Desideologizaciones y apropiaciones de poesías de Miguel Hernández en la canción flamenca

Resumo

In the twenty-first century, especially since the celebration of the anniversary of the death of Miguel Hernández (1910-1942), several flamenco versions of his poems have been created. Despite Hernández’s explicit ideology, the flamenco artists who sang his poems have expressed a neutral political position and attempted to remove the ideological connotations of the poems in their declarations to the media. This article approaches the evolution of the reception of Miguel Hernández’s poems according to the historical circumstances from the Spanish civil war to the twenty-first century. Further, it locates his poetry and that of his contemporaries in the cultural field, depicting their changing positions within it: from marginal poets vindicated by a left-wing public with a high intellectual capital and lower economic capital during Francoism, to their canonization during democracy. At that point, they began to be consumed by an ideologically varied public, which flamenco artists attempt to reach. The article engages with the parallel progression of flamenco as an original marginal art to its canonization in the twenty-first century.