Libercueca: Biopoéticas del sexo y la fusión en la Cueca urbana Chilena
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Date
2010
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Publisher
Wiley
Abstract
La cueca es un baile de pareja chileno que tiene sus raíces híbridas en el siglo XIX y que se cultiva hasta nuestros días en múltiples versiones, algunas veces, incluso, en franca tensión. Nos interesa su variante porteña, "chora", que pone en escena la voz proscrita de "rotos" y prostitutas en los teatros y radios de los años 50; la cueca sola que denuncia la desaparición del compañero durante la dictadura; y la que ahora, en el siglo XXI, de la mano de la cueca urbana, es la voz y el cuerpo de un Chile disidente de los poderes fácticos que conciben a las clases populares como mano de obra, contingente militar, residuos o, desde el plano teórico y de la representación, un "otro" siempre sufriente. Como baile altamente erótico y de melodías que se fusionan con el tango, la cueca urbana chilena propone una comunidad nacional abierta a los extranjeros y que reivin dica el placer como derecho humano básico, condición de casi toda vida. Palabras clave : cueca urbana, cueca sola, cultura popular, erotismo, dictadura militar chilena, hibridez, biopolítica, biopoética, Los Trukeros, Nano Núñez, Raúl Gard
Cueca is a Chilean couples' dance that has its hybrid origin in the 19 th century. It has evolved - sometimes within an environment of real tension - into multiple versions, three of which are examined in this article. The "porteña" version, known as "chora," exhibits the exiled voices of "rotos" and prostitutes in the theaters and radio of the 1950s. The "cueca sola" was a way for women to denounce the disappearance of their husbands and partners under the 1973-1990 military dictatorship. Finally, the more modern urban cueca brings us the voice of a Chile that dissents from those in power who view the popular classes as only a labor force, a military contingent, a residual group, or, from a theoretical point of view, an "other" that is ever-suffering. As a highly eroticized dance, with melodies that fuse with tango, Chilean urban cueca proposes an open national community to foreigners, and restores pleasure as a basic human right and a condition to life.
Cueca is a Chilean couples' dance that has its hybrid origin in the 19 th century. It has evolved - sometimes within an environment of real tension - into multiple versions, three of which are examined in this article. The "porteña" version, known as "chora," exhibits the exiled voices of "rotos" and prostitutes in the theaters and radio of the 1950s. The "cueca sola" was a way for women to denounce the disappearance of their husbands and partners under the 1973-1990 military dictatorship. Finally, the more modern urban cueca brings us the voice of a Chile that dissents from those in power who view the popular classes as only a labor force, a military contingent, a residual group, or, from a theoretical point of view, an "other" that is ever-suffering. As a highly eroticized dance, with melodies that fuse with tango, Chilean urban cueca proposes an open national community to foreigners, and restores pleasure as a basic human right and a condition to life.
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Keywords
Biopoetics, Biopolitics, Chilean military dictatorship, Cueca sola, Erotism, Hybridism, Los Trukeros, Nano Núñez, Popular culture, Urban cueca, Cueca urbana, Cultura popular, Dictadura militar chilena, Raúl Gardy