Banca de DEFESA: LUANE FERNANDES COSTA

Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.
STUDENT : LUANE FERNANDES COSTA
DATE: 19/02/2024
TIME: 15:00
LOCAL: Remoto - Google Meet
TITLE:

Ritualistic performativities of the Ialodês in contemporary brazilian black music videoclips

KEY WORDS:

religiosity; videoclip; music; race.

PAGES: 130
BIG AREA: Ciências Sociais Aplicadas
AREA: Comunicação
SUBÁREA: Teoria da Comunicação
SUMMARY:

Drawing from concepts in black racial theory, such as transcoding (Hall, 2016), control images (Collins, 2019), and the black atlantic (Gilroy, 2001), the works of three interlocutors - Mc Tha, Luedji Luna, and Bixarte - were investigated. They are Afro-Brazilian artists who incorporate aspects of Black religiosity into their sound and performance, including rites, rituals, and the presence of Ialodês - the female orixás, such as Iansã, Nanã, Oxum, and Iemanjá. Through methodological indicators of analysis applied to their works, three aspects were examined: their visual elements, sounds, and texts, to identify the presence of African-derived religions in their music videos. From these investigations, discussions revolved around the symbolic manifestation of the orixás and previously defined analysis indicators, such as water, colors, beads, leaves, and food. Considering the cited authors, there was contemplation on the inseparability of music produced in the black diaspora and african-derived religions, as well as the confrontation of proposed images with the racialized representation regime. Concepts like transcoding images (Hall, 2016) were evoked to understand how these images shift stereotypes in the Brazilian social imaginary about African-derived religions, often submerged under an idea of precariousness in a predominantly christian and religiously intolerant country. Images of freedom (Guilherme, 2022) were used to contemplate how the interlocutors speak from themselves, no longer from a subordinate perspective to the colonizing white gaze, while also confronting control images that confine black bodies, bodies from religious communities, and gender nonconforming bodies (Mombaça, 2021). Therefore, this dissertation defines that the images in the music videos of the analyzed Black Brazilian female singers in Oxum (A Nova Era, Part I) (2021), Banho de Folhas (2017), and Rito de Passá (2019) are transgressive and emancipatory. They utilize cultural products as a space where racialized women, whether cis or trans, practitioners of Umbanda or Candomblé, can draw from their repertoire and presence to feel empowered. The artists were chosen for their political confrontations in their works, their origins from racialized spaces in brazilian peripheries, and for incorporating aspects of their religiosity into their performance. Thus, the efforts to present opposing images (hooks, 2019), with elements of valorization, calmness, and serenity through african-derived religious rituals, challenge the images that control the population in these religious communities.

COMMITTEE MEMBERS:
Presidente - 2312564 - DANIEL RODRIGO MEIRINHO DE SOUZA
Interno - 1789369 - BRENO DA SILVA CARVALHO
Externa à Instituição - LUCIANA XAVIER DE OLIVEIRA - UFABC
Externo à Instituição - TOBIAS ARRUDA QUEIROZ - UERN