Nuevo cancionero argentino desde el exilioHoracio Guarany en la escena musical española (1974-1978)

Abstract

The Argentine song of the late sixties and seventies has a strong impact on the Spanish music scene, providing a particular perspective within the renewal process of popular music with social or political content. The exiled musicians, both from Argentina after the military coup of 76, and from the different Latin American countries, are received in Spain by a musical context in which their political-social concerns are not strange. Thus, those directly or indirectly related to the Nuevo cancionero argentino find fertile ground where they can propagate their ideas of poetic-musical renewal, loaded with demands and proposals for change. Despite finding this favorable panorama, there is no doubt that these artists must reconfigure their artistic identity to get closer to the Spanish public. For this reason, we can see different situations in the Argentine music scene in Spain in the face of this need for adaptation that is configured during developmentalism and transition. In this area, the figure of Horacio Guarany stands out and his way of establishing bridges with some of the currents that make up the Spanish music scene, although without abandoning the musical and ideological traits for which he was recognized in his country and much of Latin America. In this work we address, firstly, the configuration of that Argentine scene related to the Nuevo Cancionero and its relationship with the Spanish musical context. Subsequently, we focus on the figure of Guarany and his production in Spain, in order to appreciate some of the elements that make up his artistic profile. For this, we will pay attention to the aspects that it seeks to legitimize through its actions and, especially, the processes of authentication of the sound message, in order to converge with the musical and political-social ideals of the Spanish music scene of the moment.