Suchergebnisse

Based on more than five years of anthropological fieldwork in São Paulo, Brazil, this book highlights race, class, gender and territory to argue that Brazilian hip hoppers are subjects rather than objects of history and everyday life. This is the first ethnography in English to analyze Brazilian hip hop

Theoretical frames : philosophy and religion -- Violence as part of the state and colonialism -- Violence as a family affair : gender in the domestic sphere -- Narrating violence -- Violence as an aesthetic

Based on more than five years of anthropological fieldwork in Sao Paulo, Brazil, this book highlights race, class, gender and territory to argue that Brazillian hip hoppers are subjects rather than objects of history and everyday life. This is the first ethnography in English to analyze Brazilian hip hop.

The city of Lisbon has scar tissue, a reminder of pain and trauma that administrations often gloss over as urbanization. The demolition of dozens of neighbourhoods has been documented in cinema, both documentaries and feature-length conventional films. Even more stark is the footage from grassroots archivists, who have accompanied since the beginning the raw despair of displacement, an internal uprooting after a generation or more of Luso-African migrants making place in the Lisbon area, especially in the adjacent municipality of Amadora. Over a decade ago, I followed a few of the displaced former residents of Fontaínhas to Casal da Boba, a social neighbourhood, to inquire and record memories about such scars. In late 2020, I reconnected with these interlocutors and discovered more storytellers who have a curious relationship with the former improvised neighbourhood of Bairro de Santo Filomena. This article is a piece of ethnographic fiction based on those experiences.

Entrevista com Morten Nielsen, realizada por Derek Pardue.

In 2003, Gilberto Gil, the new Brazilian minister of culture and legendary Brazilian popular music icon, announced a new project of cultural networking. Gil pitched the Cultural Points program to the Workers' Party administration and to the public at large as a fundamental resource for revealing and circulating the various forms of expressive culture for all Brazilians to access. This program has had a direct impact on local hip-hoppers as they have found new, legitimized spaces for employment and artistic expression. An analysis based on experience with the Casa de Cultura Hip Hop in the Sao Paulo metropolitan area over the past decade sheds light on the relationship between the "left" turn in Latin American politics since 2000 and the role of popular culture in the contemporary formation of citizenship. [Reprinted by permission of Sage Publications Inc., copyright holder.]

In 2003, Gilberto Gil, the new Brazilian minister of culture and legendary Brazilian popular music icon, announced a new project of cultural networking. Gil pitched the Cultural Points program to the Workers' Party administration and to the public at large as a fundamental resource for revealing and circulating the various forms of expressive culture for all Brazilians to access. This program has had a direct impact on local hip-hoppers as they have found new, legitimized spaces for employment and artistic expression. An analysis based on experience with the Casa de Cultura Hip Hop in the São Paulo metropolitan area over the past decade sheds light on the relationship between the "left" turn in Latin American politics since 2000 and the role of popular culture in the contemporary formation of citizenship. En 2003, Gilberto Gil, el nuevo Ministro de Cultura de Brasil y legendario ícono de la música popular brasileña, anunció un nuevo proyecto de creación de redes culturales. Gil propuso el programa Puntos de Cultura a la administración del Partido de los Trabajadores y al público en general como un recurso fundamental para revelar y difundir diversas formas de expresión cultural que estuvieran al acceso de todos los brasileños. Este programa ha tenido un impacto directo sobre los raperos locales, quienes han encontrado nuevos y legítimos espacios de empleo y expresión artística. Un análisis basado en los últimos diez años de experiencia de la Casa de Cultura Hip Hop, localizada en el área metropolitana de São Paulo, examina la relación entre el giro "izquierdista" de la política latinoamericana a partir del año 2000 y el papel de la cultura popular en la formación contemporánea de la ciudadanía.