ABSTRACT:
Starting from a transdisciplinary and transperipheral stance on the production and circulation of knowledge, this text seeks to reflect on the role of memory as a tactical instrument of resistance and resignification of black people – more specifically black women – in Brazilian society, based on the musical work of a black, independent and peripheral artist. Taking as theoretical and analytical perspectives authors such as Leda Martins (2003)MARTINS, L. Performances da oralitura: corpo, lugar da memória. Letras, Santa Maria, SC, n. 26, p. 63-81, jun. 2003. and Lélia Gonzalez (1984)GONZALEZ, L. Racismo e sexismo na cultura brasileira. Revista Ciências Sociais Hoje, Rio de Janeiro, p. 223-244, 1984., I try to show how music, through interpretation, lyrics and sound genre, makes it possible to mobilise this memory through insurgent peripheral performances in the face of logics of oppression marked by racism and sexism. These performances are constructed within a peripheral chronotope in opposition to racist chronopolitics. Finally, the text reflects on how the result of this dynamic enables the construction of knowledge within a socially engaged agenda of research and knowledge production.
KEYWORDS:
memory; ancestry; black woman; performance; chronopolitics