This essay examines La perra vuela y no se cae (The Bitch Flies and Doesn’t Fall) by the Colombian composer Ana María Romano, a work that exemplifies musical transgression within a heteropatriarchal context. The piece engages directly with feminine pleasure while exposing the mechanisms through which sexuality—particularly lesbian sexuality—is policed, silenced, and oppressed. Through sound, language, and explicitness, Romano confronts the politics of desire and the structures that attempt to control it. A central strategy of the work is the resignification of words historically used to humiliate or marginalize lesbian identities. By incorporating these terms into a musical framework, the piece disrupts their violent connotations and transforms them into tools of agency and resistance. In this way, Romano demonstrates how language actively constructs reality, shaping both perception and the boundaries of expression. Explicitness and transgression in music thus become essential, as linguistic and sonic norms often function as mechanisms of exclusion and control.
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