{"title":"智利--摄影师的歌谣》:沃尔夫-比尔曼的东德批判团结颂歌中的新歌与 \"革命 \"南美","authors":"Julius Reder Carlson","doi":"10.1017/s1478572223000257","DOIUrl":null,"url":null,"abstract":"\n Using GDR dissident singer-songwriter Wolf Biermann's ‘Chile – Ballade vom Kameramann’ as a point of departure, this article explores the role that ‘revolutionary’ South America and its musical corollary, the Nueva Canción, played in expressions of inner-communist critique in 1970s East Germany. Biermann's critique was Janus-faced. Lyrically, the ‘Chilean’ allegory of his ballad, in which a cameraman is murdered by a soldier, expressed support for the Allende administration while simultaneously destabilizing Soviet Bloc rhetoric. Musically, references to Nueva Canción music such as that of singer-songwriter Daniel Viglietti represented the anti-imperialist Other while simultaneously rejecting GDR-style socialist realism. On the one hand, Biermann's inspiration in South America can be heard as a colonizing gesture; on the other, it can be understood to reflect a provincialized East German society looking to the Third World for alternative sociopolitical – and musical – models.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.5000,"publicationDate":"2024-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"‘Chile – Ballad of the Cameraman’: New Song and ‘Revolutionary’ South America in Wolf Biermann's Anthems of East German Critical Solidarity\",\"authors\":\"Julius Reder Carlson\",\"doi\":\"10.1017/s1478572223000257\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n Using GDR dissident singer-songwriter Wolf Biermann's ‘Chile – Ballade vom Kameramann’ as a point of departure, this article explores the role that ‘revolutionary’ South America and its musical corollary, the Nueva Canción, played in expressions of inner-communist critique in 1970s East Germany. Biermann's critique was Janus-faced. Lyrically, the ‘Chilean’ allegory of his ballad, in which a cameraman is murdered by a soldier, expressed support for the Allende administration while simultaneously destabilizing Soviet Bloc rhetoric. Musically, references to Nueva Canción music such as that of singer-songwriter Daniel Viglietti represented the anti-imperialist Other while simultaneously rejecting GDR-style socialist realism. On the one hand, Biermann's inspiration in South America can be heard as a colonizing gesture; on the other, it can be understood to reflect a provincialized East German society looking to the Third World for alternative sociopolitical – and musical – models.\",\"PeriodicalId\":43259,\"journal\":{\"name\":\"Twentieth-Century Music\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.5000,\"publicationDate\":\"2024-04-22\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Twentieth-Century Music\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1017/s1478572223000257\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Twentieth-Century Music","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/s1478572223000257","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
‘Chile – Ballad of the Cameraman’: New Song and ‘Revolutionary’ South America in Wolf Biermann's Anthems of East German Critical Solidarity
Using GDR dissident singer-songwriter Wolf Biermann's ‘Chile – Ballade vom Kameramann’ as a point of departure, this article explores the role that ‘revolutionary’ South America and its musical corollary, the Nueva Canción, played in expressions of inner-communist critique in 1970s East Germany. Biermann's critique was Janus-faced. Lyrically, the ‘Chilean’ allegory of his ballad, in which a cameraman is murdered by a soldier, expressed support for the Allende administration while simultaneously destabilizing Soviet Bloc rhetoric. Musically, references to Nueva Canción music such as that of singer-songwriter Daniel Viglietti represented the anti-imperialist Other while simultaneously rejecting GDR-style socialist realism. On the one hand, Biermann's inspiration in South America can be heard as a colonizing gesture; on the other, it can be understood to reflect a provincialized East German society looking to the Third World for alternative sociopolitical – and musical – models.