Audiovisualidades plataformizadas de mulheres musicistas independentes

Abstract

This study observes and analyzes the audiovisual processes by female musicians of the independent music scenes of Porto Alegre and Milan during the Covid-19 pandemic, unfolded on their platformed audiovisualities. The theoretical framework is based on audiovisualities, technoculture, logics and dynamics of the independent music scenes, and gender and music issues together with intersectionality aspects. The methodological procedures beheld the establishment of profile of the musicians, who are singers, composers and play instruments, and that released music projects on music platforms with an interesting usage of the audiovisual for their divulgation on social media platforms, in the face of the measures for containing the Covid-19 virus dissemination. Based on this, the methodological moves for constituting the research corpus from the cartographies perspective where flânerie, in order to map the artists, their releases, their audiovisuals and other female professionals that make their music scenes happen; interviews with these women; and the usage of digital methods for data extraction from the musician’s Instagram profiles, to build a sample of the audiovisuals published by them during that period for releasing music projects. Alongside with that, procedures were carried out for codification/collections structuration for categorization, and the organization of the constellations Pandemic platformed audiovisualities and Music networks and gender, for analysis purposes. We concluded, with these moves, to have understood how the audiovisual processes by the female musicians during the Covid-19 pandemic actualized their music scenes’ DIY ethos. The artists dealt with the limitations of the pandemic context, of the algorithmic logics of the platformed environment, and of their circumstances as women in a society still with a deep gender inequality. For that, they used the possible resources for producing their audiovisuals, the platform’s affordances, and took a position, with image and text, as composers, singers and instrumentalists. As a result, they accomplished the construction and the fostering of a network with the audience and other members of the music scenes, articulating their growth and their representativity, and therefore actualizing the DIY ethos in their music scenes.