2023-12-11 21:20:17
On the occasion of the 40th anniversary of the return of democracy, The voice recently inaugurated a multimedia exhibition co-produced with En Vivo Producciones. The exhibit is called “Promise Zone.” 40 years in democracy, from Córdoba” and goes through not only political and citizen events, but also invites us to review different aspects of Argentine culture of the last four decades.
In this framework, and as a specific annex focused on the musical activity of the province, there arises Promise Zone: 40 years of Cordoba festivals in democracya podcast that aims to review one of the most particular phenomena of Córdoba popular culture: its festivals.
The podcast
The first episode of Zone of promises: 40 years of Córdoba festivals in democracy It is now available on Spotify and on our YouTube channel.
The initial installment focuses on the rock encounters that stood out over the last four decades. From the first great pioneer, La Falda (originally the Argentine Festival of Contemporary Music, later known as La Falda Rock), to the internationalist Cosquín Rock of our days, we review, together with analysts and protagonists, the recent history of events that have been key in the configuration of a festival axis that today highlights Córdoba at the national level.
In this first installment, the journalist Néstor Pousa (author of the book The Skirt in rock time), and producers Mario Luna (La Falda and Chateau Rock), José Palazzo (Cosquín Rock) and Melina Franco (GRL PWR) add their voices to a story that, evidently, continues to be built in the present tense.
Journalistic production: John Manuel Pairone. Direction and editing: Camila López Fernandez. Voice: Brenda Petrone Veliz.
In the coming weeks, two more chapters will be released: one focused on the most important festivals of Argentine folklore; and another that will emphasize the quartet and the projection that the genre has to consolidate new proposals through this format.
A symbol of life in democracy
“What does it mean to live in a democracy? What does it represent as a value system within the framework of our culture? How has the public life of Argentines changed since your return in 1983? These and other questions arise when reflecting on an anniversary that not only has to do with a form of government or a political system,” asks the introduction to this special content.
As can be heard throughout the three chapters of Promise Zone: 40 years of Cordoba festivals in democracy, one of the aspects that stand out when thinking about characteristics of the social life of Argentines is their inclination for meetings and encounters. And festivals are a concrete example of that quality.
If we take into account that Córdoba is also a “land of festivals” – as promoted by the Córdoba Tourism Agency itself – and that many of these popular events function as meeting points for people and families from all over Argentina (and countries bordering), the circle closes.
Festivals are much more than a strictly artistic or cultural consumption phenomenon: they are a social fact that affects us beyond tastes and genres.
Updated tradition
Indeed, in the last 40 years the festival profile of Córdoba has only expanded. From folklore, starting in the ’60s, Cosquín and Jesús María consolidated themselves as the most important events of their kind, even with continental fame. They were not the only ones: over the years, folk festivals multiplied in different parts of the province. Since the return of democracy, with the advance that live television meant for the entire country, the reach became increasingly massive.
Although it was not the genre that established the festival custom, rock was central when it came to perpetuating it. With antecedents prior to 1983, the La Falda festival was a pioneer of its kind and went through the transition between the years of dictatorship and the return of democracy. From there, names such as Chateau Rock or the Nuevo Rock Argentino festival emerged. And already at the beginning of a new century, what would become the greatest rock landmark in the province: Cosquín Rock.
For its part, although the quartet lacks a tradition like that found in rock or folklore, in recent years the genre has taken an important turn in this sense. Although historical moments are still remembered such as the presentation of La Mona Jiménez in Cosquín 1988 (with the mountain city “taken” by the arrival of fans of the quartet), this new century has given rise to the emergence of its own festivals for a genre often relegated. .
The two versions of Cosquín Cuarteto and the recent National Festival of the genre held in Villa María confirm this trend. The Bum Bum, a festival tailored to the “Mandamás” and thought of as a melting pot of styles and artists, also reinforces that same feeling. The quartet has not only begun to take over venues that were previously very foreign to it (the Jesús María festival, the Peñas festival), but it has also consolidated a recent tradition of meeting and confluence of fans and curious people.
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