When “god and country demand it”: about the queer (im)possibility of Argentine “folklore”

In recent years, our music and our dances have been questioned with respect to its prescription to sexogendered identities that has gradually become outdated due to the recent recognition of the queer theory.  Although being a result of the early modern period, both folk music and dances are based o...

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Autor principal: Parody, Viviana
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Humanidades y Artes. UNR 2022
Materias:
Argentinian folklore
gender
nation
religiosity
performativity
folklore argentino
género
nación
religiosidad
performatividad
Acceso en línea:https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/282
Aporte de:
Zona Franca de Universidad Nacional de Rosario
id I15-R214-article-282
record_format ojs
spelling I15-R214-article-2822023-04-20T18:43:26Z When “god and country demand it”: about the queer (im)possibility of Argentine “folklore” Cuando “dios y la patria lo demandan”: acerca de la (im)posibilidad queer del “folklore” argentino Quando “deus e pátria o exigem”: sobre a (im)possibilidade queer do “folclore” argentino Parody, Viviana Argentinian folklore gender nation religiosity performativity folklore argentino género nación religiosidad performatividad In recent years, our music and our dances have been questioned with respect to its prescription to sexogendered identities that has gradually become outdated due to the recent recognition of the queer theory.  Although being a result of the early modern period, both folk music and dances are based on heteronormative codes that seem to be reluctant to accept the queer theory. Having based this investigation on an ethnographic research carried out mainly in gatherings and performance of female musicians dedicated to “folklore” in Santiago del Estero, Tucumán, and Córdoba, I analyse throughout this article, these new sex and gender features displayed in tango, which were primarily accepted in relation to what is now known as the queer theory. These characteristics in the “traditional” folklore were not contemplated or even considered a taboo. It is strongly assumed that this social belief and its consequent queer impossibility is based on a specific foundational articulation among nation, gender and religiosity while this musical-dance complex stands "from the inside" of the nation as the main emblem of the gaucho founding myth. En los últimos años, nuestras músicas y danzas se vieron interpeladas respecto de su prescripción a identidades sexogenerizadas que comenzaron a resultar “estrechas” frente a las lógicas (queer) recientemente habilitadas. En tanto producto de la modernidad, las músicas folklóricas arrastran criterios heteronormativos que, sin embargo, parecieran mantenerse reticentes a estas innovaciones. Partiendo de un trabajo etnográfico realizado sobre todo en el ámbito del desempeño de mujeres músicas dedicadas al “folklore”,  durante el artículo analizo estos nuevos bordes de desdibujamiento del sexo y el género que en el tango citadino se ven habilitados, y cuya “deconstrucción” pareciera resultar improbable tratándose  del “folklore argentino”. Se sostiene que este imaginario y su imposibilidad queer consecuente tendrían base en una articulación fundacional específica dada entre “patria” (o nación), género, y religiosidad, en tanto este complejo musical-danzario se yergue “desde el interior” de la nación como emblema principal de su mito fundacional gauchesco. Facultad de Humanidades y Artes. UNR 2022-12-22 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/plain https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/282 10.35305/zf.vi30.282 Zona Franca; No. 30 (2022); 432-460 Zona Franca; Núm. 30 (2022); 432-460 Zona Franca; Núm. 30 (2022); 432-460 2545-6504 0329-8019 spa https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/282/270 https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/282/271 Derechos de autor 2022 Viviana Parody http://creativecommons.org/licenses/by-nc-nd/4.0
institution Universidad Nacional de Rosario
institution_str I-15
repository_str R-214
container_title_str Zona Franca
language Español
format Artículo revista
topic Argentinian folklore
gender
nation
religiosity
performativity
folklore argentino
género
nación
religiosidad
performatividad
spellingShingle Argentinian folklore
gender
nation
religiosity
performativity
folklore argentino
género
nación
religiosidad
performatividad
Parody, Viviana
When “god and country demand it”: about the queer (im)possibility of Argentine “folklore”
topic_facet Argentinian folklore
gender
nation
religiosity
performativity
folklore argentino
género
nación
religiosidad
performatividad
author Parody, Viviana
author_facet Parody, Viviana
author_sort Parody, Viviana
title When “god and country demand it”: about the queer (im)possibility of Argentine “folklore”
title_short When “god and country demand it”: about the queer (im)possibility of Argentine “folklore”
title_full When “god and country demand it”: about the queer (im)possibility of Argentine “folklore”
title_fullStr When “god and country demand it”: about the queer (im)possibility of Argentine “folklore”
title_full_unstemmed When “god and country demand it”: about the queer (im)possibility of Argentine “folklore”
title_sort when “god and country demand it”: about the queer (im)possibility of argentine “folklore”
description In recent years, our music and our dances have been questioned with respect to its prescription to sexogendered identities that has gradually become outdated due to the recent recognition of the queer theory.  Although being a result of the early modern period, both folk music and dances are based on heteronormative codes that seem to be reluctant to accept the queer theory. Having based this investigation on an ethnographic research carried out mainly in gatherings and performance of female musicians dedicated to “folklore” in Santiago del Estero, Tucumán, and Córdoba, I analyse throughout this article, these new sex and gender features displayed in tango, which were primarily accepted in relation to what is now known as the queer theory. These characteristics in the “traditional” folklore were not contemplated or even considered a taboo. It is strongly assumed that this social belief and its consequent queer impossibility is based on a specific foundational articulation among nation, gender and religiosity while this musical-dance complex stands "from the inside" of the nation as the main emblem of the gaucho founding myth.
publisher Facultad de Humanidades y Artes. UNR
publishDate 2022
url https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/282
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first_indexed 2023-05-11T18:54:18Z
last_indexed 2023-05-11T18:54:18Z
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