Larissa Papa Nogueira Martins, Fábio Silva Sousa

FEMINISMO NEGRO, INTERSECCIONALIDADE E ESTUDOS CULTURAIS

Introduction

Feminismo negro, interseccionalidade e estudos culturais. Explore o Feminismo Negro e a Interseccionalidade na trajetória de Elza Soares, símbolo da luta de mulheres negras no Brasil. Análise cultural e interdisciplinar.

Abstract

Elza Soares foi uma das maiores artistas negras do Brasil. Sua trajetória ecoa nas transformações sociais, artísticas e políticas do Brasil de quase todo o Século XX e, especialmente ao fim de sua carreira, Elza foi um símbolo da luta e resistência das mulheres negras na sociedade brasileira. Com base nisso, o presente artigo tem como objetivo apresentar uma discussão sobre como o Feminismo Negro e a Interseccionalidade, com base nos Estudos Culturais, dialogaram com a trajetória de vida e resistência de Elza Soares. Utilizaremos o debate de diversas autoras e autores, em uma relação interdisciplinar e, por fim, analisaremos a letra da canção "O Que se Cala", para trazer uma referência do potencial de crítica e da atualidade de Elza Soares na sociedade brasileira.

Review

The proposed article, "FEMINISMO NEGRO, INTERSECCIONALIDADE E ESTUDOS CULTURAIS," immediately captures attention with its highly relevant and timely exploration of critical theoretical frameworks through the compelling figure of Elza Soares. The abstract effectively positions Soares not just as a monumental artist but as a powerful symbol of Black women's struggle and resilience within Brazilian society across a significant historical continuum. The ambition to connect her life and work with Black Feminism and Intersectionality, all rigorously framed within Cultural Studies, promises a rich and necessary interdisciplinary engagement that could offer profound insights into the nexus of race, gender, and nation. The article's objective, which is to discuss how these theoretical lenses dialogued with Soares's trajectory of life and resistance, is clearly articulated and methodologically sound. The intention to draw upon a diverse range of authors underscores a commitment to a comprehensive and robust theoretical foundation. A particular strength lies in the specified analytical focus on the song "O Que se Cala." This concrete textual analysis provides a tangible anchor for the broader theoretical discussions, promising to illuminate the critical potential and enduring relevance of Elza Soares's artistic legacy within contemporary Brazilian society. Such an examination, if executed effectively, has the potential to offer profound insights into the articulation of Black feminist thought and intersectional experiences within popular culture. While the abstract is exceptionally promising, the full article could potentially benefit from a more explicit articulation of the specific theoretical tenets of Cultural Studies that will primarily guide the analysis. Clarifying *how* Cultural Studies specifically frames the understanding of Elza Soares's cultural production, reception, and symbolic power, beyond simply being a context for Black Feminism and Intersectionality, would further strengthen the methodological clarity. Nonetheless, the article's core premise, its judicious choice of subject matter, and its proposed analytical approach suggest a highly significant and valuable contribution to ongoing scholarly discussions on race, gender, culture, and power in Brazil and beyond.

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