Abstract
Este artículo presenta unas coplas de chirigota compuestas por desempeño público durante el carnaval en una villa agraria de la provincia de Sevilla. Las coplas están compuestas entre los años 40 y 90. Representando un género folklórico burlesco social específicamente andaluz, las coplas son una prerrogativa solamente masculina, escritas por los «maestros de murga» e interpretadas por cantores masculinos («murguistas»). Basadas en imágenes eróticas, metáforas genitales y alegorías obscenas, las letras comunican una ideología masculina sobre la sexualidad, las relaciones entre el hombre y la mujer y la domesticidad. Concluye el artículo con una breve interpretación de las letras de chirigota, basándose el análisis en el concepto de «realismo grotesco» propuesto por el crítico ruso Bakhtin.
Highlights
In many areas of western Andalusia, the pre-lenten festival of carnival is the highlight of the ritual calendar, surpassing even the summer feria and Holy Week in enthusiasm among the poor (Rodríguez Becerra, 1985)
The murga troubadours parade through the town's main streets, beating their drums and tooting their horns, while they chant their funny ditties 1
In its levity and irreverence, Andalusian carnival shares much with similar festivals throughout the Catholic world
Summary
In many areas of western Andalusia, the pre-lenten festival of carnival is the highlight of the ritual calendar, surpassing even the summer feria and Holy Week in enthusiasm among the poor (Rodríguez Becerra, 1985) This proletarian celebration has faded away in many areas of Spain since the 1930s, its traditions remain strong in certain localities, especially in the small towns of rural Andalusia, as well as in the port city of Cadiz. Of importance here is the punishment of sexual misconduct in a society deeply concerned with propriety: «The songs of Carnaval are recognized be sorne to have been the guardian of marital and pre-marital fidelity» (Pitt-Rivers, 1971: 177) Much of this cultural sanctioning involves scapegoating deviants, especially promiscuous women, by means of the satirical coplas -a fierce public mockery that virtually ensures life-long disgrace (Mitchell, 1988:104). Daniel Bates and Judith Tucker provided trencherman support during the most recent fieldwork
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