anitta

RESUMO: Percebemos aqui como o videoclipe entendido como um ciberacontecimento tem as suas potências semióticas disparadas: configura-se como desencadeador de semioses que podem ser materializadas visando entender diferentes complexidades. A cantora Anitta, ao articular matrizes culturais da música pop anglófila-estadunidense e do funk carioca deflagrou um cenário de disputas de sentidos através do videoclipe Vai Malandra. Entendemos, em tais circunstâncias, que signos da cultura pop inauguram territorialidades semióticas nas quais diferentes semioticidades emergem, engendram-se e confrontam-se, sinalizando como as diferenças culturais de gênero, sexualidade, raça e classe são ameaçadas simbolicamente na cultura digital e as maneiras como o teor político do pop é ampliado nesse contexto.

The Brazilian singer Anitta, by articulating the cultural matrices of AnglophileAmerican pop music (Soares, 2015) and the funk carioca (Pereira de Sá, 2014), has started a scenario of controversy by Spreading (Jenkins et al., 2014) of the videoclip named Vai Malandra. Anitta’s videoclip is here understood as (cyber)event (Henn, 2014) in the context of digital networks and it is also configured as an initiatory of semiosis (Peirce, 2002) that can be materialized in order to understand different complexities. Using the methodology called Sense Construction Analysis in Digital Networks (Henn et al., 2017), we mapped eight constellations of senses inaugurated by the Spreading of the video in specific contexts: Twitter, Facebook and YouTube. We have focused our efforts in two constellations that we called political confrontations and prejudices, capable of signaling in which way this videoclip brings discussions about sexuality and gender (LOURO, 2003) - including the confrontation between different feminist perspectives - aesthetic-body patterns, latinicities, and also conservatives and prejudiced perceptions about production, signaling some constructions/imaginaries of whiteness (Miskolci, 2015). In such circumstances, we understand that Pop Music inaugurates semiotic territorialities (Henn, 2017) in which different semiosis emerge, engender and confront each other, signaling how cultural differences are symbolically threatened in digital culture and the ways in which political content of Pop can be expanded.
Keywords: Pop music, funk carioca, digital networks, gender, Anitta.

#VaiMalandra Anitta’s music video in digital networks: political clashes and prejudices in Brazil
Gabriela Gelain | Christian Gonzatti
The Brazilian singer Anitta, by articulating the cultural matrices of Anglophile-American pop music (SOARES, 2015) and the funk carioca (PEREIRA DE SÁ, 2014), has started a scenario of controversy by Spreading (JENKINS et al., 2014)  of the videoclip named “Vai Malandra”. Anitta\'s vioclip is here understood as (cyber)event (HENN, 2014) in the context of digital networks and it is also configured as a initiatory of semioses (PEIRCE, 2002) that can be materialized in order to understand different complexities. Using the methodology called Sense Construction Analysis in Digital Networks (HENN et al., 2017), we mapped eight constellations of senses inaugurated by the Spreading of the video in specific contexts: Twitter, Facebook and YouTube. We have focused our efforts in two constellations that we called political confrontations and prejudices, capable of signaling in which way this videoclip brings discussions about sexuality and gender (LOURO, 2003) - including the confrontation between different feminist perspectives - aesthetic-body patterns, latinicities, and also conservatives and prejudiced perceptions about production, signaling some constructions/imaginaries of whiteness (MISKOLCI, 2016). In such circumstances, we understand that Pop Music inaugurates semiotic territorialities (HENN, 2017) in which different semiosis emerge, engender and confront each other, signaling how cultural differences are symbolically threatened in digital culture and the ways in which political content of Pop can be expanded.
Keywords: pop music, funk carioca, digital networks, gender, Anitta