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Orality has always been the main channel through which culture and knowledge has passed onto generations of Indigenous peoples in Brazil. Yet, today, the need to resist cultural assimilation or, even worse, annihilation, has led to the creation of new, written materials where Indigenous people can speak for themselves by relating their history, defending their identity, and their cultural territory. Among these, Brazilian geographer, poet, and activist Márcia Wayna Kambeba of the Omágua/Kambeba people uses literature as a space where decolonial thought and traditional knowledge meet to build a philosophical, political, and poetic view on indigenous identity in general and on the experience of Indigenous women in particular. Drawing from previous studies on Brazilian Indigenous literature, decolonial theory, and decolonial feminism, this paper discusses Kambeba's works and underpins the relevance and need to examine the specificity of the experience of Brazilian Indigenous women writers as fundamental participants in the periphery of the world-literature to discuss the postcolonial configurations of identities in present-day Brazilian society.

UID/HIS/04666/2013 ; Hip-hop culture emerged in the 1970s in New York's black neighborhoods, particularly in the Bronx. With roots in Kingston, Jamaica, it found a rich space for its development in the block parties where a DJ played samples and entertained the community. Being at first an aesthetic manifestation, it soon became a social and political tool for the new generation who found a different way to express itself through deejaying, emceeing, breakdancing, and graffiti art. These forms of political action laid the groundwork for what became a much wider, deeply conscious, and globally dispersed cultural movement. Portugal's first contact with hip-hop culture dates from the decade of 1980 and it happened through breakdance. It is precisely in the decade of the 1980s that the migratory traffic of people coming from the PALOPs towards Lisbon gets more intense. The African immigrants had to undergo a hurried integration that left aside all the cultural differences. Thus, they continued to suffer of a clandestine state of being and to hold on to the hope of going back home. Although at that time hip-hop had little space in the Portuguese media, through radio and television the residents of Lisbon's peripheral areas were able to access the works of the North American rappers. They became aware of their similar conditions and experiences and this lead to the birth of rap. Hip-hop also aims at negotiating between the experiences of marginalization, oppression, and ethnic prejudice, through the constant exercise of meta-language that allows it to translate the feeling of injustice lived by the young afro-descendants and at the margins of society. In this perspective, we intent to observe how the perception and the memory of Africa and of the African diaspora is rebuilt by Valete, a Lisbon-based rapper, son of Santomean parents. ; publishersversion ; published

This article discusses the provenance and emergence of hip-hop culture as a form of resistance in Guinea-Bissau. It describes a political backdrop of national instability and how contemporary Guinean hip-hop forms took their cue from 1970s New York. It discusses the political stances of Guinea's most celebrated hip-hop artists.

UID/HIS/04666/2013 ; This article discusses the provenance and emergence of hip-hop culture as a form of resistance in Guinea-Bissau. It describes a political backdrop of national instability and how contemporary Guinean hip-hop forms took their cue from 1970s New York. It discusses the political stances of Guinea's most celebrated hip-hop artists. ; publishersversion ; published