Feminism is a movement of thought that seeks to expand the role and rights of women in social life and aims to end the gender hierarchy. It is also an indicator of equal opportunities for women and men. In this union, Feminism will continue as a movement that aims to change the situation of women in a positive way. It is known that Feminism, which basically focuses on the equality of men and women, affects the field of music as well as the arts. In this context, according to Feminist music science, which focuses on activities in which women take part, such as composing, interpreting/performing, and composing, music is defined as a declaration or a product of social life. The canto genre, which is at the center of the research, can also be considered as a declaration or a product of feminist music science. Because the canto genre is a genre that identifies with women and therefore reveals the female identity. In the years when this genre emerged, it attracted attention as a complementary element of improvisational theaters and a genre that combined music and dance. The first people to perform the canto were women. In this regard, it is possible to say that women are at the forefront in canto performance. However, when we look at those who perform the canto and those who accompany the canto, we see that they are non-Muslim women. This situation is explained by the fact that it was forbidden for Muslim women to take to the stage in the Ottoman Empire in the 19th century, women remained in the background due to the patriarchal structure of the society, and their artistic lives were restricted. For these reasons, it is stated that women remain in the background in the field of music or their work is limited. In other words, women are despised due to the influence of male hegemony. However, with the Republican period, Muslim canto players, as well as non-Muslims, began to appear on the stage. In this regard, it is possible to state that the canto performed by non-Muslim or Muslim women provides women with the same opportunities for equality and freedom in performing music as men. In addition, there were some changes in the canto genre in the aforementioned period. The first of these changes is the recording of various types of works, including cantos, on records. During this period, there was also an increase in the number of female readers of vinyl records. In addition, male readers are also found in vinyl records. Especially in the 1920s and the following years, canto began to be performed by integrating with genres such as tango, rumba, charliston and revue. The mentioned situation is explained by the fact that the effect of modernization on music began to show itself in songs such as tango, rumba, charleston and revue after canto. In addition, it is observed that most of the works on the records during this period were given the name fantasy and the canton changed its meaning and turned into a general definition. It is information that cantonese was performed in radio and entertainment programs in the 1950s, and began to be seen on casino stages after the 1960s, and in the following years, it was a type of entertainment performed only during Ramadan. Looking back to the 1970s, we can rarely find female artists performing canto. Today, canto appears in Ramadan entertainments such as ortaoyunu, meddah, karagöz, fasıl and puppet. Outside of the month of Ramadan, canto attracts attention as a nostalgic activity on various events, holidays, New Year's Eve or any other day. Although some canto players tried to keep the canto genre alive until recently, this genre has begun to lose its former popularity. Despite all this, no matter what the period, canto is important because it is a musical genre that contributes to the change of women's identity and brings this identity to the forefront in the field of music. In this context, in the study, the canto genre and the female identity identified with the canto on the axis of feminism were tried to be discussed. For this purpose, results of documentary surveys was analyzed and interpreted. [ABSTRACT FROM AUTHOR]