{"id":{"repo_id":"brazil-ufba","oai_identifier":"oai:repositorio.ufba.br:ri/43104"},"canonical_url":"https://search.dev.ndltd.org/etd/brazil-ufba/oai:repositorio.ufba.br:ri/43104","repository":{"repo_id":"brazil-ufba","name":"Brazil UFBA","base_url":"https://repositorio.ufba.br/oai/request"},"display":{"title":"Sertransneja: identidade de gênero e migração na arte","abstract":"This dissertation analyzes the visual album Setransneja, an authorial audiovisual work released in 2022, which mixes Northeastern sertanejo rhythms (baião, piseiro, arrocha) with electronic elements (ravefunk, synthesizers), exploring aesthetic and political dimensions from an essayistic and ethnographic perspective. The research explores issues of gender identity, migration and the belonging of trans people from the northeast of Brazil, combining personal experiences with theoretical reflections. The first chapter, starting with the opening track, discusses Xica Manicongo's transatlantic diaspora, the concepts of cultural identity and diaspora (Hall) and the forced displacement of trans bodies, thought of as sexiles (Manuel Guzmán), in dialogue with Antônio Bispo dos Santos' notion of territoriality. The second chapter proposes a methodology based on the track Toma Desce Toma Toma, bringing together the aesthetics of the paredão and peripheral epistemologies that place the body as the center of knowledge, challenging cultural elitism in relation to rhythms such as fun and pagode baiano. In the third chapter, the tracks Amor Encubado and Não Foi Só Um Programa provoke transfeminist reflections on affections and sex work. Finally, the fourth chapter, with the track Trava da Peste, brings the perspective of critical fabulation and elements of nature, especially the river, as an ecological subject essential to life in the sertão, as opposed to the impacts of agribusiness and extractivism.","abstract_html":"This dissertation analyzes the visual album Setransneja, an authorial audiovisual work released in 2022, which mixes Northeastern sertanejo rhythms (baião, piseiro, arrocha) with electronic elements (ravefunk, synthesizers), exploring aesthetic and political dimensions from an essayistic and ethnographic perspective. The research explores issues of gender identity, migration and the belonging of trans people from the northeast of Brazil, combining personal experiences with theoretical reflections. The first chapter, starting with the opening track, discusses Xica Manicongo's transatlantic diaspora, the concepts of cultural identity and diaspora (Hall) and the forced displacement of trans bodies, thought of as sexiles (Manuel Guzmán), in dialogue with Antônio Bispo dos Santos' notion of territoriality. The second chapter proposes a methodology based on the track Toma Desce Toma Toma, bringing together the aesthetics of the paredão and peripheral epistemologies that place the body as the center of knowledge, challenging cultural elitism in relation to rhythms such as fun and pagode baiano. In the third chapter, the tracks Amor Encubado and Não Foi Só Um Programa provoke transfeminist reflections on affections and sex work. Finally, the fourth chapter, with the track Trava da Peste, brings the perspective of critical fabulation and elements of nature, especially the river, as an ecological subject essential to life in the sertão, as opposed to the impacts of agribusiness and extractivism.","abstract_has_math":false,"creators":["Pereira, Tertuliana Mascarenhas Lustosa"],"institution":"Universidade Federal da Bahia","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2025,"date_issued":"2025-04-28","date_published":"2025-04-28","updated_at":"2026-07-27T22:07:53Z","subjects":["Migração","Audiovisualidade","Teoria Queer","Transfeminismo","Nordestinidades","Arte e sociedade","Arte - Aspectos sociais","Identidade de gênero na arte","Mulheres trangênero na arte","Transexualidade","Feminismo"],"languages":["por"],"rights":["Acesso Aberto"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://repositorio.ufba.br/handle/ri/43104","outbound_label":"Repository record","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Pereira, Tertuliana Mascarenhas Lustosa"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2025-10-01T19:07:01Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2025-10-01T19:07:01Z"]},{"key":"dc:date.issued","label":"Date","values":["2025-04-28"]},{"key":"dc:publisher","label":"Institution","values":["Universidade Federal da Bahia"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Instituto de Humanidades, Artes e Ciências Professor Milton Santos - IHAC"]},{"key":"dc:type","label":"Dc Type","values":["Dissertação"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Migração","Audiovisualidade","Teoria Queer","Transfeminismo","Nordestinidades","Arte e sociedade","Arte - Aspectos sociais","Identidade de gênero na arte","Mulheres trangênero na arte","Transexualidade","Feminismo"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["por"]},{"key":"dc:rights","label":"Dc Rights","values":["Acesso Aberto"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://repositorio.ufba.br/handle/ri/43104"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This dissertation analyzes the visual album Setransneja, an authorial audiovisual work released in 2022, which mixes Northeastern sertanejo rhythms (baião, piseiro, arrocha) with electronic elements (ravefunk, synthesizers), exploring aesthetic and political dimensions from an essayistic and ethnographic perspective. The research explores issues of gender identity, migration and the belonging of trans people from the northeast of Brazil, combining personal experiences with theoretical reflections. The first chapter, starting with the opening track, discusses Xica Manicongo's transatlantic diaspora, the concepts of cultural identity and diaspora (Hall) and the forced displacement of trans bodies, thought of as sexiles (Manuel Guzmán), in dialogue with Antônio Bispo dos Santos' notion of territoriality. The second chapter proposes a methodology based on the track Toma Desce Toma Toma, bringing together the aesthetics of the paredão and peripheral epistemologies that place the body as the center of knowledge, challenging cultural elitism in relation to rhythms such as fun and pagode baiano. In the third chapter, the tracks Amor Encubado and Não Foi Só Um Programa provoke transfeminist reflections on affections and sex work. Finally, the fourth chapter, with the track Trava da Peste, brings the perspective of critical fabulation and elements of nature, especially the river, as an ecological subject essential to life in the sertão, as opposed to the impacts of agribusiness and extractivism."]},{"key":"dc:title","label":"Title","values":["Sertransneja: identidade de gênero e migração na arte"]}]}],"canonical_facts":{"dc:creator":["Pereira, Tertuliana Mascarenhas Lustosa"],"dc:date.accessioned":["2025-10-01T19:07:01Z"],"dc:date.available":["2025-10-01T19:07:01Z"],"dc:date.issued":["2025-04-28"],"dc:description.abstract":["This dissertation analyzes the visual album Setransneja, an authorial audiovisual work released in 2022, which mixes Northeastern sertanejo rhythms (baião, piseiro, arrocha) with electronic elements (ravefunk, synthesizers), exploring aesthetic and political dimensions from an essayistic and ethnographic perspective. The research explores issues of gender identity, migration and the belonging of trans people from the northeast of Brazil, combining personal experiences with theoretical reflections. The first chapter, starting with the opening track, discusses Xica Manicongo's transatlantic diaspora, the concepts of cultural identity and diaspora (Hall) and the forced displacement of trans bodies, thought of as sexiles (Manuel Guzmán), in dialogue with Antônio Bispo dos Santos' notion of territoriality. The second chapter proposes a methodology based on the track Toma Desce Toma Toma, bringing together the aesthetics of the paredão and peripheral epistemologies that place the body as the center of knowledge, challenging cultural elitism in relation to rhythms such as fun and pagode baiano. In the third chapter, the tracks Amor Encubado and Não Foi Só Um Programa provoke transfeminist reflections on affections and sex work. Finally, the fourth chapter, with the track Trava da Peste, brings the perspective of critical fabulation and elements of nature, especially the river, as an ecological subject essential to life in the sertão, as opposed to the impacts of agribusiness and extractivism."],"dc:identifier.uri":["https://repositorio.ufba.br/handle/ri/43104"],"dc:language":["por"],"dc:publisher":["Universidade Federal da Bahia"],"dc:publisher.department":["Instituto de Humanidades, Artes e Ciências Professor Milton Santos - IHAC"],"dc:rights":["Acesso Aberto"],"dc:subject":["Migração","Audiovisualidade","Teoria Queer","Transfeminismo","Nordestinidades","Arte e sociedade","Arte - Aspectos sociais","Identidade de gênero na arte","Mulheres trangênero na arte","Transexualidade","Feminismo"],"dc:title":["Sertransneja: identidade de gênero e migração na arte"],"dc:type":["Dissertação"]},"updated_at":"2026-07-27T22:07:53Z"}