Abstract
The purpose of this research is to study the filmic representation of the copla singer in the context of Spanish folkloric film musicals, so as to deconstruct the figure of the cantadora and the resilient model of femininity that she proposes. This folk music genre emerged in Spain at the beginning of the 20th century, from the fusion of the medieval poetic form of the same name with various literary movements, with Romance languages’ oral traditions and with cuplé and flamenco. It became the most popular music of its time, but, due to its association with the Franco regime, its beauty, its richness and its cultural, literary and musical value have subsequently been underestimated. My hypothesis is that the reality of the copla is more complex than what has traditionally been assumed and that its ideal of femininity is stronger and more independent than it is assumed. Its main interpreters were women who sang emotionally narratives with passionate and resilient protagonists who often transgressed or questioned the patriarchal canon of feminine docility. Methodology relies on an interdisciplinary approach with both semiotic and ideological perspectives.
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
Copla, Cantaora, Representation, Femininity, Transgression
