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Analyzing the narratives and media performances manufactured around Jojo Todynho

Abstract

In the light of the perception of understanding performance as a research method, as proposed by Amaral, Soares e Polivanov (2018), this work was influenced to understand how this dynamic could be applied to the performative narratives related to the funk singer, Jordana Gleise de Jesus Menezes, better known as Jojo Todynho. As proposed by the authors, two methodological approaches were used: 1) One that allows us to understand the narratives surrounding archived performance acts, recovering materials from the entertainment industry that present the singer's narrative in a pejorative and animalistic way; 2) Another that allows us to evoke performance as identity politics in the face of visibility policies (what is recorded and for what purposes). To do this, we gathered from the singer's social networks (Instagram) a participation in Haute Couture Week in Paris. “(...) if events are performances, we could debate what is being performed in these spaces” (AMARAL; SOARES E POLIVANOV, 2018). Even though the authors are referring to musical events, it seemed interesting to look for this comparison in fashion as it was Jordana's second time in that space. Even though the actors change (GOFFMAN, 1975), the performance script is not new to her. And from a Fashion perspective, we were able to bring tension to other themes such as aesthetics and corporeality.