caminante no hay camino joan manuel serrat lyrics

Young rappers as Ms Nina, Kaydy Cain or C. In the last years, however, the contradictive relation of Spanish culture with reggaeton has suffered a critical change thanks to the appearance of young Spanish artist who have considered a different approach in their relation with latino music. This way, although reggaeton was the most common sound in most radios and night clubs during the decade of the 2000s, it was pretty uncommon to see a Spanish artist singing reggaeton or defining his music as close to reggaeton even if there was a clear influence. This integration of reggaeton into Spanish music became twofold, showing the conflictual relation that the contemporary Spanish national identity has regarding its history of colonization in America: while on the one side reggaeton seemed to appeal to the Hispanic or latino essence of the country making Spanish people embrace reggaeton as something owned and distinctive of Spain´s national character reggaeton on the other side was considered to be as a degrading and cheap style of music related with low forms of culture due to its latino origins.

Famous Puerto Ricans reggaeton stars as Daddy Yankee or Don Omar became familiar for the general audience and the rhythms of this particular genre of Caribbean music was incorporated into the Spanish sound. From its origins in the late nineties in Puerto Rico, reggaeton quickly expanded overseas and became widely popular on the peninsular context. This reception has suffered a dramatic turn in the last decade. In my paper I will explore the reception of reggaeton and Caribbean music in Spain during the XXIst century. This paper does not aim to analyse the songs in detail, but to understand Serrat’s trajectory as a text in itself, a piece of Cultural History that helps us to understand the Cultural development of Spain in the 70s, and Serrat’s career as an example of positioning as a public intellectual in the Gramscian sense. I will argue that the status of Serrat as a symbol stems from these particular months, in which he faced Francoist censorship and assumed a resistant imagery as his.

The aim of this paper is to explore the ways in which the work and figure of Joan Manuel Serrat acquired political connotations by focusing on a specific period in his career: the 14 months that span between his rejection to sing “La, la la” entirely in Spanish in the Eurovision Song Contest (March 1968) to the release of the seminal Dedicado a Antonio Machado, poeta LP in May 1969. Joan Manuel Serrat is widely acknowledged by critics and music historians as one of the central figures of Spanish modern popular music, and is a central element of the canon of Spanish pop, as confirmed by Del Val et al (2014).

Caminante no hay camino joan manuel serrat lyrics