“El jazz es libertad”

178
Entrevista con el maestro Antonio Arnedo

Entrevista con el maestro Antonio Arnedo

Sara Zapata
@sagaza91 

Antonio Arnedo es quizás el músico que transformó en los últimos tiempos la música colombiana al integrar los sonidos ancestrales y folclóricos con sonidos del jazz. Es nuestro invitado para conversar acerca de la evolución de las nuevas músicas colombianas dentro del circuito de jazz, que en septiembre experimenta un mes de festivales en Bogotá, Medellín, Cali, Barranquilla, Pasto y Mompox.

–Maestro, usted inicia este mes del jazz el 31 de agosto con Hugo Candelario en un concierto llamado “Soplo de Río” en el teatro Colón de Bogotá. Cuéntenos un poco más de este proyecto

–Un proyecto muy bello, se lanzó con un éxito inusitado, se llenó el Colón, un trabajo del Colectivo Colombia, muchas cosas que han tomado tiempo en consolidarse. Los invito a que lo conozcan y lo apoyen a través de la página web http://soploderio.com/.

Colectivo Colombia es una escuela que nace hace 15 años como una experiencia de creación, ¿cómo surge su integración y cómo se ha configurado a través del tiempo?

–Es un espacio para compartir experiencias de cómo producir y cómo crear desde las perspectivas de proyectos musicales en Colombia, es un lugar de reflexión y apertura, con un contacto directo con la tradición oral, de ir a los lugares, profundizar en los lenguajes y estar en contacto con la gente.

Nació buscando la resonancia de una complicidad, como punto de partida, una forma de compartir los espacios con los proyectos que existían en ese momento, me propuse convocar a los más importantes. Nuestro primer concierto fue en el teatro Colón con Guafa Trío, Claudia Gómez, Puerto Candelaria, Curupira, Palos y Cuerdas, proyectos muy consolidados, que tienen una permanencia y son parte de un movimiento muy sólido y representativo de las músicas colombianas. Si no tuviéramos proyectos tan importantes como el de Hugo Candelario, no tendríamos proyectos como Herencia de Timbiquí, La Contundencia, Choquibtown, y otros proyectos que han nacido en el Pacífico desde el desarrollo del Grupo Bahía.

–¿Cómo va a estar su agenda en este circuito de jazz y cómo ha sido su participación en la organización de estos festivales?

–Voy a ir por primera vez a Barranquijazz, y los diferentes integrantes del Colectivo Colombia participarán en festivales como Jazz al Parque, espacios que enriquecen el movimiento.

Tuve la posibilidad de asesorar el festival de jazz, que luego fue el festival de nuevas músicas de Eafit, el festival de Jazz de Bucaramanga, el de Ibagué; abrí el festival de Pasto, y fue un honor hacer parte del nacimiento del festival Ajazzgo en Cali. Tuve el interés por ayudar y contribuir a contactar músicos en la escena de Bogotá para los inicios de Jazz al Parque.

Estoy más dedicado al “hacer” que al “que hacer” de la música, mi labor dentro de la gestión ha sido intermitente pero muy comprometida, para abrir un espacio más amplio para esta música que significa libertad, un momento contestario, de reflexión y de convocatoria a los colectivos.

Desde allí hay un imaginario que necesitamos imponer por encima de esa idea de una música elitista o vanguardista, para un cierto público de gente para entender ciertas cosas; yo creo que sí tenemos la posibilidad de hacer contacto con la música, de ser silentes y escuchar e interactuar con ella, tenemos la posibilidad de vivir el jazz como una parte importante de nosotros tal como se dio en su origen.

–¿Cuál es la reacción de la gente en los festivales de jazz y los nuevos circuitos?

–Hacer la salvedad de que la escena en Colombia tanto en los públicos y en los artistas ha crecido muchísimo. Jazz al Parque 2015 y 2016, tuvieron una asistencia de más de 70.000 personas, y esto es una cifra muy importante para cualquier festival de jazz, hay un público que siente y se va volviendo un público con necesidad de escuchar esta música, de estar en el circuito y que tiene ya una capacidad de conectar con esta música.

Espero que siga creciendo este movimiento porque los beneficios de tener la posibilidad de escuchar cosas diferentes, nuevas músicas, son muchos, y creo que no lo hemos entendido lo suficiente, es muy importante tener los oídos dispuestos a la música constructiva. Hay dos tipos de música: música mala y música buena, creo que la música buena es la que hay que poner de contrapeso a la próxima gira de Maluma, que tendrá sus bondades; creo que la matriz del reguetón es valiosa pero muy mal utilizada, con una imposibilidad de negociar la convivencia, de negociar el respeto por los otros y otras. Lo que le podemos ofrecer a nuestra gente joven y a nuestra sociedad es algo mucho mejor de lo que la radio comercial les ofrece, por eso hay que abrir los espacios y por eso nacen tantos festivales en Colombia.

Mucha gente no habla por temor al juicio de valor después de emitir su opinión, pero yo sí creo que ha hecho daño el hecho de abrirle la puerta a mensajes violentos, discriminatorios y sexistas que no están acorde a lo que somos y necesitamos como país.

–Su obra rescata las tradiciones de nuestros ancestros, ¿cómo nace en usted esa inquietud por esa música tradicional y en qué momento decide ensayar con el jazz?

–Desde el comienzo yo estuve muy conectado con nuestra música, mi papá era músico sinfonista, tocó con Lucho Bermúdez, entre otros, y siempre tuve al alcance todo lo que se producía en cuanto a música colombiana y todo esto tuvo una gran influencia en mí.

Cuando decidí comprometerme con la música, nunca disocié una cosa de la otra, el jazz tiene un grado de libertad, unas posibilidades expresivas, una capacidad de romper las barreras sociales, culturales, raciales, y también he sido consciente de qué soy, dónde estoy, de que hago parte de un país y tengo la capacidad de tener ese país para confabular resultados musicales.

No considero que mi música sea latin-jazz, la concibo más como música colombiana con unos elementos de libertad, ese es el canon de nuestra música.

–¿Cree que la música colombiana está en crisis? ¿Por qué no suena en la radio?

–Ya creo que hay una crisis general de la música, la muestra es que un tema como “Despacito” haya tenido un éxito tan grande, es la cruda realidad de la globalización y la imposibilidad de tranzar o conectar con los medios masivos, con las redes sociales; increíble que nos dejemos convencer por razones meramente ideológicas, de responder a un llamado tan extremadamente simple y con un resultado tan cuestionable. Mi reflexión va más a la imposibilidad de que las músicas nacionales, regionales, locales, tengan espacios de promoción, necesario que tengan la posibilidad de contactar con el emocional colectivo del país y la región, del lugar de origen.

Hay falta de sensibilidad de nuestros dirigentes, urge que ellos tomen conciencia de la importancia de darle lugar a los músicos, que les interesara llegar a través de esa sensibilidad que ha llevado a la música a grandes consecuencias históricas, está la necesidad de un puente entre nosotros y la radio y los medios de comunicación masiva, con ese montón de canales que han sido usados en contra de las iniciativas que hacen la diferencia, es mas fácil para ellos controlar grupos más malos y grandes que lo nuestro. Es importante esa discusión del contenido que se le esta entregado a las personas, es una cuestión política; si este país tuviera el grado de conciencia y madurez en relación a su desarrollo cultural social, pues tendríamos unas política que impulsaran el crecimiento musical en la región de una manera coherente y positiva.

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