El glam español y su articulación de las identidades de género

  1. Sara Arenillas Meléndez
Musicología en el siglo XXI: nuevos retos, nuevos enfoques
  1. Begoña Lolo Herranz (coord.)
  2. Adela Presas (coord.)

Publisher: Sociedad Española de Musicología (SEDEM)

ISBN: 978-84-86878-45-0

Year of publication: 2018

Pages: 2087-2108

Congress: Sociedad Española de Musicología. Congreso (9. 2016. Madrid)

Type: Conference paper


Cited by

  • Dialnet Métricas Cited by: 2 (06-12-2023)


Glam is a subgenre of rock that emerges in the United Kingdom in the seventies, sometimes with quite commercial sounds, which challenged the myth of rock´s authenticity playing with the artifice and gender bending. The discourses of glam have influenced a wide range of later popular music tendencies (new romantics, glam metal, etc.), and particularly that involved with postmodernity –like new wave— due to its inauthenticity, its use of parody and irony, linked with camp and queer, and its spectacularism. In Spain, glam penetrated in the seventies but it was an underground influenced, linked to very specific rock bands (as Burning and Brakaman), because of Franco´s dictatorship. However, in the years of transition to democracy and throughout the eighties, groups and artists such as Mondragón Orchestra, Tino Casal, Paco Clavel or Almodóvar and McNamara incorporated some aspects of the glam discourse to their creations. Later, the transgression, spectacularism, irony, pastiche and sonic revival linked to glam were adapted by groups like Glamor to Kill, Babylon Chat or Nancys Rubias. The main goal of this work is to resume and analyse briefly the strategies used by the Spanish glam, showing its particularities as well as their effectiveness in the destabilization of traditional gender identities and cultural hegemonies.