Publication: ¡Por marica y por rojo! Miguel de Molina y las políticas de la memoria
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Publication Date
2019-08
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Universidad Alberto Hurtado
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Abstract
La figura artística del bailarín y cantante Miguel de Molina (1908-1993) se presenta como un estudio de caso para analizar las políticas de la memoria llevadas a cabo en España desde la muerte del dictador Francisco Franco en 1975. De Molina huyó de España en plena época de represión fascista tras haber sufrido una brutal paliza por ser considerado “rojo” y “maricón”. Pasó el resto de su vida en la capital argentina donde desarrolló una exitosa carrera teatral.
En este artículo revisaremos cómo las políticas de la memoria comenzaron a reivindicar su labor artística desde los años ochenta incidiendo en su condición de republicano. Si bien la reivindicación y reparación de las víctimas de la represión franquista han incidido en las motivaciones ideológicas, la “precariedad” de las minorías sexuales no ha estado en la agenda de la memoria histórica hasta fechas muy recientes, por lo que también debe ser incorporada al análisis e interpretación de la música popular.
The artistic figure of the dancer and singer Miguel de Molina (1908-1993) is presented as a case study to analyse the politics of memory carried out in Spain since the death of the dictator Francisco Franco in 1975. De Molina fled Spain during fascist repression after having suffered a brutal beating for being considered “red” and “fag”. He spent the rest of his life in the Argentinean capital where he developed a successful theatrical career. In this article we will review how the politics of memory began to vindicate their artistic work since the 1980s, influencing their status as republicans. Although the vindication and reparation of the victims of Franco’s repression have influenced ideological motivations, the “precariousness” of sexual minorities has not been on the agenda of historical memory until very recent dates, so it must also be incorporated into the analysis and interpretation of popular music.
The artistic figure of the dancer and singer Miguel de Molina (1908-1993) is presented as a case study to analyse the politics of memory carried out in Spain since the death of the dictator Francisco Franco in 1975. De Molina fled Spain during fascist repression after having suffered a brutal beating for being considered “red” and “fag”. He spent the rest of his life in the Argentinean capital where he developed a successful theatrical career. In this article we will review how the politics of memory began to vindicate their artistic work since the 1980s, influencing their status as republicans. Although the vindication and reparation of the victims of Franco’s repression have influenced ideological motivations, the “precariousness” of sexual minorities has not been on the agenda of historical memory until very recent dates, so it must also be incorporated into the analysis and interpretation of popular music.