Black feminism and interseccionality in the song “Mulher do fim do mundo” (2015) performed by Elza Soares

Abstract

In this work, we aim to centrally develop an analysis of the song of the same name to the album's title, Mulher do Fim do Mundo (2015), played by Elza Soares, having as the theoretical contribution the Theory of Intersectionality – debate developed at the national level by Carla Akotirene (2018), Djamila Ribeiro (2018), Heloísa Buarque de Hollanda (2018), among others. We will investigate how the relationship between gender and race occurs in the trajectory of the lyrical i in the song "Mulher do fim do mundo" (Alice Coutinho/ Romulo Fróes), performed by Elza Soares, bringing brief and comparatively other musical instances of Elza in which such ideas are also highlighted. For this, we start from the assumption that the song uses a process of metaphorization of female pain and loneliness, as sentimental meanings diluted in a carnival, making the poetic character leave on the avenue of carnival, to glimpse a trajectory of life in which art (singing) shows itself as an enabling element of the reconfiguration of a space in which other expectations for female voices, other than loneliness and pain, are possible on the avenue, lasts until the end (SOARES, 2015, track 1).