As representações de feminilidade no Funk de Anitta: uma investigação do discurso crítico

Abstract

Funk is an important decolonial instrument that can give voice to many women who are oppressed and silenced by the oppressive system. Situated at the intersection of race, gender and class , this research aims to understand the representations of decolonial femininities that exist in some of the songs by funk singer Anitta and how these representations reverberate (or not) with decolonial feminist discourses of empowered women. We understand funk not only as a musical genre, but as a lifestyle, marginalized and despised by patriarchal culture. We emphasize that it is not only music that suffers from this (pre)conception, but all people who identify with and adhere to this style. Therefore, we believe that when the system marginalizes this genre, it is not only funk singers who are inferiorized, but also the people who use this style to gain a place to speak in different contexts. When Lélia González (2020) states that black women are stereotyped with the image of domestic and erotic subservience, we remember that funk, as a genre that emerged in the favela, also suffers from prejudice, after all, it becomes a form of representation of black women, mostly, which carries consequences of a hegemonic discourse of racist and patriarchal domination. In this investigation, we also bring some female funk singers who represent and are a reference in the style, especially the singer Anitta, interpreter of the analyzed songs. As a methodological contribution, we use Critical Discourse Analysis (CDA), with the intention of collaborating with the theme about discursive representations. We use Faircloughian CDA as theoretical assumptions, which considers language situated in social practices. The type of research is qualitative, documentary criticism based on the discussions presented by Flick (2009) and Carspecken (2011). Regarding the historical context and femininities manifested in the funk musical genre, we sought to dialogue with Vianna (1988), Coutinho (2020) and Gomes (2021). The analyzed corpus is composed of funk lyrics by singer and composer Anitta, analyzed in their linguistic-textual aspects. Even though the musical genre analyzed is marginalized and suffers from prejudice in many ways, being stigmatized by the media with the idea of criminality, it is a mass manifestation, related to the lifestyle of people who live in the outskirts and favelas. By pointing out that funk can confront stereotypes of femininity and consider the behavioral paradigms that patriarchal and oppressive culture imposes as ideal, we hope to contribute with new perspectives and new looks on the musical genre. Therefore, we corroborate that the representation of women in this genre not only contributes, but also highlights and influences female empowerment.