O fervo também é luta: a voz da militância LGBT através do funk

Abstract

The “Funk Carioca” has always been seen as a marginal rhythm by the press and certain segments of society. More recently, it has been used by the LGBT (lesbian, gay, bisexual, and transgender) community as a form of spokesperson for discourses of this layer of this population. The study described here seeks to understand, through the analysis of the lyrics of some compositions, the political and social function of these songs, as well as to discuss and explain how the discourse of LGBT activists becomes accessible through this popular musical genre and how it becomes instrument that subverts a socially constructed biased rhetoric. The literature review has the contextualization of the musical genre Funk and its evolution throughout history, based on studies of the history of music, presented by authors such as Essinger (2005), Vianna (1987) and Herschmann (2005). The authors who refer to the theoretical-methodological approach adopted, namely Discourse Analysis, are: Orlandi (2013), Chauí (2004), Pêcheux (1975), Althusser (1985), Bakhtin / Volochínov (2014) that talk about ideology and concepts of discourse analysis, which affirm that language is not neutral, but charged with a symbolic and ideological content. For the discussions about gender and sexuality, studies of different authors were necessary, such as Louro (1997), Butler (2002), Foucault (1999), Bourdieu (2012) and Bento (2012). And finally, studies about identity and representation, Woodward (2014), Silva (2014), and Hall (2014). Therefore, this research demonstrates how discourses are used as a way of creating a new imaginary about LGBT, through musical representation, that allows a greater reach of interlocutors, it is realized that the main focus of discourses is the inversion of the ideology of domination-submission created by the male-female dichotomy and the other consequences that plague the LGBT community.