Performance and Embodied Politics in Favela Funk
Chapter Four: Negotiated Femininities: Relationships with Men and Other Funkeiras
The opening shots for Pocah’s 2019 “Pode Chorar” (“You Can Cry”) shows the funkeira out of focus, walking into a room with a picture frame under her right arm.1 Her long dark brown hair is down, and she wears a green animal-print top, a green pencil skirt adorned with golden chains, and golden hoops in her ears. Pocah comes into focus when she places the picture on the wall, next to others. Later in the music video, it is revealed that the frames display photos of men who were Pocah’s former lovers/partners. The funkeira’s voice precedes the 150 BPM beat with the following lyrics: “Today I’m going to party/I’m going to wear everything that he hates/today I’ll free myself/he can beg/but it’s going to be much worse/I’m going to learn how to live on my own.” Pocah utter these words while sitting on a chair, legs crossed, using her arms to caress her chest, hips, and tights. “Pode Chorar” is one example of many in which funkeiras show derision toward cismen.
After exploring the multiple forms in which funkeiras think about and perform racialized femininities, I now concentrate on how funkeiras navigate relationships with other women (trans and otherwise) and cismen in their performances. An important part of funkeiras’ ←97 | 98→transgressive embodiments of femininities stem from the ambiguous manners in which they enact these relationships, including the various roles they play in this process. Previous research has suggested that funkeiras’ songs relate to men and other women...
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