Reflexões sobre as iniciativas colaborativas feministas em música no Brasil e suas implicações em ações de resistência e criatividade

Autores

  • Tânia Mello Neiva Universidade Federal da Paraíba, Brasil
  • Isabel Porto Nogueira Universidade Federal do Rio Grande do Sul, Brasil
  • Camila Durães Zerbinatti Universidade Federal de Santa Catarina, Brasil https://orcid.org/0000-0003-2449-9320

DOI:

https://doi.org/10.35699/2317-6377.2019.5268

Palavras-chave:

Feminismo decolonial, Mostra XX, Duo Isabel Nogueira e Leandra Lambert, Música experimental brasileira

Resumo

Neste artigo abordamos duas iniciativas envolvendo mulheres, música e trabalho colaborativo e criativo no Brasil como possibilidades de rompimento com e/ou enfraquecimento de lógicas hegemônicas de produção de conhecimento e modos de vida/coexistência de acordo com a dimensão política do feminismo decolonial. As iniciativas são a “Mostra XX” e o duo formado por Isabel Nogueira e Leandra Lambert. Propomos um olhar reflexivo e crítico sobre o nosso contexto local e possíveis respostas políticas às armadilhas que nos são impostas e que também ajudamos a armar.

Biografia do Autor

  • Tânia Mello Neiva, Universidade Federal da Paraíba, Brasil

    Tânia Mello Neiva isa PhD candidate on musicology at the Federal University of Paraíba - UFPB, in Brazil. She studies Brazilian women in experimental music from a feminist perspective, guided by PhD Didier Guigue and PhD. Adriana Fernandes. In her Master degree on musicology she researched Brazilian women composers on classical music, at the State University of Campinas -UNICAMP (2006), the same institution where she got her bachelor degree on piano (2003). She is also a composer, performer, cellist and private music educator.

  • Isabel Porto Nogueira, Universidade Federal do Rio Grande do Sul, Brasil

    Isabel Porto Nogueira isMusicologist, performer, composer and artivist, PhD in Musicology from the Autonomous University of Madrid, Spain (2001) and Bachelor of Piano from the Federal University of Pelotas, RS, Brasil (1993). She is a CNPq Scientific Productivity Researcher, Professor of the Arts Institute at the Federal University of Rio Grande do Sul, professor and supervisor of Graduate Courses, Master and Doctor of Music (UFRGS), and Master and Doctor of Social Memory and Cultural Heritage (UFPel / RS). She is Member of the Research Group in Sound Creation (UFRGS), Studies in Music and Media (Musimid / SP), Research Group in Performance Practices (UFRGS) and  SARDS- Sonic Arts Research &Decolonial Studies (University of Costa Rica). She coordinates the Research Group in Gender and Music, at Federal University of Rio Grande do Sul.  She develops research projects in music and gender, and sound creation.

  • Camila Durães Zerbinatti, Universidade Federal de Santa Catarina, Brasil

    Camila Durães Zerbinatti is a cellist and researcher. She is currently PhD Candidate at the Federal University of Santa Catarina UFSC, in the Interdisciplinary Post-Graduate Program in Human Sciences - Area of Concentration in Gender Studies. She develops a theoretical-practical research with Brazilian women composers music for solo cello. She got her master research in Musicology-Ethnomusicology in UDESC with the dissertation "Sept Papillons, by Kaija Saariaho: musical analysis and aspects of performance." She has a postgraduate degree in 20th and 21st Century Interpretive Practices with an emphasis on cello and chamber music from the Federal University of Rio Grande do Norte - UFRN and she has a degree in Music Education from University of São Paulo - USP. She develops researches in the areas of cello performance and analysis of contemporary music; gender, feminism and music.

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Publicado

2019-06-03

Edição

n. 39 (2019): General Topics

Seção

Música & Gênero

Licença

Licença Creative Commons
Exceto onde está indicado, o conteúdo neste site está sob uma Licença Creative Commons - Atribuição 4.0 Internacional.

Como Citar

“Reflexões Sobre As Iniciativas Colaborativas Feministas Em Música No Brasil E Suas implicações Em ações De Resistência E Criatividade”. 2019. Per Musi, nº 39 (junho): 1-20. https://doi.org/10.35699/2317-6377.2019.5268.