Estudio holístico, diacrónico, inmersivo y comparado del arte de los versadores canariosRama atlántica del repentismo panhispánico

Abstract

This Thesis studies the art of the Canarian «versadores», a manifestation of improvised oral poetry, typically sung and set to music, belonging to the vast and rich tradition of pan-Hispanic «repentismo». It begins with a holistic and diachronic study of the constituent elements of the «versadores»' art, namely: poetic improvisation, «décima espinela» (ten-verses stanza) and «punto» (musical-poetic genre with transatlantic entity, recently distinguished Intangible Cultural Heritage of Humanity by UNESCO). This is followed by the contextualization and foundation of the methodological design (of interdisciplinary character) and the sketch of the socio-historical context linked to the object of study, entering then to its research as a whole, made from various perspectives. On the one hand, a representative Genealogy of the Canarian «versadores» is developed, conformed by fourteen militants whose temporal arc of birth spans from 1880 to 1991, and whose geographical cradles are distributed in four different islands (La Palma, La Gomera, Tenerife and Gran Canaria). The selection of the members is based on criteria of relevance and representativeness. The resulting historical ensemble generates a penetrating perspective on the manifestation, its evolution, its phenomenology and characteristics. Structural aspects of the «versadores»' art are addressed below, such as: terminological foundation, historical sequencing (stages, own and precedents); valuative evolution with respect to the manifestation; recurrence and lines of causality of the «versadoras» sagas; historical and current geography of the art of the Canarian «versadores» (encompassing its germinal, sensitive, popular and festival geographie, and its toponymic cartography); processes of feminine invisibilization within the art of the «versadores» and the within the Canarian tradition of cultivating the ten-verses stanza («décima»); compositional morphologies of the «versador» art; generalities and stable characteristics of the «versadora» interaction; and evolution of the Canarian «punto» destined to the accompaniment and song of improvised ten-verses stanzas («espinelas»). Subsequently, the multidimensionality of the «versador» art is investigated, after surfacing by means of a representative categorical system its nuclear dimensions, namely: communicational dimension, psychological dimension, socioanthropological dimension, perceptive/projective dimension, philosophical dimension and literary dimension. The results underline the multidimensionality of the phenomenon and reveal a strong interdependence between the identified dimensions (fluid multidimensionality). In separate sections we delve into its foundations, dynamics and implications, which allows an immersion in the density, complexity and breadth of the object of study. Finally, a comparative study of the Canarian «versadores»' art and Cuban «repentismo» is undertaken, two manifestations that, due to their structural affinities and their intense historical, cultural and migratory links, have been recurrently put in relation, and even equated. The results reveal that, after a phase of enormous similarity, both underwent a clearly differentiated evolution, attributable to a multicausal phenomenology (which is identified and detailed).