“En busca de una identidad nacional”. Descripción de las relaciones del bambuco como identidad nacional en la obra de Manuel María Párraga Paredes: “El bambuco,Aires nacionales neo-granadinos variados op. 14”

Abstract

The musical piece by Manuel Maria Párraga “El Bambuco Op. 14”, surges in the middle of a complex and diverse socio-political and cultural context. It develops in nineteenth century Bogotá, a small half-caste and multiculturally diverse metropolis. Manuel M. Párraga, pianist and composer, found the necessary reasons to create a piece of such magnitude and elegance. Manuel Maria Párraga Paredes, member of an economically well-placed family, wanted to contribute to the “national identity” with a well-marked nationalist intention. It was a challenge for this period to try to mix peasant and popular origin music called “la tonada nacional: bambuco”, with elements from European salon music. Manuel M. Párraga’s intention was to “civilize” or “ennoble” said peasant music, allowing it to be accepted and enjoyed by creole elites. Through the investigation of diverse sources it is possible to comprehend the national thought during the nineteenth century and the imaginary of said though during the twentieth century. When the socio-political and cultural context surrounding the composer and his work is analyzed, complex relationships of what is now known as “bambuco” are visibly observed and understood, with our own identity as a nation. This allows to know the way in which this music was intended to be imposed as a national symbol, allowing the dominant classes to govern a new country. Key words: Bambuco, nationalism, national identity, popular music, longue music.