Colonialidade de gênero no ensino de música na cidade de Macapá/AP

Abstract

This dissertation analyzes how gender coloniality manifests itself in the professional trajectories of female music teachers in the city of Macapá, Amapá, and had the following objectives: to discuss the challenges faced by female music teachers in exercising their profession in Macapá; to understand the ways in which social, sexual, racial, and gender hierarchies intersect in the professional trajectories of music teachers; and to analyze the strategies employed by music teachers to resist musical patriarchy. It was based on Lugones' (2020) theory, which discusses the multiple dimensions of oppression and decolonial feminism, and on the concept of coloniality, which highlights the structures of domination inherited from colonialism that persist in contemporary society. In addition, it addresses intersectionality, especially from the perspective of black feminism, supported by Akotirene (2019), and the concept of musical patriarchy, proposed by Green (2001), which identifies the structures of power and gender hierarchy in the musical field. Regarding methodology, a qualitative approach is presented in accordance with Brandão (2001). the bibliographic research from the perspective of Prodanov and Freitas (2013), for data collection through the narratives of music teachers, a semi structured interview with theoretical support from Ávila and Paula (2021) was used, in addition to using dialogic discourse analysis for the treatment of data from the narratives and experiences of the interlocutors.