Cumbia poderosa. El canto, la música y el baile como símbolos de lucha en Ninfas
Undoubtedly, songs inhabit us: they surround us, they accompany us, sometimes they sneak in, other times they hit us, they define moments, they make our bodies dance, they put experiences and emotions into words and rhythms. We can say, along with Díaz (2018), that our lives have soundtracks. Some a...
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| Autores principales: | , |
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Universidad Nacional del Litoral
2023
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| Materias: | |
| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13346 |
| Aporte de: |
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I26-R133-article-13346 |
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Universidad Nacional del Litoral |
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Biblioteca Virtual - Publicaciones (UNL) |
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Español |
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Artículo revista |
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cumbia enunciator affectivity cumbia enunciador afectividad |
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cumbia enunciator affectivity cumbia enunciador afectividad Ferreyra, Milagros Rivero, Franco Cumbia poderosa. El canto, la música y el baile como símbolos de lucha en Ninfas |
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cumbia enunciator affectivity cumbia enunciador afectividad |
| author |
Ferreyra, Milagros Rivero, Franco |
| author_facet |
Ferreyra, Milagros Rivero, Franco |
| author_sort |
Ferreyra, Milagros |
| title |
Cumbia poderosa. El canto, la música y el baile como símbolos de lucha en Ninfas |
| title_short |
Cumbia poderosa. El canto, la música y el baile como símbolos de lucha en Ninfas |
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Cumbia poderosa. El canto, la música y el baile como símbolos de lucha en Ninfas |
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Cumbia poderosa. El canto, la música y el baile como símbolos de lucha en Ninfas |
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Cumbia poderosa. El canto, la música y el baile como símbolos de lucha en Ninfas |
| title_sort |
cumbia poderosa. el canto, la música y el baile como símbolos de lucha en ninfas |
| description |
Undoubtedly, songs inhabit us: they surround us, they accompany us, sometimes they sneak in, other times they hit us, they define moments, they make our bodies dance, they put experiences and emotions into words and rhythms. We can say, along with Díaz (2018), that our lives have soundtracks. Some are more danceable; others, not so much. But these songs can hardly ever be thought of separately from the emotions they produce in us, from the way they affect us.
In the following article, we are interested in delving into the analysis of the musical approach of Ninfas, a female cumbia group from Córdoba formed in 2015. Their lyrics, their stage performances and, especially, their first album (Cumbia diversa, 2019, self–produced) bring into play a series of musical choices and decisions, and stakes regarding the construction of an enunciation device (Verón, 2004; Costa and Mozejko, 2002). In this way, through various discursive and musical strategies, they give hierarchy to the role of music, song, and dance (of cumbia, we could say) in recent political and cultural processes, in a context marked by the visibility and struggles of social movements, like feminism and sexual diversities.
But why choose cumbia as a vehicle of expression? Our hypothesis is that, through a set of (musical, lyrical, and performative) strategies, Ninfas is building a novel enunciation device. As cumbia is an affectively invested genre (in relation to dance, joy, sensuality/sexuality, and several other connotations) (Ahmed, 2004), this novelty consists in designing an enunciator/enunciatee relationship that aims at the development of a community that is both political and affective. This community would be linked to feminist struggles and sexual diversities, and its constitution would allow the resignification of cumbia and of the meaning that the dance and cheerfulness have in this musical genre. |
| publisher |
Universidad Nacional del Litoral |
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2023 |
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https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13346 |
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2024-08-13T20:37:10Z |
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I26-R133-article-133462024-09-02T22:24:53Z Cumbia poderosa. El canto, la música y el baile como símbolos de lucha en Ninfas Powerful cumbia. Singing, music and dancing as symbols of struggle in Ninfas Ferreyra, Milagros Rivero, Franco cumbia enunciator affectivity cumbia enunciador afectividad Undoubtedly, songs inhabit us: they surround us, they accompany us, sometimes they sneak in, other times they hit us, they define moments, they make our bodies dance, they put experiences and emotions into words and rhythms. We can say, along with Díaz (2018), that our lives have soundtracks. Some are more danceable; others, not so much. But these songs can hardly ever be thought of separately from the emotions they produce in us, from the way they affect us. In the following article, we are interested in delving into the analysis of the musical approach of Ninfas, a female cumbia group from Córdoba formed in 2015. Their lyrics, their stage performances and, especially, their first album (Cumbia diversa, 2019, self–produced) bring into play a series of musical choices and decisions, and stakes regarding the construction of an enunciation device (Verón, 2004; Costa and Mozejko, 2002). In this way, through various discursive and musical strategies, they give hierarchy to the role of music, song, and dance (of cumbia, we could say) in recent political and cultural processes, in a context marked by the visibility and struggles of social movements, like feminism and sexual diversities. But why choose cumbia as a vehicle of expression? Our hypothesis is that, through a set of (musical, lyrical, and performative) strategies, Ninfas is building a novel enunciation device. As cumbia is an affectively invested genre (in relation to dance, joy, sensuality/sexuality, and several other connotations) (Ahmed, 2004), this novelty consists in designing an enunciator/enunciatee relationship that aims at the development of a community that is both political and affective. This community would be linked to feminist struggles and sexual diversities, and its constitution would allow the resignification of cumbia and of the meaning that the dance and cheerfulness have in this musical genre. Las canciones, sin duda, nos habitan: nos rodean, nos acompañan, a veces se cuelan, otras nos golpean, definen momentos, nos ponen a bailar el cuerpo, le ponen palabras y ritmos a experiencias y emociones. Podemos decir, junto con Díaz (2018), que nuestras vidas tienen bandas sonoras. Algunas son más bailables; otras, no tanto. Pero casi nunca estas músicas pueden ser pensadas por fuera de las emociones que nos producen, de la forma en que nos afectan. En el siguiente artículo, nos interesa detenernos en el análisis de la propuesta musical de Ninfas, un grupo femenino cordobés de cumbia conformado en 2015. Sus letras, sus performances en el escenario y, fundamentalmente, su primer disco (Cumbia diversa, 2019, de producción autogestionada) ponen en juego una serie de elecciones musicales y de decisiones y apuestas en cuanto a la construcción de un dispositivo de enunciación (Verón, 2004; Costa y Mozejko, 2002). De esta forma, mediante diversas estrategias discursivas y musicales, jerarquizan el rol de la música, el canto y el baile (de la cumbia, podríamos decir) en los procesos políticos y culturales recientes, en un contexto marcado por la visibilización y las luchas de los colectivos del feminismo y las diversidades sexuales. Ahora bien, ¿por qué la elección de la cumbia como vehículo expresivo? Nuestra hipótesis es que, a través de un conjunto de estrategias (musicales, letrísticas y performáticas), Ninfas construye un dispositivo de enunciación novedoso. En tanto la cumbia es un género investido afectivamente (en relación al baile, a la alegría, a la sensualidad/sexualidad y a varias otras connotaciones) (Ahmed, 2004), esta novedad consiste en diseñar una relación enunciador/enunciatario que apunta al desarrollo de una comunidad al mismo tiempo política y afectiva (Le Breton, 2009). Esta comunidad estaría vinculada con las luchas feministas y de las diversidades sexuales, y su constitución permitiría resignificar la cumbia y el sentido que el baile y la alegría tienen en este género musical. Universidad Nacional del Litoral 2023-12-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html application/zip https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13346 10.14409/rism.2023.24.e0042 Revista del ISM; Núm. 24 (2023): Revista del Instituto Superior de Música; e0042 Revista del ISM; No. 24 (2023): Revista del Instituto Superior de Música; e0042 2362-3322 1666-7603 10.14409/rism.2023.24 spa https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13346/18681 https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13346/18683 https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13346/18682 Derechos de autor 2023 Revista del ISM |