A LITERATURA FORA DE SI ESCREVIVÊNCIAS: VOZES E CORPOS POTENTES DE MULHERES NEGRAS EM "BOM MESMO É ESTAR DEBAIXO D’ÁGUA", DE LUEDJI LUNA

Abstract

ABSTRACT: This article analyzes the visual album “Bom mesmo é viver debaixo d’água” (2020), by the Bahian poet, singer and songwriter Luedji Luna. The objective is to discuss the intersections between this work and other languages, artistic and media forms, in particular, through the contact between poetry, music, performance and music video, in order to highlight the contemporary face of art built in dialogues and expansions that promote the expansion of its structures, languages and borders. In addition, the importance of this artistic work is highlighted as an instrument for reflection on ethnic-racial issues, with greater emphasis on valuing black identities and combating racism. The artist's choice for this arduous struggle is for affection: love as an act of resistance and overcoming the pain suffered by black people within a racist society such as ours. For the analysis, three intertextual clippings were chosen within the visual album: I) the song “Ain't got no”, by Nina Simone; II) the poem “The night does not fall asleep in the eyes of women”, by Conceição Evaristo; III) and the poem “Almost", by Tatiana Nascimento. Three works to be perceived through the intermedia perspective that Luedji Luna introduce us. For the proposed discussions, we used some basic concepts, such as intermediality (CLÜVER, 2007; JUSTINO, 2015); “escrevivência” (EVARISTO, 2020) and nonspecificity of art (GARRAMUÑO, 2014).