In the heart of Buenos Aires, a unique cultural phenomenon is taking place: the Peña Folklorazo Queer. Once a month, this vibrant gathering brings together queer individuals and allies to revel in folkloric action, transforming traditional Argentine dance into a powerful expression of queer identity and community. Stepping into the venue of Peña Folklorazo Queer is an immersive experience. The walls are adorned with art that speaks volumes – images of the Grandmothers of Plaza de Mayo, posters advocating for trans workers’ rights, and a large, shimmering pride flag proclaiming “Peña Folklorazo Queer.” But the true heart of the space lies in the cleared dance floor, inviting patrons to celebrate and move in ways that challenge conventional norms. Here, under the shimmering “brishi” glitter makeup, dancers confidently disregard the rigid male-female binary typically imposed on Argentine Folkloric Dance.
At its core, this queer peña shares similarities with traditional Argentine “normative” peñas. Attendees enjoy the passionate rhythms of folkloric dance, savor local culinary delights like empanadas, sip on refreshing fernet with coke, and are captivated by live performances. However, Peña Folklorazo Queer distinguishes itself through its embrace of gender fluidity. Patrons express themselves through gender-bending attire and performances, creating a space where traditional forms are reimagined and celebrated through a queer lens.
For queer individuals like the Uruguayan author, who had previously felt excluded from “macho” environments often associated with folklore, Peña Folklorazo Queer offers a liberating experience. The space fosters an environment where embracing one’s femininity or masculinity is encouraged, allowing queer people to connect with their cultural heritage through folkloric dance in a way that feels authentically their own. This personal journey of reclaiming cultural heritage through a queer lens forms the foundation of a broader intellectual exploration into the transformative power of queer spaces.
Fueled by prior research into queer nightlife and a deep understanding of their own positionality as a queer Uruguayan, the author embarked on a research project in Montevideo and Buenos Aires in late 2023. This research delves into how LGBTQ+ communities create vital spaces for art, activism, and well-being, especially against a backdrop of political challenges and societal prejudice in the Rio de la Plata region. This exploration led to a focus on queer folklore and the innovative ways groups across Buenos Aires and Argentina are building communal safe havens for queer individuals, centered around joy, artistic expression, and proactive social engagement.
Traditional folkloric spaces, while culturally significant, can unfortunately pose risks for queer individuals, ranging from verbal and physical harassment to subtle yet pervasive forms of exclusion. Same-gender couples might face disapproval, and gender expression outside of the norm can be met with hostility. Queer folklore directly addresses this issue by creating spaces where women, queer individuals, and allies converge to celebrate and learn about Argentina’s rich heritage of music and dance. More importantly, it actively carves out space for queer interpretations and interventions within these cherished traditions. These queer folkloric spaces transcend mere “LGBTQ+ friendly” labels that are often superficially applied. They move beyond simply hanging a pride flag to signal welcome. Instead, they extend a profound and radical invitation that actively resists violence and celebrates the diverse spectrum of queer approaches to folkloric artistic forms.
Folklorazo Queer, as an organization, emerged in 2018 with a clear mission: to cultivate a queer, trans-feminist space within folkloric traditions. This artistic, activist, and pedagogical movement, as many involved emphasize, traces its roots to the pioneering work of Soledad Torres and Mariano Garcés Grizy’s Peñalonga Folk. Building upon this foundation, Eli Marchini and Sol Perez, the directors of Folklorazo Queer, have become central figures in the movement. They organize queer folkloric dance classes, curate stage performances, launch public artivist interventions with political messaging, and host the monthly queer peñas that have become a cornerstone of Buenos Aires’ queer cultural scene.
A recent Folklorazo Queer peña, held on a chilly June winter night in Buenos Aires, exemplified the energy and spirit of these gatherings. The evening commenced with an inclusive dance class, followed by a diverse lineup of performances, and ample opportunities for spontaneous dancing encompassing folkloric styles, tango, and other rhythms. Folklorazo Queer infuses a distinct queer feminist perspective into the traditional peña format. This is evident not only in its unwavering commitment to radical inclusion but also in the diversification of performances, embracing a wide spectrum of musical and dance genres. Notably, the event incorporated reggaeton and pop music, including songs by Lali, a beloved icon within the LGBTQ+ community in South America. Furthermore, in a conscious departure from traditional peñas often dominated by male artists and songs with degrading lyrics, women’s voices and songs were intentionally placed at the forefront throughout the night.
As the lively rhythms of Zamba and cueca filled the air, the dance class, led by Soledad Torres, became the evening’s first centerpiece. For both newcomers and seasoned dancers, the class served multiple purposes. It fostered connection, provided a space for making new friends, and offered a unique form of embodied learning. Approximately twenty participants joined in, learning the fundamental steps and figures of Zamba and cueca within a circle formation, before pairing up. This approach intentionally disrupted traditional Argentine folkloric dance class structures that often reinforce heteronormative and binary relationship models. The class actively moved away from portraying the stereotypical narrative of a “macho” man pursuing a passive woman, who ultimately succumbs to his advances within the dance.
As regulars at Folklorazo Queer emphasized, dance transcends the limited narrative of heterosexual courtship. Observing the peña, the author witnessed a broader spectrum of human connection. Romantic interactions certainly occurred between people of diverse genders and sexualities, but equally prominent were moments of shared joy and camaraderie between friends, new acquaintances, and even family members. This queer praxis expands the possibilities of folkloric dance, creating space for both queer erotic expression and deeply meaningful non-sexualized connections.
Within the dance itself, Folklorazo Queer reimagines traditional gender roles. The rigid “men’s role” and “women’s role” are replaced by a more fluid dynamic of “leader” and “follower.” Partners collaboratively decide which role to embody. Furthermore, traditional figures like “zarandeo,” traditionally performed by women with skirts, and “zapateo,” characterized by intricate male footwork, are opened up to all participants, regardless of gender identity. Even the concluding figure, “arresto,” traditionally depicting a symbolic “capture” of the woman within the man’s arms, is transformed. Rechristened the “final turn,” it culminates in a gesture of mutual embrace, with each dancer extending an arm to create a comforting connection, effectively “queering” the traditionally rigid structures of the dance.
Beyond the dance floor, the night unfolded with a series of deeply moving performances, united by a shared sense of queer artistic excellence. The lineup commenced with powerful poetry performances by Nayla and Euge Karla, interwoven with dance and music, exploring themes ranging from political violence and social inequality to the potent eroticism of trans-Argentine identities. Attendees danced to the rhythm of feminist tango music by Ana Stamponi and Brisa Videla, were captivated by the dynamic folkloric dance of the Posse brothers, and enjoyed a vibrant folk performance by Vero Marjein and her band. Through their diverse artistic mediums, these performers addressed pressing political and social issues, shedding light on topics from the sale of Argentine land to foreign entities to the surge in hate crimes since the inauguration of the new government.
A poignant joke circulating during the dance class encapsulated the spirit of Peña Folklorazo Queer: “Even though it is hard, we should not fear Zamba. It’s just a style of dancing. What we should really fear is having Milei as a president.” This resonates deeply with the current socio-political context in Argentina. Since the election of Javier Milei, the nation has witnessed a rise in both everyday and systemic violence targeting LGBTQ+ individuals, marked by an increase in hate crimes and widespread dismissals of trans, travesti, and non-binary people from public sector jobs. In this climate, the need for supportive and empowering queer and trans-feminist spaces like Folklorazo Queer has become more critical than ever.
The peña took place during a period of mourning for the triple lesbicide in Barracas, Argentina, in May 2024. In this atmosphere of grief and outrage, the event served as a platform for political awareness and activism. Patrons and artists alike recognized the attack as stemming from a climate of hatred fueled by political forces that fail to actively combat the marginalization of minority groups. Sol Perez and Eli Marchini emphasized the collective responsibility within the community: “we got to take care of each other, of our spaces, our events particularly during these times and after the attack in Barracas (…) we gotta remember that Folklorazo Queer is political, or art is political. They can’t continue to take our rights.” This peña became a powerful act of political resistance, not only through the joyful gathering of queer bodies reclaiming a traditionally patriarchal art form but also through the deliberate intention of artists and organizers to raise awareness about recent violence and the state’s role in perpetuating it.
Leaving the peña at 3 a.m., the words of Eli and Sol echoed in the author’s mind. For them and countless others, Peña Folklorazo Queer transcends a typical dance event. It stands as a vital queer political safe space, a sanctuary to celebrate identity, explore folkloric traditions, and find strength in community amidst escalating violence and social challenges. It is a testament to the resilience and creativity of the queer community in Argentina, transforming folkloric dance into a powerful tool for self-expression, resistance, and collective joy.
