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Bicha travesti worldmaking: Linn da Quebrada's disidentificatory performances of intersectional queerness

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Brazil has one of the highest rates of violence against trans people in the world. It is in this context of dehumanization that the work of self-identified Black travesti artist Linn da Quebrada emerges. In this article, I analyse Linn da Quebrada's performances in three of the artist's official music videos, all released in 2016: 'Talento', 'Enviadescer' and 'Bixa Preta'. After briefly introducing the ideas of embodied translation and disidentifications, I analyse Linn da Quebrada's survival strategies in terms of simultaneous rejection of cis-masculinity and the embracing of queer femininity, resulting in a Bicha travesti worldmaking; a world in which travestis of colour are fully human. Ultimately, Linn da Quebrada's disidentificatory performances concomitantly suggest a mode of survival and a vehicle for structural change, both of which deserve close consideration from scholars interested in queer transnational contexts.
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Keywords: Brazil; disidentification; embodied translation; music video; queer femininity; worldmaking

Document Type: Research Article

Affiliations: 0000000093647559 Graceland University

Publication date: September 1, 2019

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  • Queer Studies in Media & Popular Culture (QSMPC) is a refereed academic journal devoted to the study of representations and expressions of queerness in its various forms. International in scope and representing a wide variety of disciplinary and interdisciplinary approaches, it publishes scholarship on topics at the intersection of media/popular culture and queerness in gender/sexuality. QSMPC invites articles and artwork pertaining to queerness in media and popular culture, as well as reviews pertaining to recently released queer media artifacts.
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