Rosita, no me desaires,iLa gente lo va notar! Pos, digan lo que quieran,Contigo yo no he de bailar. Alvirez (trad.)Rosita, don't scorn me,The people are going to notice! Well, let them say what they'll say,But with you I will not dance! conversation took place on the dance floor in Saltillo, Mexico, in the year 1900. After Rosita refused to dance, Hipolito drew his pistol and shot her three times. The townspeople painted Rosita's house with her blood, so that everyone would know of her untimely death.The corrido of Rosita Alvirez may be one of Mexico's most famous, but why is the story so violent? What is the song really about? The conversation between Rosita and Hipolito reveals the man's anxiety about his own reputation. The conversation between these two characters can be understood as debate about the relative social statuses of men and in Mexican society and the unequal power each group had at its disposal. The song tells us that at the time of its setting, girl would have had little to make her own choices, not even to choose with whom she would dance. Although Rosita overstepped the boundary of permissible behavior, the severity of punishment is out of proportion to her crime. The song can be interpreted as token of misogyny and male domination prevailing in Mexican society (Nava 137).Feminist scholars of the Anglo-American ballad tradition have identified similar problem of textual analysis. Appalachian ballads present misogynist stories which indicate a cultural fear of women's sexual freedom (Hastie 117). Scholars of both the Mexican-American and Anglo-American traditions have focused on murder ballads in which beautiful young woman is murdered by her lover or her husband (Cohen; Hamessley; Nava). Such ballads and corridos can be understood as didactic tools to instill obedience in young (Herrera-S ob ek).However, in Mexican-American music, the male-centered corrido has lost its dominance since 1973, when Contrabando y Traicion became famous hit song of Los Tigres del Norte (Ragland 142-66). The song narrates the adventures of young woman who shot and killed her unfaithful lover. Recently, scholars have begun to analyze corridos centered on protagonists who are tough women who turn the tables on abusive men (Altamirano; Ramirez-Pimienta; Tatar). Similarly, scholars of the Anglo-American and Scottish ballads have written about warrior women and other heroines who challenge patriarchal norms of behaviors (Dugaw; Hixon; Stewart; Wollstadt). A textual analysis of ballads reveals that the changing portrayals of in balladry, in fact represent changes in gender roles in the wider society.This article examines lyrical narratives from Mexican-American corridos and Anglo-American ballads, to demonstrate how changing portrayals of are indicative of changing social norms of male and female behavior. What appear to be traditional ballads do not in fact reflect unchanging patriarchal ideals of behavior. Instead, ballads represent the efforts of individuals and communities to adjust to patterns of social change attached to the rise of modernity (Cohen; Hastie). Murder ballads, in particular, present modern concerns about the conflicts between patriarchy and the men and who struggle against it. Traditional lyrical images can be manipulated to challenge the established norms of community (NajeraRamirez, Unruly Passions 193). In the Mexican-American tradition as well as the AngloAmerican ballad tradition, the emergence of songs featuring powerful female protagonist reflects the transformation of society away from the dominance of traditionalist, patriarchal norm toward modern society in which gender power is more equally distributed.How is it possible to learn about processes of social change through analysis of song lyrics? First, song lyrics help to reveal ideology, set of deeper understandings about why power is unequally distributed between and men. …
Read full abstract