Publication: El carnaval de Cádiz como factoría de literatura popular: un acercamiento al proceso de creación y transmisión de sus coplas
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2017-03-29
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Universidad Complutense de Madrid
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Abstract
El presente estudio es una aproximación al proceso comunicativo del «carnaval de las coplas», una manifestación de arte popular de larga tradición que emana de la cultura local y se inserta en la fiesta del Carnaval de Cádiz, pero que excede los límites que marca la celebración. La afición creciente por dicha manifestación, que se constata en toda Andalucía y en buena parte del resto del territorio español, y la influencia que históricamente ha ejercido en otros lugares nos dan medida de su importancia y del interés de su estudio. El carnaval de las coplas es un proceso comunicativo multicódico: el código verbal es el más relevante en él, pero aparece relacionado de manera sincrética con la música, la plástica, la gestualidad, otros códigos, en fin, inherentes a la interpretación y a la puesta en escena en la transmisión de las coplas. Para profundizar en el conocimiento del proceso, y teniendo en cuenta el carácter multidisciplinar del objeto de estudio, hemos diseñado una metodología específica cualitativa, descriptiva y analítica que nos permitiera, partiendo de las características que se observan en las coplas, trazar un panorama general del discurso carnavalesco gaditano para extraer los rasgos fundamentales que lo definen como género comunicativo social, artístico y cultural. Tras el análisis de los niveles sociocultural, discursivo e interaccional que presenta el objeto de estudio en los distintos ámbitos del proceso comunicativo, podemos concluir que el carnaval de las coplas toma de la fiesta en la que se integra su carácter expresivo de la identidad local y del espíritu carnavalesco, pero su transmisión no queda limitada por las coordenadas festivas. El carnaval de las coplas se rige por una serie de normas que afectan a las agrupaciones, a las propias coplas y a los procedimientos discursivos que se manifiestan en el proceso comunicativo, de manera que constituye un género artístico autónomo reconocible por emisores y receptores. El género escénico literario y musical del carnaval de las coplas se materializa a través de dos variantes, oficial y callejera, que tienen una raíz histórica y un carácter teatral y carnavalesco común, pero difieren en numerosos aspectos discursivos e interaccionales, de manera que se rigen por distintos acuerdos comunicativos. Ambas variantes suponen la plasmación del oficio artístico de una comunidad que utiliza la experimentación verbal como manifestación festiva.
This study is an approach to the communicative process of the «carnival of the verses», an expression of a long tradition in popular culture. It originated within the local culture of Cadiz (Andalusia) and was inserted within the festivities of the carnival of Cadiz. However, it exceeds the boundaries set by these celebrations. The interest and relevance of such a study can be gauged by the growing fondness for such artistic expressions celebrated not only in Andalusia, but also in the rest of Spain and in several other countries. The carnival of the verses is a multi-coded communicative process. The oral code is the most important one, but other codes inherent to performance such as music, plastic arts, body language and so on and so forth can be identified during the performance of these coplas or verses. Taking into account the cross-disciplinary nature of this study, I have designed a specific methodology in order to achieve the mentioned goals. This methodology involves a qualitative, descriptive and analytical study of the features of these verses that enables a richer perspective of the discourse of the carnival of Cadiz carnivalesque. My purpose is to deduce the basic characteristics that identify this genre as communicative, social, cultural, and artistic. After analyzing the socio-cultural, discursive, and interactional levels that present the object of study within the three realms of the communicative process, I conclude that the carnival of verses takes its carnivalesque expressive nature both from local identity and the carnival festivities, although its transmission is not limited by the festivities parameters. The carnival of verses follows a set of rules that affect teams, verses, and discourse procedures within the communicative process. Thus, the carnival of verses constitutes an independent artistic genre known both by transmitters and receivers. As mentioned earlier, the scenic genre of the carnival of Cadiz with its literary and musical aspects is performed in two distinct contexts: the official and the unofficial / street. Both of them have the same historical roots and theatrical features. But they have different discourses and interactive aspects, and are thus ruled by different communicative agreements. Both variations entail the representation of a community’s artistic craft employing oral experimentation as festive expression.
This study is an approach to the communicative process of the «carnival of the verses», an expression of a long tradition in popular culture. It originated within the local culture of Cadiz (Andalusia) and was inserted within the festivities of the carnival of Cadiz. However, it exceeds the boundaries set by these celebrations. The interest and relevance of such a study can be gauged by the growing fondness for such artistic expressions celebrated not only in Andalusia, but also in the rest of Spain and in several other countries. The carnival of the verses is a multi-coded communicative process. The oral code is the most important one, but other codes inherent to performance such as music, plastic arts, body language and so on and so forth can be identified during the performance of these coplas or verses. Taking into account the cross-disciplinary nature of this study, I have designed a specific methodology in order to achieve the mentioned goals. This methodology involves a qualitative, descriptive and analytical study of the features of these verses that enables a richer perspective of the discourse of the carnival of Cadiz carnivalesque. My purpose is to deduce the basic characteristics that identify this genre as communicative, social, cultural, and artistic. After analyzing the socio-cultural, discursive, and interactional levels that present the object of study within the three realms of the communicative process, I conclude that the carnival of verses takes its carnivalesque expressive nature both from local identity and the carnival festivities, although its transmission is not limited by the festivities parameters. The carnival of verses follows a set of rules that affect teams, verses, and discourse procedures within the communicative process. Thus, the carnival of verses constitutes an independent artistic genre known both by transmitters and receivers. As mentioned earlier, the scenic genre of the carnival of Cadiz with its literary and musical aspects is performed in two distinct contexts: the official and the unofficial / street. Both of them have the same historical roots and theatrical features. But they have different discourses and interactive aspects, and are thus ruled by different communicative agreements. Both variations entail the representation of a community’s artistic craft employing oral experimentation as festive expression.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, leída el 26/01/2016