A collective of artists revives Argentine folklore from a queer perspective

A young couple dance to the rhythm of the Argentine folk music known as chamamé [it], the synchronized steps, the bodies that touch each other tenderly, the gazes that meet and escape; they hug the one to the other, kiss and unite in harmonious cadence, in an atmosphere of dreamlike eroticism. It seems like the perfect date, but with an uncertain, awkward ending, like in the ups and downs of a relationship just starting, when you’re getting to know each other.

All the complexities of this romantic story come together in the video of the song Mujerthe first single of the subversive collective of artists Bagner. The one and a half minute video, which combines eroticism and courtship with folklore Argentine coastal [es]is an ambitious project that aims to prevent sounds, traditions and emotions from falling into oblivion, offering a different and renewed perspective.

What is chamamé? IS a cultural manifestation of music and dance typical of northeastern Argentina, mainly of Corrientes region, [es] but also from Paraguay, Uruguay, southern Bolivia and Brazil. It combines elements of Guaraní, African American and European, and it is one fundamental component [en, come i link seguenti, salvo diversa indicazione] of regional identity.

On 16 December 2020, theUNESCO included the chamamé in the list of the oral and intangible heritages of humanity. Mujer was released on the same day. For producer Steven Bagner it was a wonderful coincidence, because he feels the chamamé very close to its roots. Steven Bagner tells Global Voices:

Each province of Argentina has different rhythms, with their own characteristics and their own regional flavor. And that is what we are defending, and above all, making it our own and deconstructing it, to include and show diversity.

Each region of Argentina has different rhythms, their own characteristics and their own regional tastes. And this is what we are defending, first of all, making it ours and then dismantling it, to create inclusion and show diversity.

From Morón to St. Petersburg

Steven Bagner. Picture of CottonBagner’s private property, used under license.

Steven Bagner is the name of the producer, and Bagner is also the name of the multicultural collective of dissident artists, mostly apparent to the LGTBI + community, who are working on various music and audiovisual projects.

Bagner’s main members are Steven, an Argentine producer and musician; Zara Taylor, Canadian singer; and Lilith Mogilat, creative director, of Argentine origin but who has lived in Russia since childhood. Other artists and occasional talents who participate in various projects are also part of the team.

Originally from Morón, a city west of Buenos Aires, Steven defines the collective as an organization that is more horizontal than pyramidal. He seeks variety of ideas and people, giving priority to a vision external to the dominant social point of view and external to the capital, where resources are concentrated. Bagner says:

Hiring and paying people from trans collectives, from our modest position, we can generate work, we can be inclusive, we can generate diversity, there are things to do. We are artivists and we seek to generate discomfort through art, so that the viewer can re-think. We believe that music is not only for entertainment, it can help to re-think.

By hiring and paying people from trans collectives, from our humble position, we can create jobs, be inclusive, create diversity, there are things to do. We are activists and we try to generate discomfort through art, so that the viewer can reconsider. We believe that music is not just entertainment, it can help you rethink.

Lilith (right) on the set of Mujer. Picture of CottonBagner’s private property, used under license

Mujer was filmed inside an apartment in St. Petersburg, Russia. One of the models is trans, but it is not specified which one. It is only at the end of the film that we can read these lines: “So you are FTM” [ female to male]. This underlies the discomfort associated with assuming a person’s gender based on their appearance and the difficulties of coping with sexuality during an intimate encounter.

The video was censored in Russia because it is believed to be against the law [it] that prohibit “homosexual propaganda.” Perhaps this is why it is even more important for the Russian actors of Mujer to be part of the project and to be aware that they are visible outside their own country:

As she travels back and forth, Lilith could see in a very distinct way the differences. For example, in Buenos Aires, Argentina, the laws have been progressively advancing the visibility of the LGBT community. But in Russia, it’s all going backwards. So for these young people to be able to participate in the video…. I can’t explain with words the value it holds.

Traveling back and forth, Lilith was able to see the differences in a very specific way. For example, in Buenos Aires, Argentina, laws are making the LGBT community more visible. But in Russia, she goes back. So, for these young people it is important to be able to participate in the video… I cannot explain in words the value it has.

Gender roles in Argentine folklore

Thanks to new historical research, we know that women have had a fundamental role [es] to the origins of chamamé and which, over time, have been made invisible and relegated to the background. Mujer claims femininity in folklore:

In all the popular and traditional dances, at least in Argentina, the patriarchy is the backbone. This means that women are always the weaker ones, the ones to mold, to control. Men are the virile and strong ones. And I think it is part of our roots. But we also invite to question if this is still what we want.

In all traditional and popular dances, at least in Argentina, the patriarchy is the backbone. This means that women are always the weakest, the ones to be shaped and controlled. Men are the virile and strong ones. And I think it’s part of our roots. But we also invite you to ask yourself if this is still what we want.

Also the queer tango claimed the original roles and questioned the vision of heterosexuality as the only valid model of sexual and emotional relationship, and today it is a movement that has become popular and attracts LGBTI + people from all over the world, who come to visit Buenos Aires.

This assertion of the feminine is particularly appreciable in Bagner’s second single, The Rosa Cruza highly symbolic tango that addresses a more personal issue than Steven:

It has to do with a frustrated, dejected musician who only finds empowerment when he recognizes the feminine part of himself. […] Once I embraced all that I am, I was able to start building something that was important for others and create these cultural alliances. It seemed to me that I could say, with pride, I am South American, I am from the countryside, it was the best role I could play.

It has to do with a frustrated and demoralized musician, who only feels legitimized when he recognizes the feminine side of himself. […] Once I embraced who I am, I was able to start building something important to others and I created cultural alliances. It seemed to me that I could proudly say I’m South American, I come from the countryside, it was the best role I could play.

Both the text and the name give expression to the beauty born of pain: the symbolic weight that weighs on her body like a cross, rebirth and strengthening. It also has a religious and spiritual load: “to separate the sense of religion from the state [it]living religion and spirituality from a different side is a very present aspect of what we do. “

Instead, there is no known precedent for LGTBI + or “queer chamamé.” Mujer is a pioneering project that touches traditions deeply rooted in the regional culture and, although there have been inevitable adverse reactions from traditionalist voices, in general the balance has been positive, with a good reception from the younger audience.

We knew that what we were going to do within Argentina and within Argentine folklore was a big challenge. The otherness is greatly invisible. We knew that we were putting, as they say here, “all the meat on the grill.” We were pouring all our ideology. We were showing ourselves genuinely, showing ourselves openly. […] We build on the tradition, also we do it with a lot of respect. […] The folklore, if it continues to remain so closed, so structured… will eventually disappear.

We knew that what we were going to do within Argentina and within Argentine folklore posed a great challenge. Otherness is so invisible. We knew we were putting, as they say here, “all the meat on the fire”. We were pouring out our entire ideology. We were showing ourselves genuinely, we were showing ourselves openly. […] We build from tradition, and we also do it with a lot of respect. […] Folklore, if it continues to remain so closed, so structured… eventually it will disappear.

Bagner’s work has been well received not only in Argentina but also in neighboring countries, from which he continues to attract people to collaborate on new projects, in order to rescue other folkloric forms of expression in the region.

We continue to work and see how we can weave networks that will help us culturally to connect and generate more diversity. We are investigating, experimenting and recording a lot of genres and musical traditions, not only from Argentina but also from other countries. A new single will be released very soon.

Let’s continue to work and see how we can weave networks that can culturally help us make connections and create more diversity. We are investigating, experimenting and recording many musical genres and traditions, not only from Argentina but also from other countries. A new single will be released very soon.