“VIXE!!! QUE MENINA PRETA É ESSA?” EU, TÁSSIA REIS, PRETA RARA E NEGAFYA: NA ENCRUZILHADA DAS RIMAS E DOS AFETOS

Abstract

In this dissertation called Damn! What kind of black girl is this?” I, Tássia Reis, Preta Rara and Nega Faya: at the crossroads of rhymes and affections, assembled as a musical album, I read some productions by the artists Tássia Reis, Preta Rara and NegaFya, which I call rhymeauthors, black women who create rhymes. The first two are in the Rap scene, and the third in the Slam scene. In these readings, in which I also contemplate my experiences, I analyze the verses and the performances of the artists on video, observing which ressignifications emerge through the representations that these productions present within the scope of black subjectivities. Thus, I develop the notion of Black Feminist Rhymes, a theoretical operator that points to a notion of rhyme amalgamated into the black female body, its own demands for re-existence and expressions. In the first part of this dissertation, I report my meeting with the research subjects, as well as the meaning of this meeting, marked by a conscious understanding of my self-affirmation process as a black woman, and by fundamental decisions for the development of the work, such as the problem of the western tradition between love and pain as colonial categories and the understanding of the notion of affection as our power of action. Then, I discuss how the artists, when presenting a discourse on identities and empowerment, deny black women the treatment of an invisible Other and make use of the black-feminist poetic voice. Also, I reflect on how these artists, through their textual repertoires filled with an emblematic and constitutive poetry of racial difference and self-identification, express a consolidated discourse in an insubordinate language, erasing stereotypes and denouncing the violence with which we, black women, we usually come across. Finally, I talk about my experience of being received in the world, connecting my narrative with that of the poetic-musical verses of the rhymeauthors and their self-definition strategies. In this dissertation, to find productive paths of reflection, I established dialogues with the thought of Abdias Nascimento (2016) e (2019), Achille Mbembe (2016) e (2018), Aimé Césaire (2020), Alberto Guerreiro Ramos (1995), Amanda Julieta Souza de Jesus (2020), Ana Cláudia Lemos Pacheco (2013), Ana Lúcia Silva Souza (2011), Angela Davis (2017), Ana Rita Santiago (2012), Aleandro Reyes (2013), Audre Lorde (2019), bell hooks (1995), (2010), (2014), (2017) e (2019), Beatriz Nascimento (2006), Carla Akotirene (2018), Conceição Evaristo (2007), Davi Nunes (2016) e (2020), Florentina Souza (2018) e (2020), Franz Fanon (2008), Gloria Anzaldúa (2000), Grada Kilomba (2019), Henrique Freitas (2016), Homi Babha (1998), Isildinha Baptista Nogueira (1998), Joice Berth (2018), Jovina Souza (2019), Kabengele Munanga (2020), Kimberlé Crenshaw (2002), Laila Rosa e Isabel Nogueira (2015), Lívia Maria Natália de Souza (2016), Leda Maria Martins (2002), (2017) e (2016), Lélia Gonzalez (2018), Luiza Bairros (1995), Maria Dolores Sosin Rodriguez (2019), e (2020), Michel Foucault (1997), Mogobe B. Ramose (1999), Muniz Sodré (2017), Nilma Lino Gomes (2019), Nubia Moreira (2012), Patricia Hill Collins (2019), Paul Gilroy (2012), Paul Zumthor (2018), Spinoza (2009), Sueli Carneiro (2011), Rebeca Sobral Freire (2018), Silvana Carvalho Fonseca (2019), Stuart Hall (2009), Tricia Rose (2021), Vilma Piedade (2017) e Vladimir Safatle (2019).