Urban middle-class shifting sensibilities in neoliberal Buenos Aires

Author(s):  
Carolina Sternberg
Keyword(s):  
Popular Music ◽  
2015 ◽  
Vol 34 (2) ◽  
pp. 175-196 ◽  
Author(s):  
Geoffrey Baker

AbstractThis article focuses on three recent manifestations of cumbia in Buenos Aires, Argentina: digital cumbia released by ZZK Records; retro cumbia orchestras; and a newer strand of digital cumbia, música turra. The first two are identified with the middle class, whereas the third emerged from the clases populares (‘popular classes’). Música turra is underpinned by government policies towards digital inclusion, while middle-class incursions into the traditionally working-class sphere of cumbia, too, suggest increasing social cohesion. However, the digital fascination of música turra contrasts with an embrace of the analogue and acoustic in middle-class cumbia. These developments point to the emergence of a post-digital ethos and a shift from a digital to a post-digital divide, also running along class lines, analysed here through a Bourdieusian lens of taste and distinction. While transnational in nature, the post-digital ethos appears in Buenos Aires in a distinctive local form, articulated to growing Latin Americanism and post-neoliberalism on the part of the middle class.


1974 ◽  
Vol 31 (2) ◽  
pp. 121-138 ◽  
Author(s):  
Carl Solberg

The highly visible change which took place in Argentina during the late nineteenth and early twentieth centuries fascinated contemporary observers of the republic. The millions of immigrants, the formation of a large urban middle class, and the growth of the great metropolis of Buenos Aires all seemed to indicate that Argentina rapidly was emerging as a modern, developed nation. Equally impressive to foreign observers was Argentina's apparently booming economy, which was based on a flourishing export trade. With only brief interruptions, exports, nearly entirely composed of agricultural and cattle products, had risen from 22 million gold pesos in 1862 to 519 million in 1913. To produce the exports, total area under cultivation rose from 580,000 hectares in 1872 to 24.1 million in 1913.


2015 ◽  
Vol 47 (3) ◽  
pp. 521-542 ◽  
Author(s):  
NATALIA COSACOV ◽  
MARIANO D. PERELMAN

AbstractBased on extensive and long-term ethnographic fieldwork carried out between 2002 and 2009, and by analysing the presence, use and struggles over public space of cartoneros and vecinos in middle-class and central neighbourhoods of the city of Buenos Aires, this article examines practices, moralities and narratives operating in the production and maintenance of social inequalities. Concentrating on spatialised interactions, it shows how class inequalities are reproduced and social distances are generated in the struggle over public space. For this, two social situations are addressed. First, we explore the way in which cartoneros build routes in middle-class neighbourhoods in order to carry out their task. Second, we present an analysis of the eviction process of a cartonero settlement in the city.


2020 ◽  
Vol 77 (3) ◽  
pp. 351-360
Author(s):  
Donna J. Guy

ABSTRACTIn 1912, a small department store called Harrods opened in Buenos Aires, one that by the 1920s expanded to almost a city block. Although named after the founder of the London store, the manager of Harrods London, Richard Burbidge, his son Woodman, and a few board members planned the purchase of land and opened the business, and then presented it to the entire London board. Unfamiliar with Buenos Aires, believing that women consumed more than men, and presuming that upper-class women there had the same consumer desires of those in England, the store opened catering to the upper-class female population and focused on readymade dresses. And, to the great surprise of the local manager, women of all classes did not want these dresses because they preferred to purchase cloth and take it to their dressmakers.The dilemma facing Harrods Buenos Aires, detailed in company reports in the archive of Harrods London and in scans of Buenos Aires Harrods archives in the possession of British bookseller Jennifer Wilton-Williams, show that sales reports, rather than studies of the Argentine market like those published by the US Department of Commerce, shaped the new department store's response. Until the 1940s, Harrods Buenos Aires focused on the sale of less expensive articles that came from its dining room, its cosmetics department, and infants’ and children's clothing. Furthermore, employees purchased more than 40 percent of the clothing. Originally imagined as the flagship of the upper-class female shopper, it ended up as a store for the middle class, especially women who bought gifts and enjoyed being seen in the dining room. It closed in 1998.


2004 ◽  
Vol 60 (3) ◽  
pp. 363-390 ◽  
Author(s):  
Regina A. Root

One day, a young romance writer who has lost his place to urban expansion in Buenos Aires overhears this intimate conversation coming from another bedroom in an all-women's residence hall. An “invisible houseguest” in Madame Bazan'spensionadofor middle-class women of all ages, Mauricio Ridel works on finishing a happy ending for his latest serialized novel. During the writing process, however, he finds himself distracted by the sounds and rhythms of the house, his focus carried away to the conversations in the house on fashion, family life and female emancipation. Careful not to indicate his presence in any way (for he has agreed to respect the privacy of the women who live there), Ridel listens in to the conversations between female residents from the comfort of his assigned room. Believing themselves removed from male listeners, the female characters of Juana Manuela Gorriti'sOasis en la vida(1888) openly discuss their concerns and desires in the security of enclosed spaces. The dialogic sequence that begins this essay demonstrates the relief that a group of unnamed women experience when removing their uncomfortable clothing. They complain about the weight and needless complexity of their fashions and even flesh out a conspiracy theory concerning a few of those crazy designers. As the women contemplate the changes that tomorrow's fashions will inevitably bring, their soft, sweet voices appear punctuated by the incongruous thud of tossed garments.


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