NI AUTÉNTICAS NI PURAS. FRICCIONES DE LA MEMORIA Y LA HISTORIA EN EL PROCESO DE PATRIMONIALIZACIÓN DE LAS MÚSICAS DEL BACALAO MADRILEÑO.

This article aims to question the discourses about the past of the bacalao music that have emerged in recent years linked to a process of patrimonialization. In this way, the article resorts to memory and history to show that authenticity and purity were not characteristic of these musics, but rather the opposite: the bacalao musics resorted to remixing, intertextuality or sampling as a hybridization strategy that a series of young people followed to enter modernity. Authenticity and purity therefore seem to have more to do with the heritage needs of the present than with the realities of the past. [ABSTRACT FROM AUTHOR]