La cueca urbana (no esa… la otra): entre identidad política y tradición republicana

“No desprecies las tradiciones que nos llegan de antaño; ocurre a menudo que las viejas guardan en la memoria cosas que los sabios de otro tiempo necesitaban saber.”

J.R.R. TOLKIEN

Por Marcel Albano

¡Aro , aro, aro!

  • “Brindaré por la chilena
  •  y los taitas de antaño,
  • manteniendo tradiciones,
  • modo cueca todo el año».

Todo lo que se me ocurre para iniciar esta columna, no puedo publicarlo. Sin embargo, en un viaje antropológico y musical, nos sumergimos en una profunda conversación junto al invitado de la semana. Antes de la pandemia acompañé a Oscar a uno de estos lugares underground cuequero del barrio Yungay de la capital donde una vieja casona alberga unas locatarias que hacen juego con el conjunto del diseño: lo más cercano a una chingana donde los rockstars son un anciano no vidente al piano, un gordito que le pega a la batería como los dioses, guitarristas (electrónicos y acústicos) al nivel de Los Tres y un pedazo de contrabajista que entra en trance con el juego de quintas. Todo ello sin las vestimentas típicas del rodeo o los clones chicos de los colegios. Es otra cueca, definitivamente. De ahí nace esta nota como deuda. Cualquier polémica, se responde en modo paya y sentido comunitario porque la Rueda, el orígen místico de la cueca, está ahí viva hoy en pleno siglo XXI, ahogada por el espacio reggaetonero y el olvido de los ciudadanos de la Vieja República.

Voy a meterme en las patas de los caballos abriendo fuegos desde el inicio. Existen dos tipos de cueca: la ñoña y la urbana. La primera está ligada con una expresión de Estado y está llena de lugares comunes como el soundtrack de septiembre, trajes que evocan el patronazgo de las antiguas haciendas o los rituales obligados en los colegios a cambio de tres “7” por participación. Por el contrario, la cueca urbana resurge desde un discurso más contestatario y popular. La institución sociológica aquí es informal.

Y es que meterse en este mundillo, tiene muchas entradas que van desde la métrica de sus líricas, la forma del canto, el baile hasta el ambiente comunitario donde el principiante puede encontrar la magia y el misticismo, oculto bajo las notas de tal vez uno de los productos nacionales con mayor densidad en su identidad cultural pero, contradictoriamente, menos popular.

De la mano de Oscar Figueroa Castro, tecnólogo médico y cultor de la cueca, comparto su experiencia y conocimiento sobre el tema que despierta esa curiosidad intelectual histórica que nos lleva a indagar sobre el alma y el espíritu de la historia de Chile. Nativo de Machalí, el rincón de los brujos, emigró a Santiago de niño cuando se matriculó en el glorioso Internado Nacional Barros Arana (INBA), egresando en la década de los ‘80. Allí bebió de la copa ilustrada y republicana de la vieja orden inbana, heredera de la antipoesía y Nicanor Parra, otro hijo ilustre de sus aulas, hermano del tío Roberto, referente obligado de la cueca urbana, y de Violeta que habla por sí misma. Y para hacer honor a la tradición cuequera, nos vamos con tres patas de lectura.

I

Una discusión sobre sus orígenes sana y necesaria

-¿Por qué crees que la cueca que hemos conocido desde el colegio no representa el espíritu repúblicano del pueblo chileno?

Es una cueca institucionalizada desde el Estado y del gobierno de la dictadura militar. Es una caricatura que no cala en el pueblo porque siempre se la persiguió.

«Al calor del 6 por 8

Moro, Andaluz y Mapuche.

Encendieron las arengas,

pa’ que’l  pueblo luche..»

“Según las enseñanzas de Fernando Marabolí, la cueca es chilena y no proviene de la zamacueca como nos han hecho creer en la historia oficial. Soy seguidor de esta perspectiva que postula un enfoque distinto”, afirma. Los mitos que se han desarrollado desde la élite como los “disfraces” del patrón de fundo y sus aperos, “el gallo que persigue la gallina” y la lírica empalagosa del campo de los futres, es contraria a su origen e identidad. “Esta es una de muchas versiones de posibles orígenes pero ninguna cuenta con respaldos históricos oficiales verdaderos”, asegura. Es por ello que la discusión dentro del marco de la identidad cultural del país, es importante puesto que abre la sospecha y duda razonable, a su vez, por aceptar quienes somos. 

Musicalmente, el pulso “pum – pum, pum – pum” evoca al kultrún mapuche mientras que la métrica es de ascendencia andaluza junto a los diversos acompañamientos como el pandero morisco. Estas tres raíces, en los albores de la república, se fundieron como música popular siendo las ferias, mercados y chinganas los espacios sociales donde se formaron las vocalizaciones musicales típicas no sólo del canto, sino del contenido de su lírica. “Cuando vas a comprar a una feria y escuchas ‘¡llévele el tomáaaate, la lechuuuga y paaaapas caseeeera’, estás en presencia de un melisma, es decir, un juego de vocalizaciones de alturas que se incorpora a la cueca: por eso la cueca es urbana y la de salón, por supuesto, una adaptación”, explica.

En el decreto 23 del 18 de septiembre de 1979, Jovino Novoa – sí, ese mismo- siendo ministro Secretario General de Gobierno de Pinochet, promulgó la cueca como expresión popular, llevando a las escuelas la institucionalización del setlist que se repite como mantra en las fiesta patrias, avivado por los supermercados y el retail que lo usan para “recordar” el inicio de compras en pos de las tomateras y asados, en todo caso amenizados al son de cumbias y reggaeton. La cueca de hoy, actúa como la campanilla de Pavlov creando ansiedad más por el consumo que la tradición.

Pero esta no fue la primera vez que el canto popular sufrió de la censura del Estado. Se comenta que en pleno proceso de emancipación y formación de la nueva república, fue el propio Director Supremo, Bernardo O’Higgins, quien la prohibió por decreto para regular las chinganas donde se desarrollaban las ruedas al calor de la chicha, el vino, los juegos y el baile. La impopularidad del chillanejo, tildado como títere de la oscura secta conocida como Logia Lautarina, y que había cobrado las vidas de compatriotas ilustres como Manuel Rodríguez y los hermanos Carrera, hacía que las coplas subieran de tono picaresco y político.

II

Las diferencias con lo que conocemos como “cueca”

¿Y qué opinas de la cueca que se terminó institucionalizando, el setlist obligado en los colegios y las fondas… como por ejemplo, la cueca de “Los huasos Quincheros”?

¡Los innombrables! Que junto con el colegio le hicieron daño al gusto por la cueca. ¿Quién obligado, disfruta aprender?

La cueca urbana se pone de pie dentro del marco de “La Rueda”, una especie de espacio social donde el espectáculo versa sobre las habilidades poéticas de los cantores. Guarda relación con los brindis e interludios entre una cueca y otra. Así, las diferencias parten desde la puesta en escena donde el observador notará de inmediato la ausencia de aperos campesinos. No existe una “tenida” oficial aunque los músicos suelen arreglarse con ropa que evoca a la época del salitre.

En el inicio del baile, el hombre invita a la mujer a dar un paseo ofreciendo su brazo. En cambio en la cueca urbana, hay una teatralización donde la mujer acepta la propuesta del baile y acompaña al varón: el contacto físico es más estrecho. En el paso base, los movimientos de izquierda a derecha de la cueca tradicional, se cambian por movimientos más cadenciosos y cercanos. Los giros mantienen la cadencia, rompiendo el protocolo del “8”, y la actitud del flirteo incluso lleva a juegos sensuales sin propasarse. La coquetería se expresa de manera evidente, cuestión que en la coreografía de la cueca tradicional, tampoco se vislumbra.

En los instrumentos musicales, la incorporación de la batería y guitarras eléctricas marca un punto de inflexión. Cucharas, doble platillo y el pandero dan una percusión característica. En las variantes de la cueca urbana o chora, hay matices: de la cueca porteña hay presencia de un tiempo acompasado que rememora raíces del bolero y el tango.

III

El futuro de la cueca en la Nueva República

¿Qué cambiarías en los colegios sobre la cueca y las fiestas patrias?

Mmm.. principalmente el carácter lectivo. La cueca es una expresión que va más allá de coreografías esquemáticas. Tiene muchas dimensiones para explorar y participar sin recurrir a la obligatoriedad, pero ese es un problema en general de la educación en Chile. El usar la cueca como uniforme, creo que es el daño principal.

Educar a la ciudadanía en la historia de la cueca urbana, es complejo sobre todo cuando la cultura de masas ocupa un espacio dominante. La pauta dominante cae en estereotipos que dañan su riqueza cultural, olvidando con la misma facilidad que pasamos de una fiesta a otra: el repertorio de festividades enmarca a la cueca en general desde finales de agosto cuando, con los primeros acordes de piano, el retail nos recuerda que se inicia el período en que la cueca oficia como estrategia de marketing e hiperconsumo. Las escuelaa caen en el mismo flagelo. Hordas de profesores y apoderados, disfrazando a la infancia con vestimentas patronales típicas del rodeo y el latifundio. Una contradicción de origen a la que se debe poner atención.

Y eso ocurre porque, en general, el trabajo de la cueca puede tener objetivos transversales en los currículum: es historia, antropología y, como indica Gabriel Salazar, la cueca es heredera de las chinganas donde la presencia femenina es muy importante en la construcción de la identidad chilena: básicamente las crearon mujeres solas o abandonadas que ofrecían alimentación y alojamiento a los rotos en las laderas de los caminos, como una estrategia de supervivencia. Es en estos lugares donde la música acompañaba el lamento de mujeres con un sin número de niños huachos, el origen de la gran masa de la población.

Esta historia oculta de la cueca urbana, enmarca un espíritu dormido de la identidad nacional que ha sobrevivido en la época contemporánea gracias al entusiasmo y empatía que parte de las nuevas generaciones han encontrado en La Rueda y la cueca, un espacio underground donde pueden expresar sus sentimientos y emociones más profundos que los conectan con la magia y el misticismo republicano…

No esa sino más bien, la otra.

«Las prefieren tañaitas

 al sonar de los panderos,

sacando tonos menores,

son felices los cuequeros»

Link de interés

Cuecas del Tío Roberto: Las Cuecas de Roberto Parra (1967) – Roberto Parra. El folklore urbano vol II

Los Bohemios de Rancagua: https://youtu.be/go_mJf-MCbg

Refranes Chilenos, Agustin Cannobio G., 1901, Santiago de Chile. https://obtienearchivo.bcn.cl/obtienearchivo?id=documentos/10221.1/27633/1/150868.pdf

Chinganas: http://www.memoriachilena.gob.cl/602/w3-article-93129.html

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