South, Sertão and Flowers: An imperative propaedeutic for understanding contemporary artistic manifestations of the Global South

Abstract

In this article, we propose an approach to the feminejo group entitled Fulô do Sertão from Teresina, in the state of Piauí, Brazil. This group was chosen with the intention of praising music as a weapon and as a form of resistance/existence in the Global South. Thus, considering the perspective of imagined worlds and technologies of the self, we argue that the artistic productions of Fulô do Sertão are, in fact, responsible for engendering new musical-symbolic epistemologies in the Global South. The approach adopted here focuses on two central analytical pillars: (1) the need to introduce into current music scenes experiences that have contributed to artistic and cultural diversity, despite having been largely sidelined and/or omitted by the Anglo-American way of thinking; (2) to analyze innovative cultural experiences that involve a sustained study of social groups that are largely omitted, namely women, as well as an understanding of the reality of the South, marked by a new capitalism based on socio-economic insecurity and precariousness. Therefore, by observing this case study, we are faced not only with the possibility of outlining decolonial music scenes, but also with the possibility of overcoming the colonial genre.