Scientific and Technical Research](CONICET). Nacional deInvestigacionesCientíficas y Councilof Técnicas [National Sciences (FSOC)ofUBA. Post-doctoral scholarshipfromtheConsejo theCollegeofSocial Sciencesat Professor ofCommunication PhD inSocialSciencesfromtheUniversity ofBuenos Aires (UBA). Carolina Spataro Music. Women. Age. Generation. Keywords women’s ageandgenderexpectations. for agencywhichenablestoerodemiddle-aged conclusion isthatmusicanaestheticalresource decade inSpanish-speakingrecordindustry. Our Guatemalan singerandsongwriterforovera Ricardo Arjona,whohasbeenahighlysuccessful are membersofanArgentinefanclubdevotedto we willanalyzetheaccountoftwowomenwho action-oriented device(DeNora,2000).Second, in suchwaysthatitbecomesanenablingand relocate thediscussion:peopleappropriatemusic identity.and narrative Fromthisoverview, wewill resonance,interpellation and society:structural studiesaboutmusic three paradigmswhichinform thisrelationship.First,wewillgothrough informing and, specifically, theageandgenerationalcleavage femininities the configurationofcontemporary This paperintendstostudytheroleofmusicin Abstract a studyonthelinkbetween “Lady ofthefourdecades”: “Lady music, womenandage | [email protected] Carolina Spataro record industry. singer-songwriter whoisagreatsuccessinthe Ricardo ArjonainArgentina,aGuatemalana Aires. Theyarepartoftheofficialfanclub of eachmonthinabardowntownBuenos them women,gettogetheronthefirstSaturday For 16years, a groupofabout30people,most expressing himself,thelyrics(Ana,51). because Isawdifferentthings,hiswayof this drawsmyattentionexactly forthisreason, repressed.Perhaps Iwasvery allofam very… they didnotletmegotothegraduationtrip,I washighlystructured, everything permission, free.” Inmytime,togoout,youhadask tobeMy husbandsaidtome:“youmarried 1 Introduction space forsocialization thattheyrecognize as agroup ofbelongingandacomplexthey form Based ontheappropriationof amusicalobject, give meaningtolifecyclesin acollectivemanner. bonds offriendshipandcompanionship,to his music,conductactsofsolidarity, create 2 Theyusethegrouptopromote 1
www.e-compos.org.br | E-ISSN1808-2599 1/16 Revista da Associação Nacional dos Programas de Pós-Graduação em Comunicação | E-compós, Brasília, v.15, n.2, maio/ago. 2012. using musichastoconstitutegender, within thisparadigm,wewillfocusontheabilitythat and movefromanundesiredmoodtoanother. Thus, strategic usestoachieveormodifycertainemotions and theirrelationships,representthemselves,deploy resource thatallowspeopletoreflectonthemselves (DENORA, 2000).We understandthatmusicisa constitutes anenablingdevicethatpromotesaction interact andappropriatemusicinwayswhichit We beginwiththehypothesis thatindailylife,people divisions thatappearinitsformation. with aspecialemphasisonageandgenerational the configurationoffemininitiesthisgroup, question theconnectionbetweenmusicand home andfamily. Theobjectiveofthisarticleisto places themintheroleofcaretakers oftheir in anintersectionofgenderandalifecyclethat in spacesandtieswhichtheyareinterpellated they feel“free” incomparisonwithhowtheyfeel thatduringtheencounters, their own,andaffirm the configurationoffemininities. (2009); Liska aboutcumbia, Semánand (2008);and aboutcuarteto,Vila (2006) andSilbaSpataro Blázquez (2008). boleros, DelaPeza Casares(2001);abouttango, (1995); Savigliano Archetti (2003);CampodónicoandGilLozano(2000);Carozzi 3 to theworldofromanticmusic, ofhissongstellstoriesaboutromanticanderoticrelations. althoughmany production isahybridofvariousrhetorics frombolero, ballads, isnoteasilyclassifiable protestsongsandpoptowhat asbelonging 2008. Hethenhadacontract with productioncompany,Warner 2011 whenhelaunchedhisown Musicuntillate Metamorfosis. His Centroamérica (DIDECA), Music deMéxico, grantedtherightstoSony whichlater forwhichheworkedfrom1991until thecompany has made13studioalbums, onelivealbumandsixcompilations. Discosde Herecorded hisfirstrecordwiththecompany successfulinvariousSpanish-speaking countriesformorethan15years.1964 andhasbeenvery Sincehisfirstrecordin1985he 2 UBACYT andFONCYT. Aires (UBA)andtheUniversityofSanMartín(UNSAM)directedby Pablo Alabarces andPablo arefinancedby Semánthat Research of Argentina (CONICET). theUniversityofBuenos supportsthisworkisamongtheprojectsbasedat The researchthat of femininitiesinaRicardo Arjona fanclub] Council forScientificand financedbydoctoralscholarshipsfromtheNational Technical ¿Dónde habíaestadoyo?’: configuracióndefeminidadesenun club defansRicardo Arjona[WhereHadIBeen?: configuration 1 Edgar Ricardo Arjona Morales, inthemusicworldasRicardo whoisknown Arjona, in isasingerwhowasbornin Guatemala ispartofmydoctoralthesisfortheCollegeSocialSciences of theUniversityBuenos This paper Aires, Argentina, entitled The constitutive capacity of gender held by the uses of music have beenanalyzedinvariousstudies. ofgenderheldbytheuses musichave The constitutivecapacity To namejustafew: about 3 specifically in specificallyin ways oflivingapositionwithintheagestructure. cultural consumptiongeneratesskillsaboutthe women, specificallyaboutthewayinwhichthis analyzes theconnectionbetweenmusicand studiesofmusicandsociety,inform and,then The paperfirstlooksatthediscussionsthat another. Thatis,musicwould allowexpressing position ononehandandmusicalexpression on resonance”betweensocial a typeof“structural establish tieswithspecificsocialactorsthrough and understandsthatcertainmusicalstyles HALL; JEFFERSON,2000;amongothers) 2000; school (HEBDIGE,2004;CLARKE, on thehypothesesofEnglishsubcultures Thefirstisbased interpellation, andnarrative. resonance,articulationand that ofstructural the connectionsbetweenmusicandsociety: Three paradigmsarecentraltostudiesabout to thestudyofmusic 2 Theoreticalapproaches www.e-compos.org.br | E-ISSN1808-2599 2/16 Revista da Associação Nacional dos Programas de Pós-Graduação em Comunicação | E-compós, Brasília, v.15, n.2, maio/ago. 2012. that isbothsubjective andcollective:his thesis anidentityexperiencecreates andconstructs work reflectsonpeople,but howitproduces, indicating thattheproblem is nothowamusical is toinvertthecommonacademicargumentby artistic worksandsocialgroups.Frith’sproposal totracethesetracksbetween problem istotry or representpeople,giventhattheanalytic hypothesis thatmusicmustinsomewayreflect study ofpopularmusicislimitedbythe thattheacademic of Frith(2003)whoaffirms This lineofworkincludesstudiessuchasthose the conceptsofarticulationandinterpellation. homology, certainanalysesaboutmusicinclude To circumventtheproblemofstructural divisions ofclass,ageandgenderrespectively. to mentionjustsomeofthereductionsrelated women andromanticmusicinmanycountries, and tangoonamoregenerallevelamong popular sectorsandcumbiabetweenadults established inArgentinaamongyoungpeople inthehomologationthatisoften observed Thiscanbe the materialandartisticforms. relationship thatwouldbeahomologybetween social groupsthatconsumeorproduceit,ina connections betweenamusicalworkandthe tofind The problemwouldconsistintrying this connectioninamorecomplex manner. music andsubjects,preventingunderstanding would indicateareflectiverelationshipbetween mark canleadtoatypeofreductionismthat identities. However, thistypeoftheoretical or displaying constructed previously certain meanings indetriment toothers. there willbeacertainrangeof possiblemusical that community anditisbasedon this narrative 1995), bothfortheindividualas wellasforthe identity(RICOEUR, given thatidentityisanarrative (we)grantmeaningsandunityto ourlife, narrating meaning tochoicesmadebysubjectsbecause allowsconferring would saythatthenarrative the limitstopossiblearticulations.Theauthor introducing theideaofargumentalplottoconsider and theory by usingthedevelopmentofnarrative to resolvetheproblemsofinterpellationtheory 2000,p.14).Reachingthispoint,Vila (VILA, seeks articulation inwhichithasparticipatedthepast” but meaning),andthismeaningisrelatedtothe does havemeaningforus(notintrinsicmeaning, not alwaysandonlycomefromthelistener:“music not beproductivetothinkthatthemeaningdoes music doesnothaveintrinsicmeaning,itwouldalso homology.of astructural thatif Theauthoraffirms without, inthefinalanalysis,appealingtosometype interpellation ismoresuccessfulthananother, because ofitsdifficultyin explaining whyone ofsubcultures to theproposalofEnglishtheory articulation andinterpellationshasaproblemsimilar of Vila thatthetheory Meanwhile, (2000)affirms enabling, asis,music. of aestheticjudgmentssuchasthosethatare groups bymeansofculturalactivity, bymeans groups areonlyabletorecognizethemselvesas this groupidentity. Thatis,thatthesocial reflected inthemusic,butthatmusiccreates is notthatasocialgrouphasbeliefsare www.e-compos.org.br | E-ISSN1808-2599 3/16 Revista da Associação Nacional dos Programas de Pós-Graduação em Comunicação | E-compós, Brasília, v.15, n.2, maio/ago. 2012. DeNora recognizes thatmusicisnotmerely a of resignificationandappropriation) giventhat de Certeau(1996)(andhisemphasis ontheuse and theauthor)onother, thatofMichel his emphasisonthemusicalmaterial,work, (2003)ononehand(and between thatofAdorno forexample,tension thatcouldbeformulated, et. al.,2011),hisapproachgoesbeyondthe promoter ofaction.Asweindicated(GARRIGA an essentialelementofenablingdeviceanda them, basedonanunderstandingofmusicas the identityinterplaythattakes shapebetween questioning thetiebetweenmusicandsociety a newpointfromwhichitispossibletocontinue different paradigmsandplacesthediscussionon work ofFrith,DeNoradoesthesamewith the subcultureschoolandVilla discussesthe of identities.AsFrith’sworkdiscussesthat that studymusicasaspaceofconfiguration and addstothecomplexity oftheparadigms understand musicasareflectionofthesocial, this allowsquestioningboththeproposalsthat condenses them,andgoesbeyondgiventhat that DeNora’sworkincludesthesediscussions, based ontheworkofDeNora(2000),todegree oftheanalysis also proposestorelocatetheterms the findingsof existing theoreticalfield,yet society. Inthissense,studyisnourishedby emission andreceptionbetweenmusic cause andeffectoflisteningtomusic,between studies aboutmusic:particularlythetiebetween the scopeofdiscussionsthatareinplay –helpestablish interpellation andnarrative resonance, These threeparadigms–structural and positionintheagestructure. gender concerning enables inrelationtotherules Argentina, toquestionwhatisitthatthemusic who participateinaRicardoArjonafanclub continue byanalyzingthestatementsofwomen Based onthisconceptualapparatus,wewill undesired mood,amongothercapacities. achieve ormodifycertainemotions,toescapean at thebeginning,todeploy“strategicuses” representation, allowingpeople,asweindicated 158). Thus,musicbecomesadeviceforself- various socialsceneries”(DENORA,2000,p. others asemotionalandaestheticagentsthrough subjectivating themselvestoand undertaking “thereflexive aestheticpracticeof that constituteoneoftheprivilegedresourcesfor life, peopleinteractandappropriatemusicinways be summarizedinthefollowingmanner:daily (DENORA, 2000,16-17).Theauthor’sthesiscan identity andenergy”bothindividualcollective perceptions, incognitionandconsciousness, dimensions ofsocialagencying,insensations, plane ofdailylife,“musicisinvolvedinmany “significant” or“expressive” mediumbut,inthe is commonly charged with automatisms: it would would is commonlycharged withautomatisms:it between musicandageiscomplex anditsstudy just forcertainagegroups?The relationship processing ofage?Arecertain kindsofmusic In whatwayismusicrelatedtothesocial perspective ofage 3 Themusicalexperience fromthe www.e-compos.org.br | E-ISSN1808-2599 4/16 Revista da Associação Nacional dos Programas de Pós-Graduação em Comunicação | E-compós, Brasília, v.15, n.2, maio/ago. 2012. decades] “Señora delascuatrodécadas,”[Woman offour ways. Ononehand,thereishismostfamoussong classifications andconceptualizesageinvarious these Arjona’s musicalproductiondisrupts made basedonthat. the possibleconnectionwithmusicthatcanbe and,ontheother,age andorgenderstructure on onehand,thewaysoflivingapositionin gender identities.Theseconcepts,essentialize, pre-existing, homogenousandstaticageor that thereismusic“reflects”or“expresses” resonance,thatis, the paradigmofstructural between musicandsocietyisconsideredfrom for women.”Ineachcase,theconnection generate thesameproblemsaslabel“music for “adults,”andmusic“theelderly,” which seem thatthereismusicfor“youngpeople,” some –notallofhisfollowers,whofindinthem These aresomeofthemostsignificantlyricsfor and conducted participant observation oftheclub andconcertsbyRicardo and conductedparticipant observation Arjona. club inBuenos oriented interviews,Aires inwhichIconductedbiographically withmenandwomenwhoaremembers ofthegroup 5 4 The thesisonwhichthis article isbasedsupportedby fieldworkconductedfrom2008-2011withtheartist’s officialfan Fromrecord the 4 withthelyrics: you in command any placeyougo[…]. you incommandany willmakeput tracks whereveryouwalk/That back to30/Withyour40andthensome/Leave Woman offourdecades/Don’t insist ongoing life/It’s bettertoputlifeinyouryears […] […] Woman, don’ttaketheyearsfromyour touch/and thevolcanicstrengthofyourlook fifteen/ Buttimedoesnotwhither/ Thissensual as youwalk/ Your of figureisnolongerthat Woman offourdecades/withstepsfire Historias, 1994. members ofthisgroup. age andgenerationinthestatementsof analyze theintersectionbetweenmusic,gender, Aires rangesfrom14-80.Inthenext sectionwewill age groupthat,intheofficialfanclubBuenos listened tobypeople,mostlywomen,inabroad and themedia-fulfillthismandate:Arjonais for “middleagewomen”bytherecordcompanies who -notasaculturalobjectcatalogedbeing central theme.Itistaken upforusebyhisfans the subjects,bodiesandromanticrelationsisa consequences ofthepassagetimeinlife these lyrics,butinothersongstheanalysisof ofagenotonlybecause interms disruptive On theotherhand,thismusicalproductionis to thehegemoniccannonsofbeauty. – youthandwhosebodynolongercorresponds the agegroupthatismostcovetedineroticterms pleasure ofawomanwhoisnolongerlocatedin an assertionofthecapacityforseductionand part ofitsexecutive board.We asked whatwere created thefanclub16yearsagoandnowform statements ofMirtaandAna,twowomenwho divisions intheserelations,weanalyzethe and specifically, theplaceofageandgeneration To studythetiebetweenmusic andwomen, 3.1 Aboutoneself 5 www.e-compos.org.br | E-ISSN1808-2599 5/16 Revista da Associação Nacional dos Programas de Pós-Graduação em Comunicação | E-compós, Brasília, v.15, n.2, maio/ago. 2012. feelings inaway thatseems“clear.” that “reach them,”whotellstories,narrate they preferartistswhoselyrics “saysomething” inthe peoplewhochoosethissinger: recurrent her musicaltaste,afactthatappearstobe listen tothelyricsofsongswasshaping and audiocomponent.Thispredispositionto preponderance tothewordsovermusical withherselectionsgiving and alsoSerrat, Argentine rockbandslike SuigenerisandVirus, In heryouth,Mirta,whois53,listenedto to seehim’(Mirta). guy. WhenhecomestoArgentina Iamgoing older […]AndIthought‘Ihavetohearthis do thingsformyself,mychildren were abit in gearandbegantostudyItalian.I I wenttoadoctor, Ibeganto exercise, Igot had Ibeen[…]Thenbegantogoonadiet, this point,whathadhappenedtome,where I looked andasked myselfhowIhadreached was10kg heavierandIwasn’t pregnant! Then I looked atmyselfinthemirror. Itellyou shelieddown,she wasabitfat.Thenafter song inmyheadandrealized shewasbig, me. Isawherinthebathroom andhadthis (because ofdiabetes)andwaslivingwith situation inmylife,motherbecameblind at thetimeIwasundergoing delicate avery I heard Señoradelascuatrodécadas[…] organize afanclub. interest inanartistlike Arjona;andthento the individualeventsthatfirstledtotheir lead her to accept what a song by her favorite lead hertoaccept whatasongbyherfavorite There isnotapassivelistening thatwouldonly steers theconnectionbetween MirtaandArjona. is placedinquestionbasedon asong,which This istheplotthatdevelopedhere,andwhich in thislifecycle. activities expected ofawomanhergeneration been takingcareofherchildrenandworking, be answeredwithoutthisintersection:shehad “where hadIbeen?”thatMirtaaskscouldnot intersection withgender, giventhatthequestion This iswhereagemustbeanalyzedinits occupied mostofherdays. because theactivitiesrelatedtohermotherhood for aperiodinwhichshedidn’thavetime realizing thatthesethingshadbeensuspended herself” that wouldbringherpleasure,“dothingsfor the otherhand,togiveheraplaceofactivities herself inthemarket ofdesireandlove.On move inanotherway, or, whynot,toreinsert a diet,exercises –whichwouldallowherto that beginswiththeaesthetic–shegoeson converge inMirta’sstatement:atransformation her lifeandthatofmother. Otherfactors that Mirtausestoelaboratemomentin asrawmaterialsong functionsasanalarm, in hermother’sbody, aswellherown.The thechanges inthemirror head” Mirtaobserved las cuatrodécadas.”With thissong“inher her firstcontactwithArjona“Señorade Based onthisaestheticinclination,shehad because herchildrenarealreadyolder, www.e-compos.org.br | E-ISSN1808-2599 6/16 Revista da Associação Nacional dos Programas de Pós-Graduação em Comunicação | E-compós, Brasília, v.15, n.2, maio/ago. 2012. and hermoment. aquestioningofherdesires,bodypermit DeNora (2000),toreflectonherselfand asweindicatedwithgives herpermission, the songsays“touches”hersubjectivityand artist wouldsayabouther. Somethingthat of femininityduringthefirsthalf20 care forchildrenwerepartoftheconstruction love,thehome,and gender divisions:maternal society inadichotomistmanneraccordingto historically hasdefinedtherolesofpeoplein women grewupinasocio-culturalcontext that take shapeinthesecondhalfofcentury. questionings andmodifications,whichbeganto imprints remainvalideveniftheycoexist with (LOBATOcentury et.al.2000),andthese middle classfamiliesofBuenosAires. existence: inthe1960s, theyarewomenborn because theysharethesameconditionsof they arechronologicalcontemporaries,but are partofthesamegeneration,notbecause as bygenerationalbelonging.AnaandMirta bothbythedivisionofgenderaswell informed given tothislistening,trajectoriesthatare life trajectoriesbasedonwhichmeaningis people selectissignificantlytiedtoparticular One premiseofthisstudyisthatthemusic subjects fromanothergeneration. is, indistinctmanners;that provoke individualstobegenerated in theconditionsofexistencethat toactandthinkdifferentlyfrom itisnotenough tospeakofchronologicalcontemporaneousness; itisnecessary,of generations moreover, changesaremade that 7 the culturalindustriespromote(DECERTEAU,has todowiththevariousformsofusingtextsthat 1996;MARTÍN BARBERO, 1983). 6 culturalconsumptionisadistinctmomentofproduction, ustoaffirmthat This mechanismallows whichisnotinscribedintextsbut The conceptofgeneration, byBourdieu(1998), whichwasfirstdevelopedbyMannheim(1993) andlater tospeak that indicates 6
7 These th
for thechildren. amongotherissues,whowould care concerning, university studies,creatingtensionwithinhomes sector moveddeeperintothelabormarket and (idem) –sincethe1960s,womenfromthissocial classes –wherethesechangeswerestronger origin oftheagent.Focused ontheurbanmiddle according tothesocial,culturalandgeographic differed 1994). Ofcoursethesetransformations of inter-genderrelations(FEIJOO;DENARI, of newlegitimaciesandthereconfiguration redefinition ofsomecustoms,theconstruction reconfiguration ofsexual morals. Thismeantthe contraceptive pillplayedanimportantroleinthis idea ofgreaterlibertyandself-knowledge, andthe to beseparatedfromreproduction,basedonan mention someexamples: sexual pleasurebegan they grewupbegantochangesincethattime.To the decade-socioculturalcontext inwhich atthechangeof 1960s –becausetheywereborn years earlier. Iftheywerenot“women”inthe distinctfrombeingawomanjustfew affirms, the 1960swas,asPujol(2003)enthusiastically changed sincetheseyearsandtobeawomanin Sexual moralsandgenderrelationswerepartially various orders,aboveallinthedailylifeofwomen. inthe1960s,adecadeofchanges were born These modificationsarerelatedtothosewho www.e-compos.org.br | E-ISSN1808-2599 7/16 Revista da Associação Nacional dos Programas de Pós-Graduação em Comunicação | E-compós, Brasília, v.15, n.2, maio/ago. 2012. new versions on a number of later works. new versionsona numberoflater 8 her parentssenttostudy accordionbecause music andthatwhenshewas eightyearsold founder oftheclub,saidthatshealwaysliked Ana, 51,anothermemberofthecommissionand of women. traditional conceptsaboutthebehaviorexpected that sheworkathome-whichquestionthe be “independent,”aswelldeepercontinuities, existence ofcertainchanges–thatMirtashould historic context ofbreaks,which indicatedthe should workathome.Inthisway, wefinda and simultaneouslyindicatestoherthatshe have ajobsothatshecanbe“independent,” about them:shetellsherdaughterthatshould aboutgenderaswellthequestioning rules mother revealsacombinationofthetraditional it’s notlike itistoday.” ThiscommentbyMirta’s do whatherparentssaid,“there were nooptions, is nothervocation,butthatintimeshehadto practices today. Nevertheless,sheknowsthatthis she studieddentistry, theprofessionwhichshe care forthehomeandfamily. For thisreason her toworkfromhomesothatshecould so shecouldfeedherself,butthatwouldallow do somethingthatwouldmake herindependent, and thathermothertoldno,shehadto recalls thatshewantedtobearadioannouncer andraised.ForMirta wereborn example, Mirta characteristic ofthedecadeinwhichAnaand oftheplacewomeninsocietyisa in terms This coexistence of“thenew”withold” The originalversionof theselyricsareonthe1990CDwithsamename, success wasreleasedin andbecauseofitsgreat This song you like itfine,andifnot,ok,right? says whatonefeelsandyoudon’t feel,if would bewonderfultospeakthisway, where one myself…I say:‘oh,great, it’swellsaid’[…]It telling you,thatIamshy, that I don’t express to beplacedinareligion? […]AndasIwas months oldanddidn’t askme’Whydoyouhave […] Itsays[theybaptizedmewhenIwas6 …religionscriticize andeverything ingeneral me] thesimplewayofspeakinganddaringto […]anditsboldness…[impressedmarvelous [Jesus verbandnotnoun]Ithoughtitwas I found[thesong]Jesúsverboynosustantivo can seesomethingdistinctfromthisfamilyrule: most calledAna’sattentionwasoneinwhich you”. ItisforthisreasonthatArjona’slyrics you don’t seeanythingelsebutwhattheytaught are inalittlebox hard andit’svery togetout, […] wewere educatedlike intheolddays,you asked ofme,Ididnotrebel againstanything carefulobedient, very withwhatmyparents an obligation,sherecognizedthat“Iwasvery have athome.Andalthoughshefeltthatitwas thattheyhappenedto it wasaninstrument 8 service/speak of honesty knowing that the tithe thetithe that ofhonesty knowing service/speak the him at doesn’t understandwhytheyapplaud up inlove, let’s seeandpracticeit[…]Jesus day long?/ iswrittentheresummed What doyoubrother,What readingthebibleall theory/ Jesús ismorethanasimpleandflat says www.e-compos.org.br | E-ISSN1808-2599 8/16 Revista da Associação Nacional dos Programas de Pós-Graduação em Comunicação | E-compós, Brasília, v.15, n.2, maio/ago. 2012. generated admiration. generated admiration. that wouldallowplacinginsceneaboldness in thiscase,basedontheencounterwithasong be reconsidered.Andthiscapacitywaspossible, social nolongerasagiven,butanarenathatcan to reflectonotherpossiblewaysofconceivingthe oftheirbiographictrajectories,and the narratives as rawmaterialwhichthewomenusedtosupport to understandingtheplacethatthesesongsoccupy isakey space toquestionsomefamilyrules element facing theopinionsofthosearoundher. Toa find being impededbyshynessandself-control when such asreligion,andtosaywhatonethinkswithout that questionsthemandatescomeasgivens, Ana findstherethemanifestationofa“boldness” fanaticism. She recallsthatonceshereached the professional respectabilityif theyknewabouther her colleagues,giventhatthey couldquestionher responsiblethought itwouldbe“notvery ” totell her husbandknewwhereshewasgoing, excuse thatshehadtogothedoctor. Although her husbandanddecidedtoleaveearlywiththe Mirta wasatalunchwithcolleaguestogether other, withoneobjective:topersonallyseeArjona. – totheairportofEzeiza,beforetheykneweach time wereabout35,went–like manyotherpeople in1995MirtaandAna,whoatthat One afternoon 3.2 Creatingafan club baptize meJesus,baptize likethis, amongfriends. partyandtheydidn’taskme/Please a piñata two monthsoldanddidn’ttellme/theymade is afraud[…] mewhenIwas They baptized an intensefondness forasinger. Iftheywould for theirage,like organizing afanclubbasedon even ifinanactthatisdisruptive age structure, totheirplaceasadultsinthe that correspond certainmodalities that allowsthemtoconserve women. Thus,theyproposealogicoffanaticism screaming, isinterjectedinthestatementsofthese and of the“hysteria”impliedbytheirrunning subject (JENSEN,1992),inthiscasebecause comfortable. Thefigureofthefanasapathological girls whosepracticesdidnotmake themfeel because theexisting byyoung oneswereformed that bothwomendecidedtoorganizeafanclub It isinterestingtoemphasizefromthistestimony And that’showwebegan(Mirta). and laterwewouldtalktoseeifmeet. said thatsheshouldleavemeherphonenumber they wouldkillme,myhusbandme.’I that comefrom? Andshesaid‘no,inmyhouse swear thatuntiltodayIstillwonderwhere did I don’t knowwhere this[idea]camefrom, andI neither.” ThenIsaid‘whatif wemake another?’ fan club,it’snotforme’andshesaidtome“me telephone numberandsaidtoher:‘ifthisisa and webegantoexchange ideas.Iasked forher to measyou,Ifoundoutbychanceoncable’ listening toyou,andthesamethinghappened was there, andIsaidtoher:‘excuse me,Iwas IstayedandAna Then, whentheyallleft, What Isawwere andscreaming. girlsrunning of thefanaticsaccordingtotheirages: airport, shecouldclearlydistinguishthepractices www.e-compos.org.br | E-ISSN1808-2599 9/16 Revista da Associação Nacional dos Programas de Pós-Graduação em Comunicação | E-compós, Brasília, v.15, n.2, maio/ago. 2012. the fact that adulthood is a degree of age, one of the the factthatadulthood isadegreeofage,one ofthe places apersonoutsidethisinterplay. Thisisdueto group andtoagender, andbeinganadultwoman repertoire ofthepracticesassociated toanage can provoke thatarenotpartoftheexpected and intellectualattractionthatamalesinger ofexpressingconduct: thereareforms physical betweenageand in sceneisanincongruence them. Thisisduetothefactthatwhatplaced begin toquestionthemselvesandthosearound between ageandpracticeisbroken, women 1992, p.158).Whentheintendedcoherence to avoidthewomanandherfanaticism”(LEWIS, immaturity andfemininityoperatesasastrategy is significant”andaddsthat“thelinkbetween and femininityinthesystemofrepresentation not masculine.Thecombinationofadolescence or childhood,andisrepresentedasfeminine, to Lewis(1992),“isassociatedwithadolescence fan.Fanaticism,herself –totheterm according with theimagethatsherelates–notevenfor and wife,whichdoesnotcoincide,atfirstsight, a “mature” womanwhoisprofessional,amother Therefore, Mirta’stestimonypresentstheideaof they hadbeenprepared. with theroleofmothersandeducatorsforwhich be partofthefanclub.Thisadviceclearlycoincides advice thatthesewomengivetopeoplewhowant the timethattheycansharewithArjona,thisis disobedient andmakingintelligent(adult?)useof listening carefullyinsteadofscreaming,calmingthe certain limitsofwhatispossibleinthegroup: include youngpeopleintheclub,theywouldset that ofmanyothermembersthegroup: appears inthestatementsofMirtaandAna age, genderandexpected conduct,afactthat between organize afanclubsupposesrupture andmaternity.marriage Fromthesepositions,to ofprofession, three logicsoftransition:interms mostlyfrom the caseofwomen,adultisformed this way, toactasadults,andin thesubjectslearn improper foreachdegreeofageandlifecycle.In what isgoodandbad,proper part oftheself-perception ofthesubjectsabout not onlymarked fromtheoutside,butalsoform gender, butalsothoseofage.Andtheserolesare notonlytherolesof legitimate, shapeandperform of representations,stereotypesandvaluesthat 1998, p.88).Thisistosaythatthereasystem BOADO,[age] inwhichtheyaredefined”(CRIADO tend toadaptthesocialdefinitionofcategory way because,andthisvarieshistorically, “subjects childhood andyouth–whichactinaperformative segmentations thatoperatesonthelifecycle–asis obviously hecomplains (Ana). not tellme,no,don’t doit.Buthecomplained, know ifmyhusbandhadthe intelligenceto go, here, there…but Ifeltabitliberated. Idon’t imagine, it’snoteasy, Imustdothis,goout, When Ibegansaid,‘¡they’llkillme!’because Ezeiza (Mirta). ‘You’re canyougo?ButIwentto crazy!How mymotherinhousewhosaidtome have children, Iamamarriedwoman, moreover, I me, myheadmustbefailingme, two Ihave the professional’, to ithad neverhappened […] thismademeabituncomfortable, ‘me, www.e-compos.org.br | E-ISSN1808-2599 10/16 Revista da Associação Nacional dos Programas de Pós-Graduação em Comunicação | E-compós, Brasília, v.15, n.2, maio/ago. 2012. loneliness experienced inadolescence; companionship inthefaceofanguishand of ElvisPresleyfindinhisimageandsongs of theirfavoritetexts (RADWAY, 1991);andfans theirownspacebasedonareading and construct limits onthedemandsfromtheirenvironment (FISKE, 1989); of hersexuality thatquestion thepatriarchalrules based ontheirmusicalselections,interpretations trajectories: justlike fansofMadonna produce, of questioningtheexisting limits intheirlife this failingwasalsoexperienced asaform But tohavethedispositiongiveroom andperceivedbythemselves. surroundings, mother. Thislimitwasmarked bytheirfamily by anadultwoman–aprofessionalandor fan clubarenotpracticesthatcanbeundertaken to gomeetanidolattheairportandorganizea incoherence betweenage,genderandbehavior: be “failing.”Thefailure,ofcourse,thesupposed they werecrazy. Mirtasaidthatsomethingmust indicating thatcertainpracticesaretreatedasif andwhatitispossibletodothere, structure about theplacethattheyoccupyinage In bothcases,onecanreadtheirinterpretations among otherthings,asaplacewheretheycan for itsmembers, music andthefanclubserve Elvis Presley fanatics Hinerman(1992). Elvis Presleyfanatics 10 (2001); Martín (2006);Skartveit(2009). Cragnolini 2009); Jensen(1992);Lewis Harris(1998);Hills(2000);amongothers. Works in Argentina aboutfans: Borda(2008, 2011); culture ingeneralasparticularfrom thefanculture. To see: expandanalysesoffanaticism Jenkins(1992, 1998, 2001, 2007, defines the “productionofmeaningssocialidentitybasedontheculturalresources oftheculturalgoods” bothfrompopular 9 Fiske (1992, p. thistypeofpracticecanbeinterpretedas that 37)indicates “semiotic productivity,” a concept withwhichhe For fansEhrenreicet. Cline(1992);aboutBeatles morestudiesaboutwomenandfanaticism al(1992) andLewis(1992);about 9 fans ofromanticnovelsplace 10 Arjona’s through theirlifecycles. that indicatethewaytheyshouldpass to livemoreflexiblyrules andboundaries withthe and,therefore,thepermission in theagestructure their owngenderconditionandposition collectively elaboratetheirfeelingthatcanconfer could andnotdowithhertime,todeal intheiryouthaboutwhatawoman learned rules found intheselyricsroutestoquestioncertain thatboth allows thesubjectstodoweaffirm about religiosity. Byquestioningwhatthemusic no sustantivo”“express” what Anathought younger manandnordidthesong“Jesús verbo ofaromanticeroticrelationshipwith in terms does not“reflect”whatMirtawasgoingthrough that thesong“Señoradelascuatrodécadas” resonanceparadigmgiven escaping thestructural To undertake thiskindofquestioningweproposed Arjona’s musicisbutwhatitallowsproducing. notsomuchwhat guides theanalysisconcerned hisfanclub.Thequestionthat women whoformed singer inthegenderandageconfigurationsof specifically, theplace ofthesongsa Guatemalan connection betweenmusicandwomenand, The purposeofthisarticlewastostudythe 4 Conclusions www.e-compos.org.br | E-ISSN1808-2599 11/16 Revista da Associação Nacional dos Programas de Pós-Graduação em Comunicação | E-compós, Brasília, v.15, n.2, maio/ago. 2012. gender expectations existing formiddleagewomen. experiencesto construct thatquestiontheageand resource thatpromotesaction,musicisalsoavehicle as wehaveindicated.Therefore,anenabling themselves andmake theirfeelingsunderstood, reflect uponthemselvesandtheirties,self-represent aesthetic dimensionofagency:itallowspeopleto music ispartofamechanismthatwecancallthe developed byDeNora(2000)weunderstandthat Based ontheuseofconceptualapparatus movement inthisdirection. positions fromamusicalagendathatpermitted authorized themselvestoquestionsomeoftheir encounter herownbody. Ultimately, thesewomen her shyness,togooutofthehouseandre- telenovelas latinoamericanas. Tesis (Doctorado y Mompirris:elfanatismoenlosforosde ______. Bettymaniacos,Luzmarianas Paidós, 2008. popular enlaArgentinacontemporánea.BuenosAires: ymediaciones:lacultura (Comps.) Resistencias Pablo;En: ALABARCES, RODRÍGUEZ,MaríaGraciela BORDA, Libertad.Fan fiction:entreeldesvíoylímite. www.sibetrans.com/trans/trans12/art06.htm>. de músicaTrans.n.12,2008.Disponibleen: Buenos Aires: Written Word. London:Routeledge,2006. Pop, Rock, GOODWIN, Andrew(Ed.)OnRecord. The WISE, Sue.Sexing Elvis.En: México: EdicionesCasaJuanPablos, 2000. (Ed.). MANTECÓN, AnaRosas,SCHMILCHUK,Graciela y lasactuacionesmusicales.En:PICCINI,Mabel; delossonidos,lasletras interpeladora ynarrativa Pablo.VILA, capacidad Músicaeidentidad. La Antropofagia, 2009. social yespiritualdeGildaRodrigo. SKARTVEIT, formación Hanna.Ánglespopulares:La 2008. Estudios sobreculturapopular. BuenosAires:Paidós, Graciela (Comp.).Resistenciasymediaciones: Pablo;baile. En:ALABARCES, RODRÍGUEZ,María Jóvenes bailanteras:entrelaslí SILBA, Malvina;SPATARO, Carolina.“CumbiaNena”. 16/16 Revista da Associação Nacional dos Programas de Pós-Graduação em Comunicação | E-compós, Brasília, v.15, n.2, maio/ago. 2012.