Carolina Spataro

Las tontas culturales: consumo musical y paradojas del feminismo

“?Sobre Arjona trabajas? Pobre, te compadezco, iQue tortura!”, “?Vos crees que esas mujeres tienen la misma capacidad que vos para entender las letras de Arjona?”, fueron algunos de los comentarios que surgieron en diferentes ambitos academicos en los que puse a consideracion mi investigacion doctoral. En ella me propuse indagar sobre la configuracion de feminidades en el cruce con la musica a partir de un trabajo de campo con el club de fans en la Argentina del cantautor guatemalteco Ricardo Arjona. Este articulo analizara los modos en los que algunos objetos de las industrias culturales resultan incomodos para ciertas posturas feministas y como, a partir de alli, se los subestima como posibles disparadores de placeres, fantasias y juegos identitarios diversos para muchas mujeres. Asimismo, pondremos en cuestion automatismos analiticos que surgen de esas posiciones y que obturan la posibilidad de entenderlos como objetos sociologicamente relevantes para el estudio de feminidades contemporaneas.

Catholic Inflections and Female Complicities: Syncretism in a “Fan Club” in Buenos Aires

It is Saturday afternoon. The bar is filled with a few pensioners foreign to the event, along with a group of about 40 women who have gathered for an activity that has been growing for over the past ten years, and that they consider unusual and fun. They are happy and excited about the upcoming attractions, as they usually are on the first Saturday of every month, the day set aside for these meetings. Their activities as members of the “Ricardo Arjona Fan Club”1 are varied, and include everything: from social aid to dancing, from aesthetic comments to commercial promotion and “leisure” activities, which, in each trajectory, are described as “therapy,” mystical experiences, and the cultivation of friendships.