Title: [Interview to Guillermina Motta]
Duration: 2 min., 55 seg.
Sound collection: Radio Paris. Ramírez/del Campo
Summaries: Incluye parte de la entrevista a Guillermina Motta, cantautora catalana ligada al movimiento "nova canço"
In the catalogue of “Radio París”, there is near of 23 recordings related with the phenomenon of the Nova Cançó. Thing at all odd, since good part of his development took place in France, and important cultural centre and usual destination of exile and emigration. But, ¿which were his origins? The francoist repression was not only political. The nacionalcatolicismo affected to all the orders, and the tongues and regional and local cultures were practically proscritas. Like this, the Nova Cançó (also known like “song protests”, or “song of author”, controversial terms and reductionists) was born in the context of socioeconomic transformations and of change generacional that came operand in Spain from ends of the 50. It was a heterogeneous phenomenon, that claimed the cultural roots of the distinct villages, served of social complaint and no only political, and could be form of expression of individual worries and intimistas, front to the banalidad of the music “official” of the dictatorship (being the “Spanish Song” the main).
Between the origins, fits to quote to Raimon with Al vent, that marked clearly a before and an afterwards. On the other hand, the 9 of December of 1961, celebrated in Barcelona a extraordinary session devoted to the Poetry of the Nova Cançó”, constituting a first fundamental step of a movement that would have big development from Catalonia until practically all the Spanish geography, and almost always tied to the university environment. Els Setze Jutges (The Sixteen Judges) was one of the pioneering groups, whose name -taken of a trabalenguas popular catalaan- already denoted critical nature with the reality of his time. With voices like Francesc Pi of the Serna, Guillermina Motta, Joan Manuel Serrat and Lluis Llach (between others). And with letters in Catalan tongue. And although it dissolved in 1969, his experience was of big transcendence, as it shows the apparition -along the time and in different places- of other communities with similar characteristic. Ez Dok Amairu (There Is not Thirteen) in the Basque Country, Voices Ceibes (Free Voices) in Galicia, the Song of the Village of Castilla, The Sabandeños, or the Self-evident south Song, by only put some examples. And beside them, a big number of independent personalities, but of big influence, as Paco Ibáñez, Francisco Curto, Amancio Prada, Xabier Ribalta or José Antonio Labordeta. Obviously, and although in Spain took own characteristics, did not treat of an isolated phenomenon, existing clear precedents of this type of music in U.S., France and Latin America during the years 40 and 50, with big development along the years sixty and seventy. Besides, the sources of inspiration in Spain were varied and numerous, so much endogenous like exógenas and so much historical, and contemporary.
There was also those who treated to recover the style auténticamente Andalusian and the Flemish, as Carlos Cano and Enrique Morente. In this context, there was also theatrical initiatives like the group “La Carraca”, founded in Paris in 1966 by Paco Ibáñez beside other activists like Joan Manuel Serrat, with the aim to recover classical works of the Spanish literature for the exile and the Spanish emigration in France. ¿Which was the reaction of the Franco regime? Obviously, and in spite of the supposed process of “opening” carried out during the years sixty, treated to limit his diffusion. ¿How? Censoring the contents of the first disks, determining if these disks were “radiables”, and forbidding -to the same time- the majority of recitales. In any case, said musical phenomenon will finish turning into one of the main symbols of the antifranquismo and of the Transition.
University of Alicante. University library. Fonoteca