The following article takes musical practices as a starting point as a relevant domain to understand the processes and migratory dynamics from the social sciences, introducing the analytical optics of gender. Through a review of two artistic trajectories of immigrant women, Angelica Altamirano of Peru and Guisella Plaza of Ecuador, we propose to open a reflection on how the dominant sex-gender system generates a series of obstacles for women to start and consolidate their careers musicals. The narratives of the interviewed music evidence the persistence of the woman-private, man-public dichotomy in the artistic and musical field, operating as an enclave to designate roles, positions and priorities to those who seek to insert themselves in contemporary musical scenes. This way it is possible to verify that in spite of the transformations in favour of the gender equality in the public space in the last decades, the worlds of the music update a sexual division of the work that makes the option for the music as a professional path very difficult plausible for women. Likewise, the migration contexts that these women face deepen this gap by weakening or definitively eclipsing the artistic careers initiated by women in their countries of origin, showing how in migration traditional gender roles can be strengthened, forming critical knots of inequality and Subalternity for migrant women.
Facuse, M., & Franch, C. (2019). Music and women. Persistence of gender mandates in artistic trajectory of migrant women in Chile. Revista Chilena De Antropología, (39), 58–76. Retrieved from https://revistadeantropologia.uchile.cl/index.php/RCA/article/view/53967
