilapayún, among others. In the following lines, a review of the versions performed by these singers will be carried out in order to identify the translations that occur when this repertoire changes scene, subject and gender of the singers, which invariably leads to a resignification of the content. The aim is also to contribute to the visibility of women as part of the social and political change that was taking place in Spain during the period of development and the Transition.