Quando “deus e pátria o exigem”: sobre a (im)possibilidade queer do “folclore” argentino

In recent years, our music and our dances have been questioned with respect to its prescription to sexogendered identities that has gradually become outdated due to the recent recognition of the queer theory. Although being a result of the early modern period, both folk music and dances are based on heteronormative codes that seem to be reluctant to accept the queer theory. Having based this investigation on an ethnographic research carried out mainly in gatherings and performance of female musicians dedicated to “folklore” in Santiago del Estero, Tucumán, and Córdoba, I analyse throughout this article, these new sex and gender features displayed in tango, which were primarily accepted in relation to what is now known as the queer theory. These characteristics in the “traditional” folklore were not contemplated or even considered a taboo. It is strongly assumed that this social belief and its consequent queer impossibility is based on a specific foundational articulation among nation, gender and religiosity while this musical-dance complex stands "from the inside" of the nation as the main emblem of the gaucho founding myth.En los últimos años, nuestras músicas y danzas se vieron interpeladas respecto de su prescripción a identidades sexogenerizadas que comenzaron a resultar “estrechas” frente a las lógicas (queer) recientemente habilitadas. En tanto producto de la modernidad, las músicas folklóricas arrastran criterios heteronormativos que, sin embargo, parecieran mantenerse reticentes a estas innovaciones. Partiendo de un trabajo etnográfico realizado sobre todo en el ámbito del desempeño de mujeres músicas dedicadas al “folklore”,  durante el artículo analizo estos nuevos bordes de desdibujamiento del sexo y el género que en el tango citadino se ven habilitados, y cuya “deconstrucción” pareciera resultar improbable tratándose  del “folklore argentino”. Se sostiene que este imaginario y su imposibilidad queer consecuente tendrían base en una articulación fundacional específica dada entre “patria” (o nación), género, y religiosidad, en tanto este complejo musical-danzario se yergue “desde el interior” de la nación como emblema principal de su mito fundacional gauchesco