twelve o’clock, April 1, 2021 – 09:27
The sociologist writes: women continue to dress as women, men dress up
The sociologist Domenico De Masi and the praise of Sanremo fluidity and the end of the alpha male. The professor, the first to study the income of citizenship, so much so that he is considered a theorist and a sympathizer of the 5 Star Movement, on his Linkedin profile he wrote a long post on the last Festival and above all on the new Italic males, less and less macho and much fluids.
Sociology of a Festival
The Sanremo Festival is confirmed as one of the few Italian products that continue to excel. I am thinking, for example, of the Freccia Rossa train, the third Rai radio network, the magazine “L’Internazionale”. But the Sanremo Festival is also confirmed as one of the few, reliable social “analyzers”. That is, those almost prophetic phenomena that allow us to perceive the anthropological condition of our society by revealing its fluctuations and allowing us to expose them – as can be observed under a magnifying glass – the mechanisms of a watch whose case has been opened.
Lack of the public, pushed digitization, Italians in smart working. This is the new context. But the novelty for De Masi was another: This year the festival has surpassed itself in showing us with a wealth of clues where our post-modern culture is heading. The coexistence of Orietta Berti or Ornella Vanoni with Madame or Achille Lauro reaffirmed the legitimacy of combining the tranquility of vintage with the restlessness of the surprising: that is to say Hans Hollein’s all-mirrored palace in front of the gothic cathedral of Vienna.
But these facts are secondary to the great news: this year, thanks to the pandemic, the Festival made a full blown outing for the first time – he continues -, repudiating its origins, as men dressed as men and women dressed as women they sang regular songs consisting of verses and choruses. In this edition the songs have become performances and the singers have diluted their sexual identity in an androgyny where the sexes faded between them, the men kissed each other, the singers slammed their indifferent erotic preferences in the face of the journalists. Amadeus and Fiorello were also two men winking at each other, both in love with the muscular Zlatan Ibrahimovic.
The sum of all this could only be the Maneskin group where man and woman, rock and melodic, taste, good taste and bad taste intentionally proposed themselves as a triumphant cultural patchwork of sexual fluidity, pansexuality and androgynous – he concludes -. But in this convergence of man and woman, which of the two is winning? The catwalk of dozens of characters on the virtual stage of San Remo left no doubts: it is the women who, continuing to perform proudly dressed as women, colonize the men forced, to be noticed, to exhibit increasingly feminine clothes. The end of the male begins with aesthetics.
April 1, 2021 | 09:27