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Trans Tessituras Confounding, Unbearable, and Black Transgender Voices in Luso-Afro-Brazilian Popular Music

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Trans Tessituras Confounding, Unbearable, and Black Transgender Voices in Luso-Afro-Brazilian Popular Music Trans Tessituras Confounding, Unbearable, and Black Transgender Voices in Luso-Afro-Brazilian Popular Music Daniel da Silva Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Daniel da Silva All rights reserved ABSTRACT Trans Tessituras Confounding, Unbearable, and Black Transgender Voices in Luso-Afro-Brazilian Popular Music Daniel da Silva This dissertation shows how gay, trans and queer performers in Brazil, Portugal, and Angola, working in traditionally misogynistic, homo- and transphobic popular music genres, have successfully claimed and refigured those genres and repertoires through iterations of transgender voices and bodies. I show how Pabllo Vittar, Fado Bicha and Titica refigure normative gendered conventions of sex and song through trans formations of popular music genres. I locate them within a genealogy of queer Luso-Afro-Brazilian popular music practices and performances that deploy trans formations of voice, body, and repertoire. I trace a genealogy of transgender voice in Brazilian popular music to Ney Matogrosso’s 1975 debut release, through which I reveal a cacophony of queer, indigenous and Afro-Brazilian intersections; and in Portuguese popular music to António Variações 1982 debut, through whom I trace a fado genealogy of Afro-diasporic cultural practices, gender transgression and sexual deviance. Finally, I locate Titica’s music in practices of the black queer diaspora as a refiguring of Angolan postcolonial aesthetics. Together, these artists and their music offer a queer Luso-Afro-Brazilian diaspora in spectacular popular music formations that transit beside and beyond the Portuguese- speaking world, unbound by it, and refiguring hegemonic Luso-Afro-Brazilian discourses of gender, sexuality, race and nation. TABLE OF CONTENTS LIST OF FIGURES ................................................................................................................. iii ACKNOWLEDGMENTS ......................................................................................................... iv INTRODUCTION .................................................................................................................... 1 Shades of Sexual Transgressions ..................................................................................... 5 Diaspora Desires and Transgender Apprehensions ....................................................... 16 Trans Tessituras and Wily Methodology....................................................................... 26 Spectacular Queer Diasporas ......................................................................................... 35 CHAPTER ONE – Confounding Travestis and Crying Black Mothers ............................... 36 Popular and Precarious Oscillations – Pabllo Vittar ..................................................... 38 Trans Tessitura .............................................................................................................. 53 Queer Cacophony – Ney Matogrosso ............................................................................ 64 Cries Like a Woman ...................................................................................................... 74 Black Mothers and Black Boats .................................................................................... 79 A Fateful Reprise ........................................................................................................... 86 CHAPTER TWO – Unbearable Fadistas .............................................................................. 88 An Unbearable Fadista .................................................................................................. 98 Desiring the Unbearable – Maria Severa .................................................................... 104 Unbearable States – Amália Rodrigues ....................................................................... 108 An Unbearable Outing – António Variações ............................................................... 120 Fado Bicha – Same as it Ever Was .............................................................................. 124 Fado Indiscretions........................................................................................................ 130 i Fado In Pink................................................................................................................. 146 Returning the touch ..................................................................................................... 152 CHAPTER THREE – Reading Titica .................................................................................. 154 Spectacular Vulgarity .................................................................................................. 160 Reading the Spectacular African Diaspora .................................................................. 172 Reading Kuduro Trans Formations ............................................................................. 177 Reading the Musseque ................................................................................................. 185 Eat Me Wrote You ....................................................................................................... 195 CONCLUSION – Lisbon is Burning ................................................................................... 200 WORKS CITED .................................................................................................................. 215 ii LIST OF FIGURES Figure 1 – Video still, Pabllo Vittar “Corpo Sensual,” featuring Mateus Carrilho, Vai Passar Mal (2017) ................................................................................................ 47 Figure 2 – Video still, Pabllo Vittar and Diplo, “Então Vai,” Vai Passar Mal (2017) .... 50 Figure 3 – Album art, Ney Matogrosso, Água do Céu-Pássaro (1975) ........................... 68 Figure 4 – Fado Bicha Facebook post, April 2019 ........................................................... 88 Figure 5 – Video stills, António Variações performing live on RTP (1982) .................. 100 Figure 6 – Video still, Amália Rodrigues, performing live on RTP (1961) ................... 112 Figure 7 – Cover art, António Variações, Povo que lavas no rio / Estou além (1982) .. 121 Figure 8 – Fado Bicha photo by Hermes de Paula .......................................................... 126 Figure 9 – Video still, Titica in the documentary I Love Kuduro (2013) ....................... 154 Figure 10 – Titica praying, video still, Titica, “Reza Madame,” Pra Quê Julgar? (2018) ............................................................................................................................. 164 Figure 11 – Kuduro prayers, video still, Titica, "Reza Madame," Pra Quê Julgar? (2018) ............................................................................................................................. 164 Figure 12 – Video still, Titica featuring Ary, “Olha o Boneco,” Chão (2011) .............. 178 Figure 13 – Video still, Titica with Ary and DJ Dias Rodrigues, “Pelo Menos 50,” Picante 5 Vol 5 (2015) ........................................................................................ 186 Figure 14 – Cover art, Titica featuring Pabllo Vittar, “Come e Baza” (2018) ............... 154 Figure 15 – “Ataque!” Queer City, A Reader (2016) ..................................................... 204 iii ACKNOWLEDGMENTS This dissertation would not have been possible without the guidance, support, laughter and love of people who deserve my thanks. I’ve been fortunate to have Maja Horn as my sponsor and advisor. Thank you, Maja, for conversations and critiques that were essential in shaping this work. To all the members of my committee, thank you, Kimberly Holton, for being a transformative presence in my life, and Ellie Hisama, Ana Paulina Lee, and Graciela Montaldo for your incomparable knowledge, generosity of time and supportive encouragement. Thank you to the Department of Latin American and Iberian Cultures for supporting me over these many years, for allowing me to set my own course, and for all of the graduates whose company made a lonely process less so. This work has taken shape over many conferences, publications, and conversations with people beyond my committee, department, and institution. Thank you, Anna Klobucka, for an enormous generosity of spirit and knowledge. To Jack Halberstam, thank you for trusting me to teach, inviting me to talk, and lifting me up. A warm thank you to Patricia Grieve, for guidance, friendship, and lovely evenings. Thank you, Ruth Feldstein, for pushing an old undergraduate in all the right directions. I am thankful for the love and support of my family and friends. To my parents, José Agostinho da Silva and Maria Virgínia da Silva, thank you for leaving Portugal at tender ages, putting down roots in Newark, NJ, and giving this first-generation college graduate the ability to be different, to make music, and to grow. Thank you, Annette, sister and friend, for too much to mention, and Jason, too. To my brother Joe, and Marlene, I give my thanks for love and encouragement. Jeremy, Jason Jr., Veronica, and Jaxon – your smiling faces have kept me company at my desk for countless hours. You iv are a part of this work and with me always. Portions of this dissertation were written in Nieul-le-Dolent, France. Thank you, Anne Marie and Joseph Merceron, for the loving home and hearts.
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