Ricky Martin: Difference between revisions
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|Ricky Martin has become a popular music icon, who has revolutionized the Latino male identity. Fernando Delgado and Bernadette Marie Calafell (2004) describe in their article, “From ‘Rico Suave’” to Livin’ ‘La Vida Loca,’” how the sexual ambiguities that Ricky Martin display weaken our cultural assumptions. They state, “Constructions of [an] artist […] are often re-presentations of culturally resonant identities, character types we have of media personalities. Such re-presentations are often stereotypical and reflect a tendency toward mass-marketing strategies that deploy oversimplified but attractive packaging” (p. 236). Ricky Martin alters dominant ideology; “through alteration of the traditional versions of the Latin lover ‘script,’ Martin’s persona is complicated because it becomes imbued with a sexual ambiguity previously not permitted by the script” (p. 239). During his performances Martin uses exaggerated emotions and expressions, and “through these performances of excess he is never truly the Latin Lover perpetuated by racist ideologies. […] Ricky Martin’s performances of excess pave the way for performances of ambiguity that serve to further complicate any reception of Martin as a one-dimensional Latin lover” (p. 240). | |||
|[[Image:16f7655rickymartin180x240p.jpg|thumb|Description]] | |||
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[[Challenging Sexism| Back]] | [[Challenging Sexism| Back]] | ||
Latest revision as of 02:39, 10 May 2006
| Ricky Martin has become a popular music icon, who has revolutionized the Latino male identity. Fernando Delgado and Bernadette Marie Calafell (2004) describe in their article, “From ‘Rico Suave’” to Livin’ ‘La Vida Loca,’” how the sexual ambiguities that Ricky Martin display weaken our cultural assumptions. They state, “Constructions of [an] artist […] are often re-presentations of culturally resonant identities, character types we have of media personalities. Such re-presentations are often stereotypical and reflect a tendency toward mass-marketing strategies that deploy oversimplified but attractive packaging” (p. 236). Ricky Martin alters dominant ideology; “through alteration of the traditional versions of the Latin lover ‘script,’ Martin’s persona is complicated because it becomes imbued with a sexual ambiguity previously not permitted by the script” (p. 239). During his performances Martin uses exaggerated emotions and expressions, and “through these performances of excess he is never truly the Latin Lover perpetuated by racist ideologies. […] Ricky Martin’s performances of excess pave the way for performances of ambiguity that serve to further complicate any reception of Martin as a one-dimensional Latin lover” (p. 240). |  |
