Chanel, Tanxugueiras, Rigoberta Bandini: the sorority won the duel

The duel between boobs and tambourines was won by reggaeton. Or, what and the same, Chanel took it with his song and ‘show’ ‘SloMo’ against the two favorites: the tribute to the “anonymous” of the Tanxugueiras and Rigoberta Bandini’s “femininity”.

By now we know that the election did not sit well with everyone. But beyond the criticism of the election system and the accusations of tongo, the networks were also flooded with comments that questioned Chanel under the very name of feminism.

Its lyrics have been said to “sexualize” and promote a stereotyped view of women. Mariola Cubells, journalist and television analyst, claimed to feel “concerned” in ‘El Objective’ on La Sexta. She said it because of the “story that girls and adolescents are going to sing and dance in discos” in relation to her lyrics.

But voices like that of the comedian Henar Álvarez claim that women can twerk and sing sexually explicit lyrics. What about objectification when it is the woman herself who exhibits a great body for her enjoyment and shows herself as the subject of her sexuality?

Chanel herself, of Cuban origin, assured in an interview with ’20 Minutes’ that she would have liked as a child to see “an empowered and racialized woman taking center stage.”

While the criticism rained down on her, the trans activist Carla Antonelli also came out in her defense: “I’m not part of destroying a girl’s life because you don’t like the song. We’ve screamed until we’re hoarse for the right to wear miniskirts and that’s why no one can rape us.” But she is not the only candidate that she has defended.

Boobs and public spaces

Rigoberta Bandini was also branded a “transphobe” for the allusion in her lyrics to menstruation. “Do all women bleed? No. Does that mean you can’t talk about those who do bleed?” Antonelli reasons. It was also questioned that she was “stale” for talking about maternity in ‘Ay mama’. And that she herself explained that she had written the song “long before becoming a mother”, when she was only 23 years old.

“That’s why I don’t consider it a song written by and for mothers. At the time I wrote it as a tribute to femininity. Occupying the streets with our bodies without being censored would be a great advance,” he wrote on Instagram. “That woman leading the people in Delacroix’s painting still moves me. Let’s not forget that today this beloved social network [Instagram] delete the ‘posts’ where female breasts appear”.

Her ‘Ay, mama’ is ironic while sounding like a feminist anthem. She claims the power of women beyond motherhood and boobs, a controversy that would be absurd if it weren’t for the fact that they are still censored in a few spaces. And for the “gentlemen who became nervous” listening to her, according to her, she said.

The other tribute to women was made by the very favorite of the public. The Tanxugueiras carried a feminist message, a priori, much more canonical than that of their companions. “We want to give a voice before all of Europe to all the anonymous women who left us their legacy. They made art without knowing how to read or write,” assured Aida Tarrío. They vindicated the traditional music of Galician women, those ‘pandereteiras’ who were even “ashamed” to sing because their music, they thought, “was worth nothing”.

Their performance offered traditional dance without gender roles (they wore pants, the men in skirts) and the dissemination of co-official languages ​​and Asturian.

Mutual support

And in this war between the three models of vindication of women, the sorority won. First, in Benidorm. Later, in the networks. “We grab your arm just like we did in our song, sister, you’re going to hit it,” she signed in a “post” on Rigoberta’s Instagram. “We love you,” the Galicians told him.

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Because all of them recognize themselves as feminists. And also, according to the messages that were launched at the festival, intersectional. And that’s what it’s all about: making spaces where women like Chanel make room for “all the ‘daddies’ crazy”; to those like Rigoberta Bandini who stick out their breasts in public spaces or always have broth in the fridge (even if it’s Aneto); and the anonymous ones who did so much for culture even without recognizing themselves.

Chanel, with her simple vindication of dancing and having a good time, left a promise: the “divos, divas and ‘dives'” will enjoy her ‘show’ at Eurovision. A festival that, as Antonelli points out, “is not Cervantes”.