«Chango» Farías Gómez: la mostaza del ¿folklore?
The figure of «Chango» Farías Gómez is strongly related to the idea of innovation and renewal in the field of Argentine folklore. That representation is subject to and based on a half-century artistic trajectory in which he established, through his artistic productions, but also through his public a...
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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/13349 |
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| Sumario: | The figure of «Chango» Farías Gómez is strongly related to the idea of innovation and renewal in the field of Argentine folklore. That representation is subject to and based on a half-century artistic trajectory in which he established, through his artistic productions, but also through his public and media discourse, a strong discussion with the production canons imposed from the traditional paradigm of folklore. Within the framework of this work, i intend to analyze the place occupied by «Chango» Farías Gómez at the beginning of the 2000s, at which time he released his first and last solo album: «Chango sin arreglo». In this record material, the artist builds, from the graphic, repertorial, interpretative and sound aspects, a device of enunciation through which he builds and represents his place in Argentine folklore, but also his strong link with Peronism. In the very act of building that device, Farías Gómez appeals and demands the attention -and admiration- of a speaker with very specific characteristics. The analysis of the material to which I have referred is an exercise to relate the artistic work with dimensions of a historical, sociological, affective and cultural order. |
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