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Open Lyric and Liberation.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF PHILOSOPHY LYRIC AND LIBERATION: ADORNO AND THE DIALECTICAL IMPLICATIONS OF BRAZILIAN HIP HOP ALEXANDER GONCALVES Fall 2018 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Philosophy with honors in Philosophy Reviewed and approved* by the following: Eduardo Mendieta Professor of Philosophy Thesis Supervisor Brady Bowman Professor of Philosophy Honors Adviser * Signatures are on file in the Schreyer Honors College. i Abstract This paper offers a critique of the cultural defeatism posited in Theodor Adorno’s 1937 work “On Jazz” through adumbration of the music of Brazilian favelas. Whereas Adorno sees musical attempts at liberation as nullified by their subservience to the whims of government and market, the research and reflection here evidences the emancipatory nature of music. Brazilian Funk demonstrates our capacity to advance change through music, and thus calls upon us to build more efficacious systems for fostering and assimilating music of the world’s people. In refuting Adorno’s condemnation of jazz, I craft a narrative evidencing the pragmatic import of fostering musical outlets within communities while acknowledging the dangers of artistic proliferation in capitalist society. The case of the funk movement in Rio De Janeiro demonstrates art’s function both as a liberatory tool and fulcrum for exploitation. The data substantiating this thesis were compiled through myriad sources: the social and aesthetic theory of Adorno, his contemporaries, and predecessors; interviews with Brazilian funk musicians, musicologists, and enthusiasts; three months investigating the musical communities in Rio De Janeiro and São Paulo; relevant documentaries, ethnographic and historical research, news archives, musical releases, and other online media. -
University of Florida Thesis Or Dissertation Formatting
HIP-HOP LIFE AND LIVELIHOOD IN NAIROBI, KENYA By JOHN ERIK TIMMONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2018 © 2018 John Erik Timmons To my parents, John and Kathleen Timmons, my brothers, James and Chris Timmons, and my wife, Sheila Onzere ACKNOWLEDGMENTS The completion of a PhD requires the support of many people and institutions. The intellectual community at the University of Florida offered incredible support throughout my graduate education. In particular, I wish to thank my committee members, beginning with my Chair Richard Kernaghan, whose steadfast support and incisive comments on my work is most responsible for the completion of this PhD. Luise White and Brenda Chalfin have been continuous supporters of my work since my first semester at the University of Florida. Abdoulaye Kane and Larry Crook have given me valuable insights in their seminars and as readers of my dissertation. The Department of Anthropology gave me several semesters of financial support and helped fund pre-dissertation research. The Center for African Studies similarly helped fund this research through a pre-dissertation fellowship and awarding me two years’ support the Foreign Language and Area Studies Fellowship. Another generous Summer FLAS Fellowship was awarded through Yale’s MacMillan Center Council on African Studies. My language training in Kiswahili was carried out in the classrooms of several great instructors, Rose Lugano, Ann Biersteker, and Kiarie wa Njogu. The United States Department of Education generously supported this fieldwork through a Fulbright-Hays Doctoral Dissertation Research Award. -
Organized Hip Hop Movement of Brazil: Strengthening Ventures Through Network Ties
NESsT Case Study Series 26 Nonprofit Brazil Enterprise and English Self-sustainability August Team (NESsT) 2007 Organized Hip Hop Movement of Brazil: Strengthening Ventures Through Network Ties Developed in cooperation with the Organized Hip Hop Movement of Brazil. mh2odobrasil.blogspot.com The publication of this case study was made possible thanks to the generous support of Nike. Copyright 2007 NESsT. All rights reserved. Not to be distributed, cited, copied or referenced without permission of NESsT. Organized Hip Hop Movement of Brazil NESsT Strengthening Ventures Through Network Ties August 2007 2 Brazil 1 NESsT uses the term Executive Summary "self-financing" to refer to diverse strategies used by civil society The Organized Hip Hop Movement of Brazil is the largest Brazilian hip hop organizations to organization, with a presence in 14 states and business promotion activities in five generate their own of those states. It was founded in 1989 in the city of Fortaleza, the capital of the revenues (sale of State of Ceará, in Brazil's Northeast region. The Movement expanded rapidly products, service fees, throughout the city, and subsequently reached Ceará's interior and surrounding use of hard or soft states. The organization resulted from the merger of the Student Movement and assets, and dividends or Hip Hop's Crews and historically has operated in concert with Brazilian social and investment income). popular movements. NESsT uses the term "social enterprise" to refer to self-financing In 1998, the Movement created a legal non-governmental organization (NGO), activities that are known in Portuguese as Movimento Hip Hop Organizado do Brasil (MH2O), and designed by a CSO to began to function institutionally, becoming one of the largest Brazilian youth significantly strengthen NGOs. -
Hip-Hop & the Global Imprint of a Black Cultural Form
Hip-Hop & the Global Imprint of a Black Cultural Form Marcyliena Morgan & Dionne Bennett To me, hip-hop says, “Come as you are.” We are a family. Hip-hop is the voice of this generation. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together. Hip-hop is a family so everybody has got to pitch in. East, west, north or south–we come MARCYLIENA MORGAN is from one coast and that coast was Africa. Professor of African and African –dj Kool Herc American Studies at Harvard Uni- versity. Her publications include Through hip-hop, we are trying to ½nd out who we Language, Discourse and Power in are, what we are. That’s what black people in Amer- African American Culture (2002), ica did. The Real Hiphop: Battling for Knowl- –mc Yan1 edge, Power, and Respect in the LA Underground (2009), and “Hip- hop and Race: Blackness, Lan- It is nearly impossible to travel the world without guage, and Creativity” (with encountering instances of hip-hop music and cul- Dawn-Elissa Fischer), in Doing Race: 21 Essays for the 21st Century ture. Hip-hop is the distinctive graf½ti lettering (ed. Hazel Rose Markus and styles that have materialized on walls worldwide. Paula M.L. Moya, 2010). It is the latest dance moves that young people per- form on streets and dirt roads. It is the bass beats DIONNE BENNETT is an Assis- mc tant Professor of African Ameri- and styles of dress at dance clubs. It is local s can Studies at Loyola Marymount on microphones with hands raised and moving to University. -
O Engajamento Radical De Carlos Marighella
ENTRE A LUTA ARMADA E A POESIA LIBERTÁRIA: O ENGAJAMENTO RADICAL DE CARLOS MARIGHELLA Paulo Bungart Neto1 Resumo: O artigo discute a atuação política e a obra poética de Carlos Marighella, demonstrando de que maneira as duas atividades configuram uma atitude, coerente e coesa, de oposição à ditadura militar e de denúncia da falta de liberdade e de inúmeros problemas sociais e econômicos da nação brasileira. Com o apoio de biógrafos, memorialistas e romancistas, procurarei deixar claro o modo como a poesia libertária de Marighella se adequa perfeitamente ao discurso do “comunista” e do “guerrilheiro” a ele associado ao longo de décadas de oposição política, práxis que o torna modelo de abnegação e amor à “causa”, pela qual morreu em combate. Palavras-chave: Carlos Marighella (1911-1969); ditadura militar; literatura brasileira contemporânea; memórias. Abstract: The article discusses the political action and the poetry of Carlos Marighella, showing in whi- ch way both activities formed a coherent attitude against the military dictatorship and denunciating the lack of freedom and several social and economic problems of Brazil. With the support of biographers, memorialists and novelists, I will try to show the way the libertarian poetry of Marighella is adapted to his “communist” and “guerrilla fighter” discourse, practice which turns him into a model of self-forge- tfulness and dedication to a “cause” by which he died fighting. Keywords: Carlos Marighella (1911-1969); military dictatorship; contemporaneous Brazilian literature; memoirs. 1 Doutor. Professor do curso de Graduação e Pós-Graduação (Área: Literatura e Práticas Culturais) da Universidade Federal da Grande Dourados (UFGD), em Dourados-MS. -
Carlos Marighela E Carlos Lamarca Memórias De Dois Revolucionários
RVO Denise Rollemberg Doutora em História Social pela UFF. Professora do Departamento de História da UFF. Carlos Marighela e Carlos Lamarca Memórias de dois revolucionários O texto propõe a discussão das histórias de The text intends to discuss the biographies of vida de Carlos Marighella e Carlos Lamarca, os Carlos Marighella e Carlos Lamarca, two major dois revolucionários de maior expressão na revolutionaries in the Brazilian armed struggle, luta armada, no Brasil, do final da década de in the late 1960s e early 1970s; the memories 1960 e início dos anos 1970; das memórias elaborated by the left organization and the construídas nas esquerdas e na direita militar; right wing militaries; the oblivion and silence do esquecimento e do silêncio numa sociedade in a society unaware of these constructions, as it alheia a essas construções, como alheia esteve às was unaware of these ideas and practices while suas ideias e práticas enquanto Marighella e Marighella and Lamarca viveram. Lamarca lived. Palavras-chave: Memória; opinião; Keywords: Memory; opinion; biography; biografia; luta armada; ditadura. armed struggle; dictatorship “Não se pode negar que há incoerências dos confins um estilo próprio a uma sociais e que suscita a época, um habitus mudança social” resultante de experiências (Giovanni Levi)1 comuns e reiteradas, assim como há em cada época um estilo próprio de um grupo. arlos Marighella e Carlos Mas para todo indivíduo Lamarca, os dois dirigentes re existe também uma C volucionários de maior expres- considerável margem de são da luta armada, no Brasil do final da liberdade que se origina década de 1960 e início dos anos 1970, precisamente das tiveram trajetórias muito diferentes. -
THE POLITICAL THOUGHT of the THIRD WORLD LEFT in POST-WAR AMERICA a Dissertation Submitted
LIBERATION FROM THE AFFLUENT SOCIETY: THE POLITICAL THOUGHT OF THE THIRD WORLD LEFT IN POST-WAR AMERICA A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History By Benjamin Feldman, M.A. Washington, DC August 6, 2020 Copyright 2020 by Benjamin Feldman All Rights Reserved ii LIBERATION FROM THE AFFLUENT SOCIETY: THE POLITICAL THOUGHT OF THE THIRD WORLD LEFT IN POST-WAR AMERICA Benjamin Feldman, M.A. Thesis Advisor: Michael Kazin, Ph.D. ABSTRACT This dissertation traces the full intellectual history of the Third World Turn: when theorists and activists in the United States began to look to liberation movements within the colonized and formerly colonized nations of the ‘Third World’ in search of models for political, social, and cultural transformation. I argue that, understood as a critique of the limits of New Deal liberalism rather than just as an offshoot of New Left radicalism, Third Worldism must be placed at the center of the history of the post-war American Left. Rooting the Third World Turn in the work of theorists active in the 1940s, including the economists Paul Sweezy and Paul Baran, the writer Harold Cruse, and the Detroit organizers James and Grace Lee Boggs, my work moves beyond simple binaries of violence vs. non-violence, revolution vs. reform, and utopianism vs. realism, while throwing the political development of groups like the Black Panthers, the Young Lords, the League of Revolutionary Black Workers, and the Third World Women’s Alliance into sharper relief. -
Redalyc.CULTURAS DA JUVENTUDE. E a MEDIAÇÃO DA
Revista Brasileira de Estudos Urbanos e Regionais ISSN: 1517-4115 [email protected] Associação Nacional de Pós Graduação e Pesquisa em Planejamento Urbano e Regional Brasil PIETERSE, EDGAR CULTURAS DA JUVENTUDE. E A MEDIAÇÃO DA E XCLUSÃO/INCLUSÃO RACIAL E URBANA NO BRASIL E NA ÁFRICA DO SUL Revista Brasileira de Estudos Urbanos e Regionais, vol. 10, núm. 1, mayo, 2008, pp. 105- 124 Associação Nacional de Pós Graduação e Pesquisa em Planejamento Urbano e Regional Recife, Brasil Disponible en: http://www.redalyc.org/articulo.oa?id=513951693007 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto DOI: http://dx.doi.org/10.22296/2317-1529.2008v10n1p105 CULTURAS DA JUVENTUDE E A MEDIAÇÃO DA EXCLUSÃO/INCLUSÃO RACIAL E URBANA NO BRASIL E NA ÁFRICA DO SUL* * Versões deste artigo fo- ram apresentadas em dois seminários, em Barcelona E DGAR P IETERSE (6-8 Novembro, 2006) e Jo- hanesburgo (12-13 Março, 2007), respectivamente, ESUMO Neste artigo assume-se que a condição urbana contemporânea está forte- reunidos sob o patrocínio do R Centro Internacional para mente marcada por uma crescente pluralidade. Associada a esta mudança na natureza do con- Acadêmicos Woodrow Wil- son, do Centro para Cultura texto urbano, pode-se também observar a proliferação de lugares (sites) de engajamento polí- Contemporânea de Barcelo- tico e de ação, sendo alguns deles formalmente ligados a fóruns institucionais do Estado, mas na e do Banco de Desenvol- vimento da África do Sul. -
Popular Culture, Migrant Youth, and the Making of 'World Class' Delhi
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Aesthetic Citizenship: Popular Culture, Migrant Youth, and the Making of 'World Class' Delhi Ethiraj Gabriel Dattatreyan University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Social and Cultural Anthropology Commons Recommended Citation Dattatreyan, Ethiraj Gabriel, "Aesthetic Citizenship: Popular Culture, Migrant Youth, and the Making of 'World Class' Delhi" (2015). Publicly Accessible Penn Dissertations. 1037. https://repository.upenn.edu/edissertations/1037 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1037 For more information, please contact [email protected]. Aesthetic Citizenship: Popular Culture, Migrant Youth, and the Making of 'World Class' Delhi Abstract Delhi has nearly doubled in population since the early 1990s due to in-migration (censusindia.gov, 2011). These migrants, like migrants around the world, strive to adapt to their new surroundings by producing themselves in ways which make them socially, economically, and politically viable. My project examines how recent international and intranational immigrant youth who have come to Delhi to partake in its economic possibilities and, in some cases, to escape political uncertainty, are utilizing globally circulating popular cultural forms to make themselves visible in a moment when the city strives to recast its image as a world class destination for roaming capital (Roy, 2011). I focus on two super diverse settlement communities in South Delhi to explore the citizenship making claims of immigrant youth who, to date, have been virtually invisible in academic and popular narratives of the city. Specifically, I follow three groups of ethnically diverse migrant youth from these two settlement communities as they engage with hip hop, a popular cultural form originating in Black American communities in the 1970s (Chang, 2006; Morgan, 2009; Rose, 1994). -
Contemporary Carioca: Technologies of Mixing in A
Con tempo C o n t e m p o r a r y raryC a r i o c a Cari oca ontemporary CCarioca Technologies of Mixing in a Brazilian Music Scene Frederick Moehn Duke University Press Durham anD LonDon 2012 © 2012 Duke University Press All rights reserved. Printed in the United States of America on acid-free paper ♾ Designed by Kristina Kachele Typeset in Quadraat and Ostrich Sans by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of Stony Brook University, which provided funds toward the publication of this book. For Brazil’s musical alchemists ontents Illustrations ix C Preface xi Acknowledgments xxiii Introduction 1 1 Marcos Suzano: A Carioca Blade Runner 25 2 Lenine: Pernambuco Speaking to the World 55 3 Pedro Luís and The Wall: Tupy Astronauts 92 4 Fernanda Abreu: Garota Carioca 130 5 Paulinho Moska: Difference and Repetition 167 6 On Cannibals and Chameleons 204 Appendix 1: About the Interviews, with a List of Interviews Cited 211 Appendix 2: Introductory Aspects of Marcos Suzano’s Pandeiro Method 215 Notes 219 References 245 Discography 267 Index 269 llustrations Map of Rio de Janeiro with inset of the South Zone 6 1 “mpb: Engajamento ou alienação?” debate invitation xii 2 Marcos Suzano’s favorite pandeiro (underside) 29 I 3 Marcos Suzano demonstrating his pandeiro and electronic foot pedal effects setup 34 4 A common basic samba pattern on pandeiro 48 5 One of Marcos Suzano’s pandeiro patterns 49 6 Marcos -
Decolonizing Pop Music | Norient.Com 4 Oct 2021 11:31:40
Decolonizing Pop Music | norient.com 4 Oct 2021 11:31:40 Decolonizing Pop Music by Holger Lund Colonialism is not over, it’s just less visible, especially in culture. As a curator of the Berlin-based label Global Pop First Wave focussing on non-Western pop music, Holger Lund sees himself entangled in neo- or post-colonial paradoxes. An essay about the dialectics of westernized local and global pop music and why its decolonization is inevitable. «When you are decolonized, colonialism is not simply taken away from you. The essential subject of decolonization is a critical view on colonial patterns of thinking, colonial categories, colonial history of knowledge [...].» (Rassool 2017, 150, translation: H.L.) https://norient.com/stories/decolonizing-pop-music Page 1 of 23 Decolonizing Pop Music | norient.com 4 Oct 2021 11:31:40 «As a matter of fact we have a problem with our history and our memory, since these have been written by the conquerors and not by the colonized people. Generations of Cameroonians were told that their ancestors had been the Gauls, although that is completely wrong.» (Obolo 2017, 179, translation: H.L.) Points of Departure In this text I want to take a look at some of the mechanisms for constructing global pop music history and to question them from a decolonial point of view. To achieve this, I will examine some examples and case studies, specifically in regard to Turkish and Brazilian pop music history. There are two points of departure for the following notes on decolonizing pop music and rewriting global pop music history: one is my work with the vinyl record label Global Pop First Wave, the other the observation that colonialism is not over yet. -
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Journal of the American Association forJorunal the Advancement of Curriculum Studies CRITICAL HIP-HOP ILL-LITERACIES: RE-MIXING CULTURE, LANGUAGE AND THE POLITICS OF BOUNDARIES IN EDUCATION AWAD IBRAHIM University of Ottawa In order for music to free itself, it will have to pass over to the other side— there where territories tremble, where the structures collapse, where the ethoses get mixed up, where a powerful song of the earth is unleashed, the great ritornelles that transmutes all the airs it carries away and makes return. – Gilles Deleuze (1993, p. 104) [Ill-literacy] draws on the ubiquitous Hip Hop practice of semantic inversion…, whereby “standard” negative meanings attached to words are inverted to produce positive ones, to highlight the irony of youth described by educational institutions as “semi-literate” … or “illiterate” ... The ill in ill- literacies refers not to a “lack of literacy” but to the presence of skilled literacies. – Samy Alim (2011, p. 121) To be invited is to be at the mercy of the host, who in this case is most generous. The invitation is especially beautiful when the topic involves music. I address you graciously invited by Molly Quinn, Jim Jupp and Peter Appelbaum, whose invitation came With no strings attached other than, “talk about and present something you are currently working on, writing and thinking about.” Keeping the theme of the conference in mind, and having been to a few of AAACS gatherings, I want to ask: where are the youth, especially the marginalized in our thinking as curriculum theorists? After Ferguson, New York, Los Angeles, South Carolina, and Maryland where Black people are murdered without any consideration to their humanity, where are the dispossessed, particularly young people in our current Journal of the American Association for the Advancement of Curriculum Studies Spring, Vol.