Mulheres no PEPEU: o poder interruptor da Educação Musical Feminista.

Abstract

For centuries, the musical practices of women have been neglected, excluding us from several areas of music. Speeches that reinforce this pattern are produced and reproduced until today. In order to question these speeches, this research explores the possibilities to promote Feminist Musical Educatlion. To investigate this issue, I look at the history of women's musical practices in music, specifically in percussion (GREEN, 2001; FRYDBER, 2010; THEODORO, 2008; GOMES, 2017). From that point of view, I problematize these practices with women members of the percussion group PEPEU - Percussion Extension Program at the Federal University of Pelotas (UFPEL) - relating them to the field of Music Education (SMALL, 1998; BOWMAN, 2018; GREEN, 2001; DÍAZ MOHEDO, 2005; ROMERO 2010); and reflect on feminist methodologies with women regarding their musical practices in percussion. Based on feminist epistemologies (RAGO, 1998; KILOMBA, 2010; GARCIA, 2011; GRAF, 2012; OCHOA, 2008) and feminist methodologies (NEVES, NOGUEIRA, 2005), I question the conservative form of science. To this end, the chosen methodology was the Participant Research (BRANDÃO, BORGES, 2007; FAERMANN, 2014) and the Epistemological Circles (ROMÃO et al., 2006) as a methodological instrument. The Epistemological Circles were encounters in which women's musical practices were problematized and also a space for a composition of musical poetics related to these questions. Based on those reflections, results show musical practices of women are still not recognized, because women in music are invisibilized, sexualized or need to show something beyond their interpretation for society to recognize them as musicians. This makes it difficult for women musicians to recognize themselves as such. With the intention to change this scenario, I propose the possibility of a Feminist Musical Education, which aims to think critically about women's practices and in which feminist solidarity has an essential role. The Feminist Musical Educational would be a form of suspending the musical patriarchy. This research is intertwined with the musical composition and, therefore, it is organized in three movements. Each movement represents the development of a critical sense in relation to research topics.