Soto Flores, Leticia Isabel - Performative Metaphors. the 'Doing' of Image in Mariachi Music

7/29/2019 Soto Flores, Leticia Isabel - Performative Metaphors. the 'Doing' of Image in Mariachi Music

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5 UCLA Center for the StUdy of Women ✪ csw upa: thinking gender 2012

In music studies, holar hav o

xplor a a aphor or oo,

hogh, a l. i h 19h ry,

r ewar Halk rogz h hr

aphoral o al or. A h

a 1891, “wha vry ohr ar ll -

rpo alray aphor”, (Halk

1986: 30). Wh vrbalzg wha , ro

rprao o hq, o ao avo -

g grav lagag, aphor parlar,

ba a vrbal rpo o sound , o -

y, a rprao.

i h r a rgarg aphor

, aphoral lagag o rb

rlao o al pra or

hory. T aphoral rpo hav -

avoably b o h ologal horzo

a hrogh lagag. molog sa

mclary rr o h a gr ap o ra-

oal hory Feminine Endings (1991),

a og x ology. sh a:

“ hor a aaly q rqly

bray a xpl rla o aphor o g-

r (“aly” v. “y”) a xal-

y hr orlao. T o vrabl o

h—ba ha roo raoal po-

—volv h laao o a-yp

or g aorg o gr” (mclary 1991:

9). ma a r lz h r

“ g” a “al g” o

rb how a a , o who vr

ralzg ha h aphor prpa xal

The “Doing” of image by Women in mariachi musicr hrogh al lagag. i arah

, a lar ao ha a wh

h rag parpao o wo arah

a. A or a or wo pror

arah bl, h og raoally a

voal rgr or ar arly rapo

o h al vo. T alrav voal rg-

r qkly ba agorz a h “grl ky,”

or tono para mujer. Whl h o h gr

aphor olloqal, w ao gor h ral-

y ha h aphor rology rly

xplly o aphor o gr. maphor

h o rly a po ap o lagag;

alo a way whh val a o-

opalz hr “og” hrogh a-

phoral lagag.

excerpT from “Thinking genDer in space, place, anD Dance,”Tg 2012 plenary session by leTicia isabel soTo flores

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i h o a, aphor abo , aphor

o oly rpr h al xpr l, b hy alo

a h way h o b xpr. T yp o

aphor o boh r a hag o’ xpr

o h . mclary rgar h a gr a xal-

y al arrav: “no oly o gr a xal-

y or or “abra” hor, b l orl havly po h aphoral lao o xal

avy or ” (mclary 1991: 12). i h a o

arah , h arly 1990 wh all-al ara-

h bl bga akg hr pr kow o h

u.s. or ag, i rbr ay lr rbg

hr xpr o h wh oal o ak o b

“aral,” ho aoa wh y a al-

y. Jg rgarg hr l o

a opla ha o “,” “wak,” “low,”

a ha “ohg wa g.” T by all-al

arah grop wa o jg o al qal alo;

a h a ploy aphoral lagag o

hararz a xpr wha h a o them, h

lr. T wa hr h aho al o ay

wr ao o, or wa pr h aho a-

l ag bqoly aoa wh arah .

exprvy o jg o a arb o h ;

arb to h . i h , rv a a

aphor or h ga o h xpr, whr h

ga o o a ologal rawork.

Alhogh rarh org aphor a abo

oo , i wol lk o propo

a alrav way o approahg aphor a rla oprora. Phloophr Joh L. A, og h

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wor “prorav,” rr o h ag o

ra, or pok wor, a h “og” o h

ao ha aoplh (A 1978: 5-6).1

Alhogh h h a wh pok wor, wha

happ wh h “og” ha ha o wor? For

h, i rr o Jh Blr’ oo o

“boly ao.” i rag h rlaohpbw h ph a a h boly a, Blr

wr, “hr wha a, a h hr a

k o ayg ha h ‘boly r’ o h

ra pror” (Blr 1997: 11). Ao ar

h o b roo a prorav aphor,

whh ar v brgg abo h ao

hy rpr, g a ag rahr ha wor.

T ag ra a goa by wo

arah a, boh hr vrbal rp-

o o hlv a wll a h o-vrbal

“og” o hr ag, afr h a ha a

aphor o rly a lg ha;

aphor a alo b pror, ag ha

o o o hav o “ay” ohg o a

a aphoral rh-val. A prora, or

xapl, a pbl ao whh ag ar

a o ao (a wor) ha a or

ohg l. i h ollowg, i wll llra

bry how aphor a b pror, o

hrogh h l, b hrogh h ag

pr by al arah a.

1. Aordng to Atn, thr ar two tp o prormatv: 1) a prloton-

ar at “what w r ng aot or ahv ang omthng,” (onqn

roght aot a ph at); 2) an llotonar at th at w prorm “n

ang omthng.”

Image In marIachI musIc

Aro h worl, arah a powr-

l o o lral xpro ha ha b

proaly rogz a a al-oa

al rao, p h a ha wo

alo play a gral rol. s h bgg

o worlw poplary, h arah ag

ha b lz o rpr a ybol o al-

— par ablh by h naoal charroAoao’ 1921 o o h— ao o

ga a a ybol o mxo.

ebra a a bl o mxa y

rg h aoal ov h 1930, h

arah ag wa or ro a ollo

o ybol—h a h obrro, h traje de

charro (h ylz bllghr o aop by

arah a), a pol brahg—all

whh ollvly pr a ag o mxa

al hrogh l, lvo, a rao.morovr, h al l-rprao o

F I g u r e 1 : E x a m p l e of t h e

m a s c u l i ne m a r i a c hi i m a g e

p op u l a r i z e d w i t h t he G ol d e n

E r a o f M e x i c a n F i l m

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al arah prorr ha largly

h oo prpo o h al xpr-

o, a h al opo ha ha b

prarly ap by h o h a a

holar o h prora pra.

i hr arl o h or rrog

h mxa charro, Olga nájra-Raírz po- ha h charro b approah a boh a

aoal ybol a a lral oro o

al (nájra-Raírz 1994). dp h a

ha hr a ralao or h wor

charro (charra), arah a o o -

rb h al vro o h arah a a

traje de charra. Wo hav ohl ra

a goa hr ag a vary o rav

way. T ollowg ar oly a w o h way

whh wo arah a hav ova

h traje de charro.

all-female

marIachI ensembles

i h 1950 mxo, hr all-al arah

grop wr or a r by wo

h mxa apol: marah La Ala by A-

la “Ala” chávz, marah Fl erlla

méxo (ally all marah mhoaao)

by Lp “Lpa” moral Ayala, a marah La

corola (ally all marah norga) by

carloa norga, ar a a a. T

wo, a o aopg a z vroo h traje de charro whl prorg arah

F i g u r e 2 : M a r i a c hi

F e m i ni l E s t r e l l a s

d e M e x i c o

ha n d c r a f t e d t h e i r

o w n o u t f i t s .

C o u r t e s y o f F e l i s a

G o n z á l e z , 2 0 1 1

F i g u r e 3 : M e x i c o

C i t y ’ s M a r i a c hi

X o c hi t l wa s fo r m e d

i n 1 9 8 2 b y R a m o na

M a d e r a G á l v e z

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, hy hara hr ow o, o

o h k-lgh varao o mxa r-

goal r. Fgr 2 how marah F-

l erlla méxo xapl o h vry

r hy oo.

s hr orao 1982, mxo cy’

marah Xohl by Raoa mara Gálvzha a r vo o how o hghlgh hr

y a a all-al arah bl

(g. 3). dp h a ao o h

al ag aoa wh h traje de

charro, a h xapl by h

r all-al arah grop ha pr

h, marah Xohl z hr ag

by warg hor lgh kr ha a j

abov h k.

i h u sa, marah Rya Lo

Agl Joé L. Hráz, ablh

1994, ha h oppory o pror or Pr-

Barrak Obaa a r lay mhll

Obaa a a h Wh Ho or hr 2009

co mayo lbrao (g. 4). For h l-

brao, aog hr larg vary o , hy

ho o war hr prpl traje de charro wh a

wh ah rapg ro h rgh hp.

i sa Aoo, txa, marah mjr

iraoal by Lla torr, or 2008,

o h harro ag by ag a brgh

pk reboso (hawl) wh a ahg owr

hr har (g. 5). T rbozo ha a pal g-

a o mxa wo; alhogh warly

F i g u r e 4 : M a r i a c h i

R e y na d e Lo s

A ng e l e s d e J os é

L. H e r ná n d e z ,

e s t a b l i s he d i n

1 9 9 4 , p e r f or m e d

a t t h e W h i t e

H ou s e i n 2 0 0 9 .

F i g u r e 5 : M a r i a c h i

M u j e r I n t e r n a c i o n a l

b y Lu c i l a T or r e s ,

f o r m e d i n 2 0 0 8 ,

m od i f i e d t he c ha r r o

i m a g e b y a d d i ng a

b r i g ht p i nk r e b o s o

( s ha w l ) w i t h a

m a t c hi ng f l ow e r .

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F i g u r e 6 : M a r i a c hi C ont i ne nt a l F e m e ni l b y C a r l a B i b i a n o

R i v e l e s e m p l oy a v a r i e t y of m a r i a c hi s u i t s t ha t u ni q u e l y d r a w

a t t e nt i on t o t he f e m a l e b od y .

hy hav h ow-ovoal al traje de

charro, hy alo pr hr warg a

op a pa wh a r owr hr har

(g. 7).

marah Fl Aéra by maría

Jú Xolooz maa a hr hba, Arao

mñoz Vaqz, wa or 2011 tlaxala Xohéal, tlaxala. i gg hr r

traje de charro, maría Jú ho o hav a

or raoal look, alb wh pr-

jak (g. 8).

By vlopg hr awar o h g

a gal ha rv a a lagag o hr boy,

a by hoog o “o” hr ag orr o

perform a al vro o h horally a-

l arah , wo arah a

aphorally ar a o ha whh

val a o o opal-

z a h or: h traje de charro. T a-

phor aro by wo arah oay,

a prhap a aphor o h rol o wo

al av, h provok g q-

o rgarg rao, jg, a ybol

ag.

speech acts and

bodIly actIons

i oral rvw a oral ovrao

wh wo arah a, ay h-

aally har wha hy o o ak h arahag or . so rb h olor

F i g u r e 7 : I n Lo s A ng e l e s , f o u r w om e nc a m e t og e t he r t o c r e a t e M a r i a c h i

B e l l a .

lk o go a rral mxa wo,

phaz y aro oal la.

i Jrz, Zaaa, marah coal F-

l by carla Bbao Rvl ploy a vary

o arah ha qly raw ao

o h al boy (g. 6). i o xapl, hy

pror warg a oral oporary rap-

l r wh “boara” orao, o-

wh a jak, a how blow. i ohr

oao, hy war a rapl op wh a log

a olorl mxa rgoal kr.

mor rly Lo Agl, or woa oghr o ra marah Blla. Togh

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hy hoo or hr ar, h lgh o kr hy

prr, whhr hy prr kr or pa, a

o ll rq wo who hoo o o war

h log “” raoal kr whl pr-

org arah .

i ao o h r o ra a

ag, hr h rlyg oo o “h ra-oal” a “h propr.” i a r rvw wh

Raoa mara, ror o marah Fl

Xohl, h l h o jy why hy prr

warg hr hor kr, j abov h k. sh

xpla ha wa or ov ba h

log kr a b agro a hr hl

o g k h h, ag h o rp

hy ar o arl. sh a ha wh h log

raoal arah kr, hy wol’ b abl

o walk a hy o.2 trhlly, a h

lar rval, hy o lookg lk xy

wo arah a. dp hr rao

or warg k-lgh kr, marah Xohl

ha a ahg ll-lgh kr o ro o

a who prr or “propr-lookg” all-

al arah grop.

T aphor aro o marah Xohl’

, or v xy, arah ag oly o

xapl whh h vrbal rpo o hr

ag ay a opl h o-vrbal

“og” o hr ag. T vr a ha

rpo o h prorav aphor, ay

o whh or pora oo o rao,

2. Personal interview with Ramona Madera, 17 December 2011.

F i g u r e 8 : M a r i a c hi F e m e ni l d e A m é r i c a , f or m e d i n 2 0 1 1 i n T l a x c a l a d e X i c oht é nc a t l ,T l a x c a l a , ha v e a m or e t r a d i t i ona l l o ok, a l b e i t w i t h p r i nc e s s - c u t j a c ke t s .

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o Vom Mkalh-shönn. indanapol: Haktt

Plhng compan.

Mclar, san. 1991. Feminine Endings: Music, Gender,

and Sexuality. Mnnota: unvrt o Mnnota

Pr.

sarl, John R. 1969. Speech Acts: An Essay in the Philoso-

phy o Language. camrdg: camrdg unvrt

Pr.

jg, a ybol ag, hav por-

a o wha hol b prrv a

wha ol volv hag.

O say, novbr 27, 2011, El mariachi:

música de cuerdas, canto y trompeta (Mariachi:

string music, song, and trumpet) wa aog

gh w o agbl worl hrago b a o h Rprav L o h

iagbl clr o Hay by h u

nao Orgazao or eao, s

a clr (unescO). T a ha ow

a rpobly o h mxa govr a

h arah a hlv o prrv

h (whh abgoly a) ha

h w lgh o how al arah gropwll b l or o prrv h al

rao, parlarly unescO’ rog-

o a o pro hrag—o rpr

a ol—a all al grop ar or r.

performatIve

metaphors

Prorav aphor ar bo a-

o ha apr oo a xpro h

y a aapably o ha avy. Ty

ar aoa wh l-prao, play,

a rproal oao. i h ,

h aphor pror ao or a appro-

prao a raorao o h bqo

al arah appara. Prora o j abo ; alo abo h boly

ao. T, a lor look a h prorav

ao, whh ar a h roo o h prrvao

o prorg ar, h lgh o h qoa

aphor aro a by wo arah

a oay.

Proravy, h, ao b l o

aphor a abo . A lor look ahow wo arah a “o” hr ag

ak o ao o oly wha hy war a

how hy look, b alo h prorav a-

phor ha l h harar, a,

gr, bhavor, a h al a-

ao hlv. All o h ar bj o

rxv jg ha olla bw prr-

vao a hag.

Leticia Isabel Soto Flores is a doctoral studet i

the Departmet of Ethomusicology at UCLA. She

preseted a versio of this essay at the pleary

sessio, which was titled “Thikig Geder i

Space, Place, ad Dace.”

REFEREnCESAtn, John L. 1978. How To Do Things With Words, 2nd

dton. boton: Harvard unvrt Pr.

btlr, Jdth. 1997. Excitable Speech: a Politics o the Per-

ormative. Florn, Ky: Pholog Pr.

Dlgado, Martha i. 2010. La Metáora en la Imagen

Fotográfca. Méxo D.F.: T d Matría, unvr-

dad Naonal Atónoma d Méxo.

Ktta, eva Fdor. 1998. “Woman a Mtaphor.” Hypatia

3(2):63-86.Hanlk, edward. 1986. On the Musically Beautiul, tran-

laton Gofr Pazant o th 8th dton (1891)

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Soto Flores, Leticia Isabel - Performative Metaphors. the 'Doing' of Image in Mariachi Music