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 |
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| Sumario: | 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. |
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