#maria elena walsh

[moon-simmers]

HAPPY PRIDE MONTH

As every year this is a good date to remember the daily struggle for the rights of the LBGT+ community. It is also a time to learn about the people who made it possible for us to identify ourselves as who we are today without fear of reprisals or being punished by the law. This month I got involved in the history of Argentina and its different movements for the fight for rights through the 20th century. Here I come to share some important figures, some more known than others, but obviously there are a lot that I have left out of this publication.

Sara Facio (1932-2024) & Maria Elena Walsh (1930-2011)

A couple of intellectual artists that would need a separate publication to go deeper into the subject. Sara is one of the greatest Latin American photographers who with her camera contributed to the creation of the most outstanding photographic heritage of the country. Maria Elena is a writer, singer and composer whose children's songs resonate to this day because they are much more profound than they seem and are still relevant today.

Salvadora Medina Onrubia (1894-1972)

She was a writer, militant anarchist, single mother and the first woman to run a newspaper in the country. She was the first Argentinean woman to dare to write about double sinners, lesbians and adulteresses. One of her most valued plays was Las descentradas, premiered in 1929. There, Salvadora honors her own contradictions, narrating women who question monogamous structures, marriage and the traditional family.

Malva Solis (1920-2015)

She was a transvestite writer who lived for 95 years when the life expectancy of this community in the country was under 40 years old. In 1951 founded the first trans organization on record, Maricas Unidas Argentinas. She has the oldest series of trans photographs in the country, dating from 1940 to 1980, when simply having those photographs at home was cause for being arrested. There is a documentary based on the photographs and conversations with her at her home called "Con Nombre de flor".

Jorge Horacio Ballve Piñero (1920-?)

Piñero was a young man from a well-to-do family of the Buenos Aires society at the beginning of the century. Together with his best friend Adolfo and Blanca, he organized gatherings in his apartment in Recoleta, and was a pioneer of male erotic photography. They mixed the privileged social class with workers, dishwashers, gas station workers, sailors and cadets from the Military College. These three characters were involved in a police case involving cadets from the military college, known as the Cadet Scandal. In the police archives remain captive the photographic collection, intended for pleasure and personal aesthetic enjoyment that tragically proved key to incriminate some friends who just wanted to have fun.

Ruth Mary Kelly (1925-1994)

She was a bisexual woman, who worked as a "Wohoo Worker". Founder of Grupo Safo in 1972, the first Argentine lesbian organization, and of the Frente de Liberación Homosexual (Homosexual Liberation Front). In 1972 she wrote Memorial de los Infiernos about her experiences as a "Wohoo" worker and bisexual, persecuted by the psychiatric-prison system.

Manuel Puig (1932-1990)

He was an Argentine writer and LGBT+ activist, author of the novels Boquitas pintadas, El beso de la mujer araña (Considered one of the most recognized LGBT works in Latin America and one of the best works in Spanish of the 20th century) etc. He also fought against authoritarianism and machismo, and was one of the founders of the Homosexual Liberation Front in 1971, one of the first associations for the defense of LGBTQI+ rights.

Mariela Muñoz (1943-2017)

She was the first transsexual woman to be recognized by the state and given a female ID card on May 2, 1997. At the age of 16 she became independent, and it was then that she began caring for children, teenagers and single mothers. She cared for children who had been abandoned by their mothers, whom she loved and cared for. She raised, during her lifetime, 23 children and 30 grandchildren. In a dispute over the guardianship of 3 children in 1993, Argentina was confronted for the first time with the debate as to whether a transsexual person "could be a mother"

Carlos Jauregui (1957-1996) & Raul Soria

Carlos was a History professor and the founder of the Civil Association Gays for Civil Rights, organizer of the first Pride march in Buenos Aires and an essential figure for Argentine activism. In 1984, he broke with the schemes by appearing in the magazine Siete Días embracing the activist Raul Soria, a homosexual person assumed his sexuality in a public way for the first time. He believed that media visibility is fundamental for LGTB people. Leaving aside the fear and silence that other generations suffered for years. In 1985, Raul would present himself as the first gay candidate for congressman in the country.

Roberto Jauregui (1960-1994)

Brother of Carlos, was a journalist, actor and the first activist for the rights of people with HIV in the country. In 1989 he exposed the inequality in access to treatment at that time due to the price of medication. He played a central role in marches, actions, talks and interviews to demand human rights for people living with the virus. A well-known phrase of his is "Showing one's face is not easy in a society that discriminates, censures and separates".

Cris Miró (1965-1999)

Cris was the first visible trans people that appeared in the media and broke with the "transvestite" paradigm. A dental student, she got involved in the artistic underworld and later studied classical dance, musical comedy and acting. Her career was meteoric: the popularity of revue theater catapulted her to the small screen where she became a sought-after figure in the most popular programs. On June 23rd, a series about his life inspired by his biography was released, available on Prime Video.

Alejandro Vannelli (1948-) y Ernesto Larresse (1950-)

They were the first couple in the province of Buenos Aires to get legally married on July 30, 2010 after the Equal Marriage Law was passed. They met in 1976 because of a triple A bomb in the theater where Larresse was performing with Nacha Guevara, then he joined the cast of Vannelli. At the beginning they did not like each other because of Vanelli's appearance as a wealthy young man and Larresse was the opposite, but opposites attracted and they were a couple for 34 years.

Norma Castillo (1943-) y Ramona "Cachita" Arévalo (1943-2018)

They were the of South America's first gay marriage on April 9, 2010. Norma and Ramona were married to two Colombians, who were cousins to each other. During the dictatorship they both went into exile in Colombia and there they fell in love and lived their romance clandestinely, until Cachita separated and Norma was widowed by her husband. They lived their love freely and even opened an LGBT discotheque in Colombia. In 1998 they returned to Argentina and began to work in sexual diversity organizations.

Feliciano Centurión 1962-1996)

He was a visual artist, a Paraguayan painter professionally trained in Argentina. He grew up in a home dominated by women, where he learned to sew and crochet. Inspired by queer aesthetics and folk art, he used to incorporate household textiles and references to the natural world. She handled kitsch art and languages not considered high art with a great deal of knowledge and sensitivity.

Humberto Tortonese (1964-) , Alejandro Urdapilleta (1954-2013) & Batato Barea (1961-1991)

Batato was an actor and "literary transvestite clown" as he called himself, one of the most important personalities of the underground theater movement of the post-dictatorship years. Together with Alejandro Urdapilleta and Humberto Tortonese, revolutionized the underground scene of the 80's - in places like the Parakultural. They disguised themselves, wore make-up and improvised delirious and strident scenes for the decade.

Sandra Mihanovich & Celeste Carballo

Sandra and Celeste are two singers who were visibly lesbians during the 80s and early 90s. Together they released the albums "Somos mucho mas que dos" and "Mujer contra mujer" which became a symbol of belonging for the whole LGBTQ arc in our country. They managed to be part of the rock scene, an area historically dominated by men. Sandra among all her songs is "Soy lo que soy" released in 1984 composed by Henry Jerman.

[thingsasbarcodes]

Life is Strange 2 Episode 5: Wolves

[sublecturas]

"Pocopán", de María Elena Walsh en la #LíneaC

[serugir4n]

feliz día a Maria Elena Walsh y a Kate Winslet como Mary Anning en Ammonite (2020)

[napo-con-fritas]

toda la semana, mi cerebro: *gloria a dios en el cielo la canción de misa*

domingo, 00.00: *el reino del revés de maría elena walsh*

[kamas-corner]

Gustavo Adolfo, yo te hubiera amado con el amor que ignoro todavía. (Tengo la edad de la melancolía y el corazón apenas derrotado). Anduve por tu voz y me he quedado llorando en otro tiempo. Te decía: -Más allá de tu sangre y de la mía, Gustavo Adolfo, yo te hubiera amado. Sin eco preguntaba tu latido: por qué frías colinas, por qué fuentes. Ah, mi canción te hubiese respondido en un atardecer con golondrinas.

-Maria Elena Walsh / Despues de Bécquer

[frogtify]

MANUELITA DONDE VASSS?????

domada tactica

[weiwx]

perro salchicha gordo bachicha btw. if you even care

[mate-y-viajecito]

Estoy escuchando las canciones no infantiles de María Elena Walsh y son tremendas. Pero Requiem de madre me voló la cabeza, zarpado tema encima es un testimonio de la maternidad laboriosa y sin reconocimiento que se vivió muchos años y que aun hoy se sigue viviendo.

[ghiacomo]

Bro imagine being the weiner dog in that one song by María Elena Walsh.

Chilling at the beach till BOOM

A DAMN SEAGULL KIDNAPS YOU TO BE FED TO HER CHILD BECAUSE SHE THINKS YOU ARE AN ACTUAL WEINER

But then the seagul kid is like mom this is no weiner.

anywayyyys PERRO SALCHICHA GORDO BACHICHA

TOMA SOLCITO A LA ORILLA DEL MAAAAR

TIENE SOMBRERO DE MARINEEEERO

Y EN VEZ DE TRAJE SE PUSO COLLARRRR

[ccryptidccreek]

Don't forget her!!! One of my country's most influential poets, writers, musicians, and more. Maria Elena Walsh.

She wrote songs that defined a lot of childhoods, including mine, many childrens book as well as fervently standing against the military dictatorship. She passed away at 80 years old, in a relationship Sara Facio, who is 92 and alive this year.

some of my favorite replies to this tweet. happy lesbian visibility week!

[defcultout]

"Las mujeres, como los negros, los colonizados, la clase trabajadora, a medida que tomamos conciencia, menos queremos dádivas; queremos lo que nos pertenece por derecho y nos arrebatan día a día, es decir, todo. Las mujeres, que fuimos custodias de la vida -para que fuera rifada en guerras-, queremos más que nunca defenderla de los fabricantes de muerte. Pero según, cómo y cuándo lo determinemos nosotras.

Una de las más perfectas y sutiles perfidias de nuestra sociedad es el condicionamiento y la esterilización mental de las mujeres y los niños. Pero luchar contra ella es la lucha de todas las mujeres.

Cómo cumplo con el pacto de no aconsejarte, y menos menos en estos momentos de apresurado proselitismo, no te pido que te conviertas en improvisada militante. Pero tengo la obligación de decirte que procures saber de qué se trata, desconfiando de las admirables cátedras de ignorancia que pueden darte los medios de difusión."

[nicocota]

1996

[adribosch-fan]

Feria del Libro 2024: 7 actividades imperdibles 

Julieta Andrade Desde el 25 de abril al 13 de mayo se llevará a cabo la 48° edición de la Feria Internacional del Libro de Buenos Aires, la cual contará con múltiples actividades para los amantes de los libros.  La  Feria del Libro, que anualmente convoca a más de un millón de visitantes, es uno de los eventos culturales más importantes de Latinoamérica, no solo por la amplia gama de propuestas…

[lulienss]

wtf con la virtualidad

La virtualidad, por definición, es una probabilidad, una variante, una potencialidad de ser, pero que no es. Encuentra su forma en ese no-lugar que representa todo lo que se opone a la "realidad", pero que sin embargo, existe. Vive y se reproduce. Es rarírisimo.

Antes de buscar el significado de la palabra se me ocurrió pensar que la virtualidad (pensando solo en su dimensión internet) es como esos intentos torpes que tienen algunos padres de querer ayudar a sus hijos, sin darse cuenta que sus hijos no saben aceptar la ayuda, entonces todo termina en discusiones o malos entendidos. Es mucha facilidad brindada de golpe. Tanta que a veces abruma.

Por mi parte, me resulta insoportable que la manera de llegar a “las cosas” (dígase personas, eventos, circuitos) esté condicionada por la presencia online. Odio tener que tener presencia virtual. Apenas puedo con la física, la de todos los días ¿Y encima es necesaria una virtual? ¿Estamos todos locos? ¿Estamos viviendo en el mundo del revés Maria Elena Walsh? 

Y lo que me pasa particularmente a mí, es que hace mucho tiempo, quizás más de lo que recuerdo, algo adentro mio eligi�� que mi manera favorita de expresarme sería la más rebuscada. Me gusta escribir. Me gusta abrir mundo y explorar pasiones. Me gusta lo lento y el trabajo que conlleva ponerse a leer para entender el punto de un otro. ¿Y dónde entra eso en un mundo virtuoso, donde todo tiene que ser rápido y eficaz? 

Capaz que en ningún lado y está bien. Tampoco que me quita el sueño. No soy lo suficientemente rápida como para tirar tuits y hacer una especie de escritura fragmentada, me da vergüenza, y mucho menos lo suficientemente caradura para escribir choclos largos en posteos de instagram. Una vez me alentaron a compartir mis escritos y dije que no quería ser una poeta de instagram. Ahora lo pienso y me da gracia, que esa sea una posibilidad del hoy, ser poeta en una red social. 

Pero quiero volver a lo de la vergüenza. Siento que ultimamente tuvo un poco que ver con la pandemia. Mientras estabamos recluidos y alejados todos con todos, mi relacion con las redes sociales era más fluida.  Me compartía porque quería que me vieran, que sepan que yo seguía ahí. Quería interactuar, tenia gente que me interesaba y que estaba lejos. Capaz agoté los recursos disponibles, porque después de eso ya no quise saber nada. 

Me volví escéptica, empecé a mandar lo que quería que vieran mis amigos directamente por whatsapp y dejé de mostrar mi cara en storys. Me volví un fantasma virtual. Esas cuentas que miran todo desde la periferia. Porque no postear no significa no estar ahí, inmersos en la adicción como todo el mundo, sino que es simplemente una posición pasiva dentro de la virtualidad. 

Y quizás es la posición más rara de todas. Mirar pero no querer participar. Es como ser un voyeur de la red. Creepy y hermoso a la vez. Porque la periferia da perspectiva y la no acción en un mundo que no produce presente, sino una variación, da tranquilidad. Se puede tener un análisis social sin incidir al respecto y se pueden transitar los días en paz sin pensar en likes o interacciones. Y al final del día no está tan mal. Es simplemente un posicionamiento frente a todo esto que nos rodea. 

Pero, ¿Cuánto cuesta no existir en esa variable, que a veces parece ser la única que tenemos? ¿Es de cobardes no postear? Me viene a la cabeza una idea que leí en algún lado, era algo así como que si no hay lugar para vos en lo que ya está construido, hay que hacerselo. A la fuerza. Creo que aplica para un millón de contextos y para esto también. Si no hay lugar en las redes  para personas que no quieren postear bajo los estándares que existen, hagamos otra cosa. Fundemos un nuevo lugar. Clavemos una bandera en otro lado. ¿A dónde huyen los fantasmas virtuales? ¿Acá está bien? Permisooo.

[guada-lupita-blog]

Porque le diste reparo al desarraigo de mí corazón