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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| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/13346 |
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| Sumario: | 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. |
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