Dormir para despertar: La canción de cuna como espacio de resistencia y creación de conciencia colectiva en la América negra
Palabras clave:
Estudios culturales, Subalternidad, Racismo, Afrodescendientes, Música, Literatura, Estudios poscoloniales, Resistencia culturalResumen
La canción de cuna ha constituido un espacio de resistencia y creación de conciencia colectiva en la América negra, desde la esclavitud hasta la afrodescendencia contemporánea. Como parte de la tradición oral, por lo general anónima y popular, permiten una forma concreta de resistencia cultural de un pueblo dominado alrededor de un espacio de identidad y memoria, desde donde puede canalizarse la lucha contra la opresión y la formación de un “nosotros”. Las nanas infantiles se unen, así, a la imaginación/ficción desplegada en cancioneros y relatos populares, como una vía alternativa para la comprensión del mundo y para la manifestación de sentires comunes a través del legado de un origen y la herencia de una problemática. Las nanas han persistido en el imaginario de la comunidad afrodescendiente como un medio para canalizar lazos, aspiraciones de liberación y vínculos de protección desde una perspectiva doblemente vulnerable: por un lado, el cuidador subalterno que busca ofrecer seguridad al niño y, por el otro, el infante que escucha y absorbe mientras despierta al mundo desde una posición adversa. La esperanza, en tanto resistencia, es la función última de la canción de cuna, especialmente si se trata de una comunidad subalterna.
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