Black Cantovivências: Aesthetics and Recognition in Amina by Tasha and Tracie

Abstract

This article aims to highlight the rap as a musical genre that origineted in the streets and peripheral neighborhoods, characterized by its strong social engagement and by its potential as a mechanism for recognition and identification among Black and marginalized women. This will be carried out through the use and analysis of the song Amina by the duo Tasha and Tracie and the understanding of the rap musical style as an aesthetic experience, which can promote the “distribution of the sensible” and a communication composed of “Aisthesis” – concepts derived from the Reception Aesthetics Theory. To this end, we use as theoretical frameworks Evaristo (2020) based on the author's concept of Escrevivência; Martín-Barbero (2009), renowned in the field of Latin American communication studies and the mediation theory; Teperman (2015), author and researcher on the rap musical genre; and finally, Barros (2017), for the analyses conducted within the scope of communication and aesthetic experience. Regarding the theoretical-methodological framework, a combination was adopted of French Discourse Analysis for the interpretation of the song Amina (2025), the paradigm of mediations proposed by Martín-Barbero – widely present in Latin American cultural studies – and the articulations between communication and aesthetic experience, grounded in hermeneutics.