“La mujer avanza en la radiotelefonía…”. El trabajo femenino en la radio porteña durante la década del treinta
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Facultad de Ciencia Política y Relaciones Internacionales
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Este artículo tiene como propósito desplazar la mirada del lugar que ocupaban las mujeres artistas en la radio, para recuperar y analizar las ocupaciones femeninas no artísticas que también eran parte del mundo del trabajo de las emisoras porteñas, durante la década del treinta. Para ello nos centramos, principalmente, en la trayectoria de la locutora Tita Armengol. A partir del análisis de una serie de entrevistas publicadas en las revistas radiales La Canción Moderna, Radiolandia y Antena que la tuvieron como protagonista durante toda la década se propone abordar sus experiencias laborales y la construcción de su imagen pública, tanto propia como la configurada por las revistas. Podemos afirmar que las propias condiciones experimentales, poco definidas, e inciertas del medio radiofónico en su proceso de desarrollo fueron aprovechadas por Tita Armengol y otras mujeres, al mismo tiempo que impactaron en la profesionalización de los puestos que ocupaban, a medida que el propio medio también lo hacía. El contrapunto con las trayectorias de otras mujeres trabajadoras de la radio en ese mismo período permite analizar otro abanico de puestos y recorridos laborales que hicieron las mujeres en la radio durante esa época.
The purpose of this article is to shift our gaze from the place that women artists occupied on the radio, to recover and analyze the non-artistic female occupations that were also part of the world of work on Buenos Aires radio stations during the 1930s. To do this, we focus mainly on the career of the speaker Tita Armengol. Based on the analysis of a series of interviews published in the radio magazines La Canción Moderna, Radiolandiaand Antenathat featured her throughout the decade, it is proposed to address her work experiences and the construction of her public image, both her own and the one that wasconfigured by magazines. We can affirm that the very experimental, poorly defined, and uncertain conditions of the broadcasting in its development process were taken advantage of by Tita Armengol and other women, at the same time that they had an impact on the professionalization of the positions they occupied, as the medium itself did it too. The counterpoint with the trajectories of other women radio workers in that same period allows us to analyze another range of positions and career paths that women in the radio did during that time.
The purpose of this article is to shift our gaze from the place that women artists occupied on the radio, to recover and analyze the non-artistic female occupations that were also part of the world of work on Buenos Aires radio stations during the 1930s. To do this, we focus mainly on the career of the speaker Tita Armengol. Based on the analysis of a series of interviews published in the radio magazines La Canción Moderna, Radiolandiaand Antenathat featured her throughout the decade, it is proposed to address her work experiences and the construction of her public image, both her own and the one that wasconfigured by magazines. We can affirm that the very experimental, poorly defined, and uncertain conditions of the broadcasting in its development process were taken advantage of by Tita Armengol and other women, at the same time that they had an impact on the professionalization of the positions they occupied, as the medium itself did it too. The counterpoint with the trajectories of other women radio workers in that same period allows us to analyze another range of positions and career paths that women in the radio did during that time.
