Suchergebnisse

This article aims to analyze how the articulations between two important aspects of youth culture, music, and graffiti, can inspire the emergence of political practices connected to the idea of activism in contemporary Brazil. As a case study, we analyzed the present dialogue between the graffiti "Mais Amor Por Favor" and the song "Não Existe Amor Em SP", by rapper Criolo, as a potentializing element for the manifestation of collectives in the city of São Paulo at events of character that would signal a force of mobilization that would be even more highlighted in the so-called June Journeys, in 2013. Given this context, we emphasize that both music and street art can be intermediaries in the relationship between youth and territory in the resignification of daily life in large cities, functioning as a language capable of mediating the relationship between youth, territory, and politics. Under an activist orientation, this arrangement is a testament to the fact that such practices reinforce the capacity and power of the logics of on and offline mobilization that surround youth culture in the 21st century. ; Este artigo tem como objetivo analisar representações e articulações dos jovens brasileiros na contemporaneidade, bem como a emergência de novas práticas políticas que surgem das contribuições da música como elemento potencializador na construção da sociabilidade dos agrupamentos juvenis. Entendemos que a música pode ser intermediária na relação entre os jovens e o território para a ressignificação do cotidiano nas grandes cidades, funcionando como uma linguagem capaz de mediar a relação entre juventude, território e política. Tal perspectiva pode constituir elementos que sugerem a caracterização de uma identidade coletiva, quando investigamos a mobilização política da juventude e os papéis entrelaçados que ocupam a canção "Não Existe Amor em SP", do rapper Criolo e o movimento "Mais Amor, Por Favor", que se espalhou inicialmente em São Paulo entre 2009 e 2011, nesse arranjo.

This article aims to analyze how the articulations between two important aspects of youth culture, music, and graffiti, can inspire the emergence of political practices connected to the idea of activism in contemporary Brazil. As a case study, we analyzed the present dialogue between the graffiti "Mais amor por favor" and the song "Não Existe Amor em SP", by rapper Criolo, as a potentializing element for the manifestation of collectives in the city of São Paulo at events of character that would signal a force of mobilization that would be even more highlighted in the so-called June Journeys, in 2013. Given this context, we emphasize that both music and street art can be intermediaries in the relationship between youth and territory in the resignification of daily life in large cities, functioning as a language capable of mediating the relationship between youth, territory, and politics. Under an activist orientation, this arrangement is a testament to the fact that such practices reinforce the capacity and power of the logics of on and offline mobilization that surround youth culture in the 21st century.

Elegendo como corpus a turnê Us + Them do músico Roger Waters, que passou pelo Brasil, em 2018, acumulando polêmicas em torno de seu posicionamento político, este artigo analisa os tensionamentos entre o ethos roqueiro e as especificidades dos grandes espetáculos na contemporaneidade. A partir destas discussões, propomos que a ruptura causada pelas performances de Roger Waters nos 22 dias em que esteve no Brasil visibilizou diversas disputas, negociações e reconfigurações nos afetos entre seus fãs. Analisando as rasuras performatizadas em ambientes digitais geradas pelos shows de Roger Waters no Brasil, localizamos uma crise em relação à ideia de ethos roqueiro e às expectativas em relação aos grandes shows de música. ; Choosing as a central object the Us + Them tour by musician Roger Waters, who passed through Brazil in 2018 accumulating controversies around his political position in the presentations, this article intends to analyze the tension between the rock ethos, the expectations and specificities of great shows in contemporary times and the quiproquós that arise from these arrangements. From these discussions, we propose that the rupture caused by the performances of Roger Waters in the 22 days he was in Brazil made visible several disputes, negotiations and possible reconfigurations in the affections among his fans. To the demonstrations, performed in digital environments, which we designate as erasures, we underline the attempts to boycott the artist, question his legitimacy, exempt him from responsibility and claim some authority over the show.