Minas, prostitutas y milonguitas. Resignificaciones en el tango alrededor de 2001
At the end of the 20th century, the process of revitalisation of tango together with the general economic, political and social crisis in Argentina gave rise to the grouping of artists related to the genre who acted politically through assemblies, marches and petitions to obtain better working condi...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Universidad Nacional del Litoral
2025
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| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14491 |
| Aporte de: |
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I26-R133-article-14491 |
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Universidad Nacional del Litoral |
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I-26 |
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R-133 |
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Biblioteca Virtual - Publicaciones (UNL) |
| language |
Español |
| format |
Artículo revista |
| topic |
Tango Representations Gender perspective Tango Representaciones Perspectiva de género |
| spellingShingle |
Tango Representations Gender perspective Tango Representaciones Perspectiva de género Suppicich, Fernanda Minas, prostitutas y milonguitas. Resignificaciones en el tango alrededor de 2001 |
| topic_facet |
Tango Representations Gender perspective Tango Representaciones Perspectiva de género |
| author |
Suppicich, Fernanda |
| author_facet |
Suppicich, Fernanda |
| author_sort |
Suppicich, Fernanda |
| title |
Minas, prostitutas y milonguitas. Resignificaciones en el tango alrededor de 2001 |
| title_short |
Minas, prostitutas y milonguitas. Resignificaciones en el tango alrededor de 2001 |
| title_full |
Minas, prostitutas y milonguitas. Resignificaciones en el tango alrededor de 2001 |
| title_fullStr |
Minas, prostitutas y milonguitas. Resignificaciones en el tango alrededor de 2001 |
| title_full_unstemmed |
Minas, prostitutas y milonguitas. Resignificaciones en el tango alrededor de 2001 |
| title_sort |
minas, prostitutas y milonguitas. resignificaciones en el tango alrededor de 2001 |
| description |
At the end of the 20th century, the process of revitalisation of tango together with the general economic, political and social crisis in Argentina gave rise to the grouping of artists related to the genre who acted politically through assemblies, marches and petitions to obtain better working conditions and to be considered cultural workers. The artistic productions of its members include music with a strong social commitment that expresses the socio–economic reality of the time. These themes include economic, political and social violence, the city and its people, the struggle for human rights and the dictatorship. Some of these songs offer representations that, approached from a gender perspective, can bring new meanings to the representation of women.
This article reflects on the meanings attributed to the concepts mina, prostituta and milonguita from tango lyrics, the constructions based on previous studies (Ramallo, 2020; Dalbosco, 2010 and Sosa Baccarelli, 2020) and the new meanings based on the songs «Ser mina flor de cardo» by the Barone–González duo, «Tatuaje» by Marcela Bublik and «La Marilyn» by Alfredo «Tape» Rubín, all composed in the 1990s and published in different albums from 1993 onwards. From a socio–musical approach, it is hoped to highlight the layers of meaning that are configured in the representations of women, focusing on the place of enunciation. With this premise, music is analysed from a gender perspective (Green, 2001; Blázquez Graf, 2010; Beltrán and Maquieira, 2001) in order to observe the new meanings that are constructed in the dialogue between music, lyrics and society. In the same sense, it is hoped to contribute to the study of social and gender hierarchies mediated by power relations in the 21st century through the musical production of artists who are self–convened by the crisis. |
| publisher |
Universidad Nacional del Litoral |
| publishDate |
2025 |
| url |
https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14491 |
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AT suppicichfernanda minasprostitutasymilonguitasresignificacioneseneltangoalrededorde2001 AT suppicichfernanda minasprostitutesandmilonguitasresignificationsintangoaround2001 |
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2025-09-15T05:02:28Z |
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2025-10-15T05:01:25Z |
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1846022751117115392 |
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I26-R133-article-144912025-09-26T17:37:34Z Minas, prostitutas y milonguitas. Resignificaciones en el tango alrededor de 2001 Minas, prostitutes and milonguitas. Resignifications in tango around 2001 Suppicich, Fernanda Tango Representations Gender perspective Tango Representaciones Perspectiva de género At the end of the 20th century, the process of revitalisation of tango together with the general economic, political and social crisis in Argentina gave rise to the grouping of artists related to the genre who acted politically through assemblies, marches and petitions to obtain better working conditions and to be considered cultural workers. The artistic productions of its members include music with a strong social commitment that expresses the socio–economic reality of the time. These themes include economic, political and social violence, the city and its people, the struggle for human rights and the dictatorship. Some of these songs offer representations that, approached from a gender perspective, can bring new meanings to the representation of women. This article reflects on the meanings attributed to the concepts mina, prostituta and milonguita from tango lyrics, the constructions based on previous studies (Ramallo, 2020; Dalbosco, 2010 and Sosa Baccarelli, 2020) and the new meanings based on the songs «Ser mina flor de cardo» by the Barone–González duo, «Tatuaje» by Marcela Bublik and «La Marilyn» by Alfredo «Tape» Rubín, all composed in the 1990s and published in different albums from 1993 onwards. From a socio–musical approach, it is hoped to highlight the layers of meaning that are configured in the representations of women, focusing on the place of enunciation. With this premise, music is analysed from a gender perspective (Green, 2001; Blázquez Graf, 2010; Beltrán and Maquieira, 2001) in order to observe the new meanings that are constructed in the dialogue between music, lyrics and society. In the same sense, it is hoped to contribute to the study of social and gender hierarchies mediated by power relations in the 21st century through the musical production of artists who are self–convened by the crisis. A fines de siglo XX, el proceso de revitalización del tango junto a la problemática de crisis económica, política y social generalizada en Argentina dio lugar a la agrupación de artistas relacionados con el género que accionaban políticamente a través de asambleas, marchas y solicitadas para obtener mejores condiciones laborales y ser considerados trabajadores de la cultura. Las producciones artísticas de sus integrantes incluyen músicas con un fuerte compromiso social que expresan la realidad socioeconómica de la época. Entre estas temáticas se encuentran la violencia económica, política y social, la ciudad y su gente, la lucha por los derechos humanos y la dictadura. Algunas de estas canciones también ofrecen representaciones que, abordadas desde la perspectiva de género, pueden aportar nuevos significados en la representación de mujeres. El presente artículo reflexiona sobre los significados atribuidos a los conceptos mina, prostituta y milonguita desde las letras de tango, las construcciones en torno a estudios previos (Ramallo, 2020; Dalbosco, 2010 y Sosa Baccarelli, 2020) y las nuevas significaciones a partir de las canciones «Ser mina flor de cardo», del Dúo Barone–González, «Tatuaje», de Marcela Bublik y «La Marilyn» de Alfredo «Tape» Rubín, todas ellas compuestas en la década de los años noventa y publicadas en diferentes discos a partir de 1993. A partir de un enfoque socio–musical, se espera poner de relieve las capas de sentido que se configuran en las representaciones de mujeres haciendo foco en el lugar de enunciación. Con esta premisa se analizan las músicas desde la perspectiva de género (Green, 2001; Blázquez Graf, 2010; Beltrán y Maquieira, 2001) para observar los nuevos significados que se construyen en el diálogo entre música, letra y sociedad. En el mismo sentido, se espera contribuir al estudio de jerarquías sociales y de género mediadas por relaciones de poder en el siglo XXI a partir de la producción musical de artistas autoconvocados por la crisis. Universidad Nacional del Litoral 2025-07-04 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf application/zip https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14491 10.14409/rism.2025.27.e0080 Revista del ISM; Vol. 1 No. 27 (2025): Revista del Instituto Superior de Música; e0080 Revista del ISM; Vol. 1 Núm. 27 (2025): Revista del Instituto Superior de Música; e0080 2362-3322 1666-7603 10.14409/rism.2025.27 es https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14491/20296 https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14491/20305 Derechos de autor 2025 Fernanda Suppicich https://creativecommons.org/licenses/by/4.0 |