{"title":"Rosalía, Feminine Fantasy, and Japan as Décor","authors":"Mary Kate Donovan","doi":"10.1353/rmc.2023.a919726","DOIUrl":null,"url":null,"abstract":"<p><p>Abstract:</p><p>Rosalía's experimentation with flamenco and other genres including reggaeton, trap, and bachata have catapulted the Catalunya-born performer to international success since the release of her sophomore album, <i>El mal querer</i> (2018). Rosalía's third studio album, <i>Motomami</i>, which was released in March 2022, charts the artist's voyage deeper into the world of Latin rhythms and electronic beats and further from her flamenco roots. In addition to her sound, Rosalía's aesthetic has continued to evolve, incorporating a seemingly endless collage of cultural references. One noteworthy aspect of this change is the appearance of frequent references to Japanese culture and Japanese-inspired trends. This paper proposes a reading of Rosalía's lyrical references to Japanese culture in <i>Motomami</i> as well as the music videos for \"Saoko,\" \"Candy,\" and \"Chicken Teriyaki.\"</p></p>","PeriodicalId":42940,"journal":{"name":"ROMANCE NOTES","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2024-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"ROMANCE NOTES","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/rmc.2023.a919726","RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE, ROMANCE","Score":null,"Total":0}
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Abstract
Abstract:
Rosalía's experimentation with flamenco and other genres including reggaeton, trap, and bachata have catapulted the Catalunya-born performer to international success since the release of her sophomore album, El mal querer (2018). Rosalía's third studio album, Motomami, which was released in March 2022, charts the artist's voyage deeper into the world of Latin rhythms and electronic beats and further from her flamenco roots. In addition to her sound, Rosalía's aesthetic has continued to evolve, incorporating a seemingly endless collage of cultural references. One noteworthy aspect of this change is the appearance of frequent references to Japanese culture and Japanese-inspired trends. This paper proposes a reading of Rosalía's lyrical references to Japanese culture in Motomami as well as the music videos for "Saoko," "Candy," and "Chicken Teriyaki."
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