Chencha's gait
Bibliographic Data
| ID | 4516682 |
|---|---|
| Authors | Licia Fiol-Matta (Lehman College, corresponding author) |
| Year | 2008 |
| Volume | 18 |
| Issue | 3 |
| Pages | 287-301 |
| Publication date | 2008-11-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Women & Performance a journal of feminist theory (JOURNAL) |
| Journal identifiers | ISSN: 0740-770X • E-ISSN: 1748-5819 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/07407700802496041 |
| OpenAlex | W1966451277 |
| Language | EN |
| Citations received | 1 |
| References cited | 1 |
Myrta Silva (Puerto Rico, 1923–87) is known as one of the all-time best singers of Cuban guarachas. This article explores the psychoanalytic object-voice and queer performance by looking at the “before and after” of a humorous song created jointly by Silva and the Cuban composer Ñico Saquito (Antonio Fernández), “Camina como Chencha” (“Chencha's gait”). This song and its performance fused the real-life Silva with the fictive Chencha. Silva, who had embodied sexual desire as both “Myrta” and “Chencha” in a brilliant career, is remembered only as the “Chencha” of the end of her career, seen as a disgusting object. The article takes the reader back into Silva's beginnings as a musician to examine the status of the voice as Lacanian part-object prior to this hit song, and analyzes what happened after two signifiers, first joined by metonymy, became involved in a struggle ultimately won by metaphor
Aesthetics · Art · Embodied cognition · Epistemology · Linguistics · Literature · Metaphor · Metonymy · Psychoanalysis · Psychoanalytic theory · Queer · Cuban History and Society · History · Music History and Culture · Philosophy · Psychology · Theater, Performance, and Music History
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,07 |
| Citation span | 2011 - 2011 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |