By Pablo Vila
Cumbia villera--literally, cumbia from the shantytowns--is a musical style really well liked by Argentine formative years who common city dance halls. Its songs are recognized for his or her hugely sexualized lyrics--about ladies dancing provocatively or experiencing erotic excitement. The songs convey the tensions at play within the alternative ways humans relate to this musical style. In Troubling Gender, famous sociologists Pablo Vila and Pablo Seman scrutinize the music's lyrics and the singers' and dancers' performances. whilst, the authors behavior in depth-interviews to ascertain the methods men build and applicable cumbia's lyrics, and the way adult females establish, applicable, and playfully and significantly manage an analogous misogynistic songs. Addressing the connection among this kind of tune and the broader social, political, and monetary alterations that effect the lives of city adolescence, Troubling Gender argues that the tune either displays and affects the ways that women's and men's roles are altering in Argentine society.
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Extra resources for Troubling Gender: Youth and Cumbia in Argentina's Music Scene
The media played an active role in shaping the content of cumbia villera— on the one hand, by giving it airtime and press coverage, and on other hand, by exercising control by labeling it a product of marginal or marginalized young people whom the state was called on to supervise, feed, or punish. A media campaign was launched, primarily by journalists, demanding that the state act in this regard, but at the same time, the same journalists were collaborating with the government by defining which young people and behavior were marginal, which were marginalized, and what should be done in both cases.
The History 35 The model worked for a few years. It was effective in modernizing services such as energy, water, telecommunications, and transportation, which previously had been provided by the state, and in increasing the consumption of consumer goods. The fiesta Menemista was celebrated by the popular sectors and ensured President Menem’s reelection in 1994. ” Menem’s sociopolitical experiment ended in the worst economic disaster in Argentine history and the first default of a country in the modern era.
In the eyes of others, being a villero is worse than being poor: it means liking and deserving poverty. In practice, using the term stigmatizes something or someone as, by definition, ontologically inferior. Cumbia villera does not hide the characteristics associated with poverty; rather, it transforms them into lyrics that constitute an aesthetic ideal. 27 After being rejected by tropical music recording companies, the man who is generally considered the “creator” of cumbia villera, Pablo Lescano, saved up enough money to pay studio costs and in August 1999 recorded a “pirate” edition of Flor de Piedra’s first CD.