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Hispanic/Latin American countries have broad racial makeups --> no "hispanic race"

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"Gender as stylized repetition"

--> gender roles propagated in the media and society put individuals in a box

--> music can be used as a medium to resist the gender roles that society has imposed

--- example: Linn da Quebrada's "Mulher" - comments on gender expectations in a artistic way (ex. religious undertones, lyrics, different ways the song is sectioned)

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Stemming from the rigid social norms in Europe

--> decolonizing feminism is still challenged by present social constructs

--> María Lugones, Toward a Decolonial Feminism:

to succeed in decolonizing feminism, the movement must be approached creatively and in ways “antithetical to the logic of capital” (Lugones 2010, 754).

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--> Latin characters generalized, such as Spicy Latin Lover stereotype

-->presented in a way to appeal to American audiences --> ensure good relations (political agenda) ex. Three Cabelleros

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Ex. Introduction of Musical ImagiNation by Cepeda

"The irony is that popular music has in a sense become Colombia’s symbolic salvation, an 'antidote' to the crisis both within the nation’s geopolitical borders and among its U.S-based community" (Cepeda 2010, 2).

popular music ==> national identity and unity

Colombianidad beyond geographical and political borders, despite internal political and social crises

Colombian popular music creates a space for the intersection for race, nationality, gender, class, and sexuality, bridging gaps

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Ex. Afrolatinidad

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FDR, 1939-1945

good relations with US and LatAm --> Why? --> social and political contexts at this point in history

1917 Zimmerman Telegram

Importation of films abroad

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Ex. Listening in Detail by Alexandra T. Vasquez

She talks about the importance of listening with purpose

Emphasizes that you can discover cultural history and emotions through dedicated listening.

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--> exotic, tropical - warm and appealing to American audiences

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-cuban

-excess, loudness, tackiness

-signals non-normative subjectively

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survival strategy

a point of departure, process, or building

it's where you reconstruct a social concept by disassociating one from the traditional standard

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Fuck My Life (2012) Music Video by Xandra Ibarra (sung by La Lupe)

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Fuck My Life (2012) Music Video by Xandra Ibarra (sung by La Lupe)

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emphasis on a woman waking up and smothering on top of the previous's nights makeup and returning to society

living in solitude without relying on someone for their happiness or pleasures

sense of madness and repetitive daily life

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women empowerment MV

discusses how women can also be rowdy, loud, and violent, which goes against traditional concepts

brings up the topic of how girls can do whatever they pleases

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In the introduction to Dissonant Divas, Deborah Vargas identifies that dissonance is "an interruption or disruption of the heteronormative and cultural-nationalist limits (Vargas 2012, xiv)," and with the term "diva," specifically focuses on Chicana/Tejana musicians in popular music who navigate and challenge these cultural expectations through music and public presentation.

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Brown Soul: Selena Quintanilla, Disco Medley (1995)

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Brown Soul: Selena Quintanilla, Disco Medley (1995)

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Selena's music is influenced by African Diasporic musical sound, although this embrace is often dismissed as "crossover."

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Selena - Disco Medley (Official Live From Astrodome)

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Juan Gabriel - Hasta Que Te Conocí (En Vivo [Desde el Instituto Nacional de Bellas Artes])

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pitch

rhythm/time

harmony/dissonance/consonance

vocality

tessitura

instrumentation

mix/reverb

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ex. radio show (1951) introduction

introduction is an invitation to a variety of audiences

music takes life of it's own

Listening in Detail

"As I listen in detail to Villa’s performance, I call
attention to this past, present, and unheard future. Acknowledgment of
Villa’s interpretative technique, especially as he tweaks the conventions of an introductory remark, is always worth reiterating" (Vasquez 2013, 4).

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Bola de Nieve|  ¿Por qué me la dejaste querer? - Serie Cuba Libre: Bola de Nieve, Vol. 2

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1. music

2. lyrics

3. visuals

4. narrative

5. references

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What does it sound like?

Are there common motifs and figures?

What kinds of instruments do we hear?

What is the rhythmic structure?

Does the sound change at any point? How do we mark that?

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Are there common phrases used?

What gets repeated?

Who are the main subjects of the lyrics (1st, 2nd, or 3rd person)?

Rhyming structures

Where are the changes?

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What meanings are being made through the music video?

What are we supposed to understand from the interactions between the other elements?

How do they connect to tropes, stereotypes, and other social constructs?

Where are the “confusions” (Cepeda)

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What are the artists doing?

Dancing

Singing

Activities

Where are the artists looking?

Where are we looking?

How often do the camera angles change?

Where does the scenery take place? How are they interacting with their surroundings?

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Relationship between performance and social organization

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Relationship between performance and social organization

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a renewal of ideologies to challenge traditional narratives

better to visually show them through performances to fully immerse the audience in the emotions and aesthetics

embraced their emotions and thoughts through colors, clothes, specific actions, and more importantly their voices

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- these new social organizations constructed by transformative music hold more significance when the artist is a representation of a minority or the underrepresented

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Jenni gained most of her popularity from marginalized groups and “made music the way she approached economic survival: through the cultivation of life lessons that framed her life” (Vargas-2018).

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a popular brand of bananas used to advertise odd recipes and normalize modernly unacceptable behavior

supposedly to appeal the Latin American audience

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disney's interpretation on Latin America

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“Camp” embraces exaggeration, challenges cultural norms and expectations, especially on gender and sexuality. With active audience engagement, performance bridges ideas and perspectives on identity, which may not have occurred otherwise.

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“The object fit for consumption”

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Disidentifications, José Esteban Muñoz

performance = space for worldviews to be transformed

take mainstream culture, rework it, and create something new ==> social norms are reframed

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A form of listening in detail because it allows the listener to connect with the musical elements of a song in different ways, such as physically feeling the beat, melodies, and lyrics as they are dancing

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gestures can challenge social categories and norms, and relate to expression, including cultural expression,, sexual expression, etc.

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Controversial song for the misogynistic and racist narratives through portraying Black women as dogs in a sexual manner.

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The dance style often used in reggaetón music

Involves sexual movements

Controversial because of portrayed gender dynamics and norms

Now has a more diverse gender combination when dancing however still controversial

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Rivera- Servera's analysis on the cultural importance of Perreo and its importance in expression. He comments on the significance of Perreo and why it should remain.

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Goes beyond just physical attraction, it is also how you smell, your gestures, and fashion that can invoke attraction. Cultural tendencies have a large affect on attraction.

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Malandrinas as Neoliberalism (From Lecture)

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Malandrinas as Neoliberalism (From Lecture)

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Las Malandrinas conveys femininity is both needed in neoliberal Latina life.

The video embraces society's “sonic waste.”

Queer brown women are targeted by capitalist systems that exploit them.

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The notion of secreto a voces is a metaphor for the exploration of how thevoice  and the cultural mediations that make its nuances meaningful put in evidence structures of feeling that allow for the social recognition of cultural conventions and the semantic tensions between their value as symbols and their value as experience without explicitly formulating them through language. (92).

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In performing boleros, social roles may flip: women may be defiant or aggressive, and men may be forlorn, destitute, or disinterested. This does not mean that boleros are radical in terms of gender roles, for they never question their existence—as a matter of fact, they depend on the social fabric that these roles create. Gender roles can never be put into doubt, though boleros will use them as the point of departure for endless renegotiation. Once the theatrical mask has been ripped away, what we have is essential gender forms. The simulacrum, of course, was to believe that there was no essence to gender. Bolero is all about deceit.

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The concept of "lingering" invites a critical examination of Latinidad as a space of ambiguity and contradiction.

Lingering allows for dwelling in the complexities and contradictions of identity and history without rushing to conclusions.

It critiques homogenization, such as "We are all Mexicans," which flattens the nuances of identity and social struggle.

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· Dissonance as a method disrupts heteronormative and nationalist boundaries in Chicano music

· Highlights the importance of gender and sexuality in shaping alternative musical and cultural narratives.

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Highlighting Afro-Latinidad is crucial for making these identities visible and challenging overly simplified views of Latinx culture.

Afro-Latinidad enriches discussions on race and ethnicity by introducing intersectionality into the conversation.

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Music serves as a powerful cultural tool, creating a space for self-expression, resistance, and identity formation.

It connects local experiences with global audiences, functioning as both a personal and transnational medium.

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a blend of Latin dance, hip-hop, and Caribbean music style

unites cultures of many differences

form of representation of the marginalized

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“a mode of performance whereby a toxic identity is remade” (Munoz-1999)

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empowerment of trans and women

representation the sad reality of sexual pleasure for men but pain for women

the crowd joining in with clapping is an inspiration to join the movement

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Flute and some horn instruments

Upbeat drums

Solo singer with Donald Duck occasionally backing him up

Solo singer assumingly being Latin American for his slight accent

Shown animations of the usage of guns although its disney

Shown goofing around with sombreros and throwing some spanish phrases

Singer holds a long note at the end to leave an impression

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shaking of a sand instrument to set the beat

four string instruments (two violin two cello)

two violin leads with the rhythm

clapping near the end of the song

soloist keeping up with the beat

piano comes in

call and response technique

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a lot more electronic sounds

electronic beats and sirens

back up dancers

more like club music

more technical support in vocals

call and response

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Music is more than an auditory experience—it serves as a cultural archive, preserving history and emotions.

By paying attention to subtle details, listeners can identify hidden layers of identity and power dynamics that are often overlooked.

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Decolonial Feminism and Musical Resistance

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Decolonial Feminism and Musical Resistance

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Lugones argues that decolonial efforts must reject capitalist logic and adopt creative, anti-conventional methods.

Music’s hybrid forms resist colonial homogenization by highlighting cultural diversity through rhythm, lyrics, and instrumentation.

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Villa’s unique combination of piano and voice creates an intimate and emotionally rich performance.

His introductions blend hospitality and artistry, welcoming audiences into his world.

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Villa’s performances emphasize the importance of engaging with music’s subtle details.

His intricate use of rhythm and melody invites listeners to explore deeper emotional and cultural connections.

Active listening transforms audiences from passive consumers to active participants in the musical experience.

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José Esteban Muñoz's concept of disidentification challenges societal norms by creating alternative spaces for queer identities.

Performances transform harmful stereotypes into tools for empowerment and self-expression.

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José Quiroga discusses visibility and its nuances, where masks in queer spaces simultaneously hide and reveal identities.

The mask becomes a strategy for protection and participation in public activism, reshaping notions of visibility.

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Highlighting the blending of Latino cultural traditions with queer identity in performance art.

These performances explore the interplay between race, sexuality, and historical oppression.

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Creating new cultural narratives through art and performance that challenge colonial and heteronormative frameworks.

Queer worldmaking is an act of resistance and reimagination of social spaces.

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Emphasizing the aesthetics of queer Latino identities as a form of cultural and political expression.

Using humor, irony, and nostalgia in performances to challenge mainstream narratives.

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Emotional Tension and Audience Interaction

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Emotional Tension and Audience Interaction

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Juan’s performances often use exaggerated body language and eye contact to evoke emotional tension, enhancing the impact of live queer performances.

Audience reactions reflect the delicate balance between cultural acceptance and challenges to gender norms.

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Cultural Identity Interpreted Through Music

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Cultural Identity Interpreted Through Music

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Jenni Rivera redefined the social image of the "traditional Latina woman" by blending regional musical elements with rebellious lyrics.

Her music, intertwined with cultural symbols, became a significant marker of Latinx queer identity expression.

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Power and Marginalized Discourses in Performances

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Power and Marginalized Discourses in Performances

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The works of Juan and Jenni deconstruct traditional narratives of power in society, showcasing the cultural resilience of marginalized groups.

This deconstruction not only amplifies the social discourse around queer identities but also provides a platform for diversity within Latinx culture.

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Samantha Major (Green)

Shemole Medeiros (Purple)

Lingyuan Meng (Blue)

Trevor Nickerson (Yellow)