Academic literature on the topic 'Hip-hop – Aspect social'

AbstractFrom the earliest elections with popular participation to the present day, American presidential candidates have harnessed music's connotative potential and affective properties in a variety of campaign contexts. But in a corporatized electoral landscape where the fields of politics and popular culture are inextricably intertwined, and every aspect of the candidate's public and private life is subjected to intense scrutiny enabled by the emergence of Web 2.0 technologies, nontraditional texts (such as music) play an increasingly significant role in candidate identity formation. Adding to recent work that explores the aesthetic and social dimensions of newly composed campaign music and its cultural currency, this essay turns a critical lens toward preexisting music and its impact on campaign discourses during Barack Obama's 2008 presidential primary campaign. I investigate three components of Obama's soundscape: 1) his engagement with hip hop—its artists, audiences, and values; 2) the intersections between his professed musical tastes and his complex biography; and 3) the playlists he used at campaign rallies, and the factors that allowed this soundtrack to solidify his own identity as candidate as well as forge alliances with women voters and black voters. Ultimately, cultural and musical analyses reveal how Obama's music strategy allowed him to project a black identity that was both “real” and “respectable.”

The opioid epidemic continues to create various public health challenges in the United States. Non-medical use of opioids is increasing at alarming rates and has been glamorized through popular media including television, movies, and music. One particular area of concern is the promotion in hip-hop music of the use of codeine mixed with promethazine, also known as “lean.” In recent years, this drug combination has proven to be lethal with many hip-hop artists dying from overdoses involving lean while others have suffered from adverse health consequences such as seizures. Because the hip-hop music audience is primarily comprised of youth who often represent vulnerable and social disadvantaged populations, it is imperative to develop interventions that counteract the negative influence of such songs. The purpose of this study is to review the lyrics of popular hip-hop songs that mention lean and determine common themes within these songs that can be used to guide future interventions. To identify these themes, the lyrics of 40 hip-hop songs were evaluated by four independent coders. 8 themes emerged and the frequency in which these themes appeared in the song lyrics was calculated. These themes are the use of lean with another drug (37.5%), the general mention of lean without a connection to a behavior, activity, emotion, or another substance (27.5%), the use of lean during sexual activity (15%), the use of lean with soda (12.5%), the use of lean to help with sleep (5%), the use of lean as an alternative to alcohol (5%), the use of lean while driving (5%), and the use of lean for mental distress (5%). These results demonstrate that there are various aspects of lean use that require further investigation. Furthermore, these results serve as a call to action for public health practitioners to create culturally tailored interventions to address this issue.

Scholarship in the field of hip-hop studies has convincingly argued against a “cultural grey out” and in favor of “local idiosyncrasies” in the mobility of cultural forms. That said, no published study has focused on the movements of the artists themselves in a transpacific context that places scenes in Japan, South Korea, Indonesia, Cambodia, and Vietnam in conversation with one another. Varying histories of colonialism and postcolonial movements are essential aspects of each social context. I argue that the transpacific lens allows scholars to draw out the movements of individuals, influences, and emergent trends in the art form to better understand how artists are, metaphorically, scratching back and forth between representing originality on the one hand and the need for popular appeal on the other. I draw on vinyl itself as a metaphor for this article, which is framed as an EP.

We Are One atau “Ole Ola” merupakan lagu resmi dari gelaran World Cup. Setiap World Cupmempunyai lagu resminya ditiap gelarannya. Dalam keberlangsungannya, setiap lagu world cupmembutuhkan pertimbangan dalam pembentukannya. Aspek-aspek seperti budaya, sosial, politikdan lainya menjadi alasan penting dalam pembentukannya. Pembentukan Ole Ola didasarkan padaproses hibriditas budaya lokal dan global. Perpaduan samba dan hip hop menjadi variant dalampembentukannya. Perpaduan tersebut membentuk identitas untuk lagu itu sendiri, dan untuk gelaranworld cup. Eksistensi dari lagu sehingga makin terasa karena perpaduan yang membentuk identitas.Terlebih lagu tersebut tercipta tidak hanya karena gelaran, tetapi mempunyai fungsi dan guna untukmasyarakat. Musik sebagai media dalam mengkonstruksi pesan atas kepentingan. Musik membentukidentitas, dan mempunyai eksistensi dalam keberlangsungannya. Musik tidak lagi hanya berfungsisebagai musik saja, tetapi musik mempunyai peran dalam pembentukan identitas dan menjamineksistensi.Music as a form of Existance in the World Cup Performance. We are one or Ole Ola is the officialsong of the world cup performance. Every world cup has its official song in each event. In its development ofexistance, every song in world cup needs requires of consideration for creating process. Aspects such as cultural,social, politics and others become the important reason for creation. The creating proses of Ole Ola song isbased on the local and global cultural hybridity. The combination of samba and hip hop is a primary varianton creating process. The combination creates an identity for the song itself, and for world cup identity. Theexistance of Ole Ola is stronger because the combination may create the new identity. Moreover, the songcreated is not only for the event, but also has a function and purpose to society. Music is as a medium inconstructing the messages of interest. Music creates an identity, and has an existance in its continuty. Musicis not only for music itself, but also has a role in creating identity and ensures the existance.

AbstractThis article examines how voicelessth-stopping (e.g.tingforthing) is used by a group of adolescents in Manchester, UK. The data come from an ethnographic project into the speech of fourteen to sixteen year olds who have been excluded from mainstream education. Althoughth-stopping is often strongly associated with black varieties of English, multiple regression analysis finds ethnicity not to be a statistically significant factor in its production. Instead, conversational context and involvement in aspects of particular social practices—grime (rap) and dancehall music—emerge as potentially more relevant. Subsequent interactional analysis adds support to this interpretation, illustrating how the feature is being used more or less strategically (and more or less successfully) by individuals in this context in order to adopt particular stances, thereby enacting particular identities that are only tangentially related to ethnicity. I argue that use ofth-stopping in this context indexes a particular street identity that is made more available through participation in grime especially. (th-stopping, youth language, identity, ethnography, grime, hip hop)*

Research supports the folk wisdom that individual preferences are tied to our experiences: we like what we know and as a result, we know what we like. Yet our understanding of the elements contained in lived examples of musical experiences that facilitate enjoyment and investment in music is little described. The current study recruited Australian residents ( N = 135) to complete an online survey, which asked them to describe their favorite musical experience with regard to its context and impact. The majority of favorite musical experiences involved listening to live music and performing. The descriptions provided indicated that these experiences resulted in layered emotional experiences, much more subtle than folk psychology would suggest. Further, thematic analysis results revealed that Gabrielsson’s Strong Experiences with Music Descriptive System adequately categorizes the elements of people’s favored experiences, with particular reference to general characteristics, bodily reactions, perceptual phenomena, cognitive aspects, emotional aspects, existential and transcendental aspects, and personal and social aspects. A wide variety of musical genres were involved, though pop, classical, rock, and hip-hop music featured predominately. By detailing key components which lead to favored musical experiences, the findings have implications regarding how musical engagement opportunities can be better designed to support continued musical investment, which has particular relevance for educational and community uses of music for fostering positive individual and community benefits.

This study explored 19 themes embedded in the lyrics of 1,040 U.S. top-40 songs from 1960 through 2010, using R strucchange software to identify trends and breaks in trends. Findings reveal both continuity and change. As in 1960, the predominant topic of pop music remains romantic and sexual relationships. However, whereas the proportion of lyrics referring to relationships in romantic terms remained stable, the proportion including reference to sex-related aspects of relationships increased sharply. References to lifestyle issues such as dancing, alcohol and drugs, and status/wealth increased substantially, particularly in the 2000s. Other themes were far less frequent: Social/political issues, religion/God, race/ethnicity, personal identity, family, friends showed a modest occurrence in top-40 music throughout the studied period and showed no dramatic changes. Violence and death occurred in a small number of songs, and both increased, particularly since the 1990s. References to hate/hostility, suicide, and occult matters were very rare. Results are examined in the context of cultural changes in the social position of adolescents, and more specifically in light of the increased popularity of rap/hip-hop music, which may explain the increases in references to sex, partying, dancing, drug use, and wealth.

Against the general opinion the history of graffiti goes back to the beginnings of civilization. There are numerous examples of graffiti, for instance the inscriptions hollowed with a chisel found on the ancient household artifacts or on the walls. The inscriptions had an informative function but they were also magical. The phenomenon of spray art was widespread in the 1960s and the beginning of the Polish taggers subculture was in the 1980s, although one can find street art during the Second World War. But it is usually neglected or disregarded in the Polish literature. The Anchor – the sign of “Fighting Poland”, was placed on pavements, walls, notice boards or train stops of the occupied country. It was the sign of the fight for freedom and independence. As the years passed, the Polish reality was changing and the role of graffiti also changed. Now, it expresses itself in slogans, appeals, messages, drawings, portraits or murals. The aim of the work is to show the role of the Polish graffiti between 1942 and 2011. The author analyses graffiti in a number of aspects and throughout many years. The author identifies Polish spray art with teenage rebellion, sense of humor, political engagement, commentary or the negation of reality. Moreover, the article focuses on social, psychological or urban aspects of the examined phenomenon and identifies it with widespread modern hip-hop culture.

L'expérience avec des groupes de jeunes habitants des banlieues d'Ile-de-France et des banlieues et des favelas au Brésil nous a montré que dans les particularités des trames des sociétés française et brésilienne, une revendication est partagée, renvoyant à un même sentiment de discrimination et d'abandon. Ces jeunes s'opposent à la négativité assimilée à l'espace urbain où ils vivent, à la couleur de leur peau ou à leurs origines ethniques et culturelles. Cette recherche s'appuie sur le rap, l'expression parlée du mouvement hip-hop, qui se construit entre les expériences locales des habitants des espaces urbains stigmatisés et la résonnance produite par leur partage avec les « périphéries » du globe, afin de comprendre ce que les jeunes rappeurs brésiliens et français pensent, ce qu'ils ressentent et comment ils agissent sur leurs trajectoires de vie, au carrefour entre ce qui est socialement établi et ce qui est subjectivement vécu. La démarche clinique amène le chercheur à se positionner « au plus près du vécu de sujet », nous permettant de saisir la fonction symbolique du rap dans les possibilités qu'elle apporte, mais également la complexité de sa construction, entre acte et parole, entre performance et discours. L'expression par le rap engage le sujet dans la production de sens, de nouvelles significations des symboles, (re)construisant les représentations, qui ont à leur tour une incidence sur l'imaginaire social. Le rap est discuté comme un analyseur de la vie des jeunes rappeurs brésiliens et français, comme un support dans la construction de leur existence qui favorise de nouvelles expérimentations sociales et subjectives dans la réalité
Research conducted with groups of young inhabitants of Ile-de-France suburbs and those of Brazilian favelas reveal a shared claim, observed systematically throughout their respective social frameworks, which reflects similar sentiments of discrimination and abandonment. These youths are opposed to the negativity associated with their urban spaces, the color of their skin, or their ethnic and cultural origins. This Ph. D. Dissertation interrogates rap to understand what young Brazilian and French rappers, positioned at a cross-roads between what is socially established and what is subjectively lived, think and feel, and how they direct their life trajectories. Rap is the spoken expression of the hip-hop movement, created not only from a habitant's personal experience of stigmatized urban spaces, but also by resonances produced through the sharing of those local experiences with other global "peripheries". Adopting a clinical approach allows the researcher closer proximity to the "subject's lived experience", permitting comprehension of rap's symbolic functions in its various manifestations, as well as reflection on the complexity of rap's construction - located between act and speech, between performance and discourse. Expression through rap engages the subject in the production of meaning and of new symbolic signification. This (re)constructs representation, which, in turn, impacts the social imaginary. Rap, here, is approached as an analytic tool of young Brazilian and French rappers' lives, it is studied as a medium used in the construction of their social existence, stimulating new social and subjective experimentations within reality

A la fin des années quatre-vingt, on assiste à l'émergence d'une nouvelle expression culturelle au Sénégal : le hip-hop. Le rap (la forme vocale du hip-hop) a été introduit à Dakar par les jeunes des classes moyennes, qui avaient accès aux cassettes de rap américain ou français que leurs aînés leur envoyaient de l'étranger. Au début des années quatre-vingt-dix, ce style de musique commença à être diffusé largement dans les radios, et le rap se répandit jusque dans les quartiers les plus populaires de la ville. Au terme d'un travail de terrain de quatorze mois, j'ai essayé de déterminer comment les jeunes Sénégalais, traditionnellement tenus à l'écart du discours et des responsabilités au sein de la sphère publique, ont réussi à jouer un rôle déterminant dans la redéfinition d'un nouvel ordre, sur les plans réels et symboliques. Je me suis demandé si le mouvement rap à Dakar correspondait à la notion de mouvement social, ou revêtait plutôt la forme d'une culture populaire, s'inscrivant dans un milieu urbain. En effet, à l'horizon des élections présidentielles de 2000, les rappeurs, notamment ceux pratiquant le style hardcore, ont montré leur forte capacité à mobiliser les jeunes pour aller voter, mais aussi faire émerger une nouvelle conscience politique et sociale. La jeunesse sénégalaise, placée en situation de liminarité (concept que j'emprunte à l'anthropologue britannique Victor Turner) a ainsi réussi à réinvestir l'espace public. En outre, les rappeurs proposent une nouvelle lecture de l'histoire, de la tradition, élaborent de nouveaux codes musicaux et langagiers, mais aussi mettent en œuvre des processus d'individualisation qui leur permettent de redéfinir leur rapport à la famille ou à la religion, et notamment de l'islam, organisé le plus souvent sous forme de confréries soufies. Enfin, son évolution progressive vers la professionnalisation tend à changer sa relation à la création, et son ouverture croissante sur le monde l'amène à procéder à un rééquilibrage incessant, qui reflète les tiraillements d'une jeunesse désireuse d'appartenir à la fois à un monde « local » et « global ».

This study exp !ores the relationship between an individual's interest in and exposure to the rap/hip-hop genre and the messages and values contained within the music, as well as the role of self-esteem in generating interest and motivating exposure to rap/hip-hop music. A survey questionnaire was administered to 213 students at a community college in northern California. Interest and exposure to rap/hip-hop were found to be significantly correlated with acceptance of a number of values portrayed in the music. However, those most interested in and exposed to rap/hip-hop music were less likely to perceive negative social values in the music as well as believe these values characterized rap/hip-hop artists. Self-esteem failed as a predictor of interest and exposure to the music.

Esta dissertação toma o Hip Hop como um analisador para pensar a lógica identitária e o paradigma preventivo que caracterizam os modos de subjetivação contemporâneos, baseados na segregação, no confinamento, na insegurança e no medo. O Hip Hop torna-se assim não um objeto a ser descrito, mas uma ferramenta que possibilita a interrogação das estratégias de saber e poder que vão delineando a produção da periferia como problema social. Procurou-se mostrar como a ascensão de um paradigma de controle social ou de gerenciamento dos riscos, baseado em um sentimento generalizado de insegurança, articula-se com um dispositivo corretivo e moralizante que se afirma por meio de um modelo identitário cuja dimensão normatizadora busca criar estratégias para regrar a convivência social dos diferentes segmentos urbanos. A partir de uma apropriação singular da metodologia cartográfica, aqui denominada de moonwalker, busca-se problematizar um modo de subjetivação caracterizado pela idéia de antecipação do perigo e da violência vistos como inerentes à juventude marginalizada.
This paper uses Hip Hop as an analytic instrumental to think the identitary logical and the preventive paradigm which are characteristics of the contemporary subjectiveness stile, pointed by segregation, confinement, insecurity and fear. Thus, Hip Hop becomes not an object to be described but a tool that makes possible to interrogate the knowledge and power strategies that goes remarking the production of outskirts as a social problem. We aims to point how the growth of a social control or risks management paradigm, based in a general insecurity feeling, is articulated with a corrective and moral procedure which gets stronger since an identitary model whose its normative dimension produces strategies to regulate the social coexistence between different urban segments. In a singular way of go about the cartography methodology, here named as: moonwalker, this paper intents to elucidate a kind of subjectiveness that presumes to anticipate itself from the danger, a warning against violence, view as intrinsic of marginalized youth.

FRAGOSO, Tiago de Oliveira. Convivialidade e performance na experiência estética dos jovens hip hoppers da Força Hip Hop em Fortaleza. 2011. 169f. – Dissertação (Mestrado) – Universidade Federal do Ceará, rograma de Pós-graduação em Sociologia, Fortaleza (CE), 2011.
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This study represents an investigation of the aesthetic and social experience for young break dancers graffiti artists and rappers in one of the organizations representing the hip hop movement in Fortaleza the Hip Hop Force whose headquarters are located in the community in the San Francisco suburbs of urban. We tried to understand the relationship between the expression of artistic elements with emphasis on break dancing and the formation of an intense aesthetic-social youth friendliness. From the perspective of the anthropology of performance / experience of Victor Turner of the analysis of contemporary sociability Mafesoli from studies on youth and hip hop it was to describe and / or understand the constitution of an aesthetics of everyday life lived in these young. Through the practice of artistic elements and expressive style of living the young Force Hip Hop seems to create an intense conviviality a way of being / living together dynamic confrontational playful ritualized performative which is presented in the most expressive collective practice of dance music and painting. For this work was made an ethnographic fieldwork with intense participation in the daily life of these subjects and were also conducted semi-structured with pre-defined on the aesthetic experience, stylistic of some of these young people.
Este trabalho constitui-se numa investigação acerca da experiência estético-social juvenil de dançarinos de break grafiteiros e rappers pertencentes a uma das organizações representativas do movimento hip hop em Fortaleza a Força Hip Hop cuja sede se localiza na comunidade São Francisco na periferia urbana desta cidade Buscou-se compreender a relação existente entre a expressividade dos elementos artísticos com ênfase na dança break e a constituição de uma intensa convivialidade estético-social juvenil A partir da perspectiva da antropologia da performance/experiência de Victor Turner das análises sobre a sociabilidade contemporânea de Mafesoli dos estudos sobre juventude e hip hop tratou-se de descrever e/ou compreender a constituição de uma estética do vivido no cotidiano destes jovens. Por meio da prática dos elementos artísticos e da vivência expressiva de estilo os jovens da Força Hip Hop parecem criar uma intensa convivialidade um modo de ser/estar junto dinâmico conflitivo lúdico ritualizado performático que se apresenta nos momentos mais expressivos da prática coletiva da dança da música e da pintura. Para a realização deste trabalho foi feito um trabalho de campo etnográfico com participação intensa no cotidiano desses sujeitos e também foram realizadas entrevistas semi-estruturadas com roteiro pré-definido sobre a vivência estética estilística e social de alguns destes jovens.

Many of the academic and popular treatments of hip-hop overlook the complexity of the phenomenon. Hip-hop is often portrayed solely as a source of corruption and regressive tendencies or, alternatively, as a sort of savior for otherwise marginalized individuals and source of revolutionary power. This thesis situates hip-hop between these poles and draws out its progressive and regressive aspects for analysis. Considering its vast global influence and a growing body of academic literature, hip-hop has been notably understudied in the field of psychology. Alternatively, educational theorists and practitioners have realized the power of hip-hop in revisualizing an emancipatory education that fosters critical consciousness. This project goes beyond other hip-hop education projects in that it attends more directly to the psychological phenomenon of identity. As youth develop a strong connection to social and political identity and increase their level of critical consciousness (an additional goal of this and most other hip-hop based curriculums) they are more likely to participate and have the tools to be successful at actions aimed at progressive social change. This thesis grew out of a larger project titled Moving to the Beat, a community-based multi-media endeavor that includes both the Moving to the Beat documentary film and curriculum guide. The Moving to the Beat curriculum guide strives toward the goals of emancipatory education. The film and the curriculum guide stay near the experience of hip-hop identified youth while attempting to avoid generalizations and stereotypes. Further, the developments of the film, curriculum guide, and this thesis have been guided by academic literature from a wide range of disciplines, including psychology, sociology, cultural studies, and education. The thesis focuses on two primary questions: (1) How do youth engage the Moving to the Beat curriculum guide and documentary film? (2) Do the Moving to the Beat materials facilitate the development of critical consciousness and/or social identity in youth? Two primary waves of data collection were conducted to answer these questions. At each location, Moving to the Beat was shown and an outside facilitator guided youth through the curriculum discussions and activities that centered on identity. During these workshops, multiple sources of qualitative data were collected, including participant observations, interviews, student produced lyrics, and feedback forms. These sources of data pointed to six primary themes across locations and sources of data: traditional gender roles, "everyone is all equal", "you doing you", the new hip-hop generation, development and maturity, and youth resistance. This thesis represents the first assessment of the Moving to the Beat documentary and curriculum, the results of which will be used to alter the curriculum guide and prepare it for publication.

O presente trabalho investigou o programa televisivo Hip Hop Sul, veiculado pela TV Educativa do Rio Grande do Sul, e a sua relação com os músicos que dele participam, buscando entender as funções sócio-musicais e as experiências de formação e atuação musical que o programa desempenha. As técnicas utilizadas na coleta de dados foram a entrevista semi-estruturada, observações e acompanhamento da rotina de trabalho dos produtores do programa e registros em fotografias digitais e em audiovisuais da atuação dos grupos de rap e da produção do programa. A investigação foi desenvolvida na perspectiva dos estudos culturais (Wolf, 1995) e a análise dos dados foi feita com base no método de análise televisiva de Casetti e Chio (1998). O trabalho fundamenta-se na perspectiva da televisão como mediadora de conhecimentos musicais, (Fischer, 1997, 2000a, 2000b; Kraemer, 2000; Nanni, 2000 e Souza, 2000), a partir dos quais foram evidenciados os aspectos musicais formativos e atuantes presentes no Hip Hop Sul. Os aspectos abordados referem-se as experiências musicais dos grupos de rap como telespectadores e participantes do programa. Os resultados dessa pesquisa mostram que para esses grupos, ver a si mesmo ou sentir-se representados na televisão, significa existir, ter uma identidade e sair do anonimato. Estar na televisão é, portanto, uma experiência que modifica o ser e o fazer musical.

DIOGENES, Glória Maria dos Santos. Cartografias da cultura e da violência: gangues, galeras e o movimento hip hop. 1998. 381f. 124 f. Tese (Doutorado em Sociologia) – Universidade Federal do Ceará, Departamento de Ciências Sociais, Programa de Pós-Graduação em Sociologia, Fortaleza-CE, 1998.
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This thesis presents a study on the relationship between culture and violence within the realm of youngsters’ experiences found in poor areas of Fortaleza. It should be noticed that it is not properly an investigation of violence as an occurrence, but as a straight observation of actual dynamics of social practices and social relations. The central challenge of the investigation was to identify the imaginary world of gangs with relation to violence and their cultural background. The first incursions in search of youngsters’ dynamics within the field of violence itself aimed at identifying tracks which would lead to occurrences of meaningful cultural maps within the environment of targeted areas. The major issue of the observation and construction of an object of investigation was the following: What it is considered violence by poor youngsters who have joined gangs and groupings? How do machinations of violence are articulated and especially which meaning do they take? What is the gangs’ aim when they point to violence-dominated area in the city? What cultural references give support to violence and create the gangs experiences question. The methodological path of this study followed and ethnographic script that was mounted from a previous mapping of the field and a planning for connections and meetings with several territories of the city. Those local mediations were almost always arranged by representatives of “possessions” within the organized hip-hop movement. By the end of the research a specific group (The Courtyard Grouping) was selected as ethnographic landscape. In this fashion, while the research developed, so slowly grew the investigation’s major objective. The gang is the breeding grounds for dynamics related to meetings and actions of groups; it does not have an autonomous existence. The gang is an occurrence, a typical spellbinding manifestation; it reveals itself by action, it names itself according to repetition. Many times, the gang is the other’s perception about a set of juvenile practices. It is at the time of manifestation that youngsters attract the eye of the public in order to translate their social inscription and imprint their status as members of a gang. As a conclusion, it is advanced that violence becomes a voiceless dimension within the discourse produced in the interior of the gang itself; its public manifestation ends up gaining a positive evaluation and establishing differences. It is at this time that those residents of banned areas register their existence, make public their social exclusion grouping and challenge society in search of a new vision and research of their condition.
Esta tese trata de um estudo acerca das relações entre cultura e violência no campo das experiências juvenis de bairros de periferia de Fortaleza. Deve-se ressaltar que não se investigou a violência enquanto acontecimento, enquanto observação direta de uma dinâmica concreta de práticas e relações sociais. O eixo central dessa investigação colocou-se no desafio de identificar o imaginário das gangues acerca da violência e suas construções culturais. As primeiras incursões no âmbito de investigação de dinâmicas juvenis no campo específico da violência, se projetaram sob o objetivo de identificar pistas, recorrências capazes de compor, dentro do contexto cultural desses bairros, mapas de significado cultural. A questão central dessa observação e da construção de um objeto de investigação foi a de pensar o seguinte : o que os jovens de periferia, participantes de gangues e galeras consideram violência? Como se articulam as tramas da violência e, fundamentalmente, que significados elas assumem? o que querem expressar as gangues quando encenam um modo territorializado de violência na cidade? Que referentes culturais dão suporte e produzem a experiência das gangues ? A trajetória metodológica desse estudo seguiu um roteiro etnográfico, constituído a partir de mapeamento prévio do campo e das conexões e encontros com gangues e galeras em múltiplos territórios da cidade. Essas mediações locais quase sempre foram efetuadas por representantes de "posses” do movimento hip hop organizado. No final da pesquisa, escolheu-se uma galera específica (Galera da Quadra) como paisagem etnográfica. Desse modo, à medida em que a pesquisa foi se desenvolvendo, lentamente foi também se delineando o escopo da investigação. A gangue institui-se na dinâmica dos encontros e atuações do grupo; ela não possui uma existência autônoma. A gangue é acontecimento, ato tipicamente mágico de manifestação, ela se traduz na ação, ela nomeia-se na repetição. Sendo muitas vezes a gangue o olhar do outro sobre um conjunto de práticas juvenis. É no momento de manifestação que esses jovens mobilizam o olhar do espectador como meio de traduzir sua inscrição social e instituir-se enquanto gangue. É nessa trilha de ação e produção de sentido, na construção da fenomenologia gangue, que torna-se simplificador o registro de um conceito unificador e totalizador da gangue. Concluímos que se a violência torna-se uma dimensão muda, em nível de discurso produzido no interior da própria gangue, sua manifestação pública acaba ganhando uma positividade e instaurando diferenças. É quando os moradores dos bairros proscritos registram sua existência, tornam públicas as suas redes de exclusão social e desafiam novos olhares e pesquisas.

Orientador: Laymert Garcia dos Santos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Com o desmoronamento do socialismo real no final do século XX - cujos principais marcos foram a queda do Muro de Berlim e a débâcle soviética -, o mundo parece ter tomado novos rumos. Neste período, Francis Fukuyama e Robert Kurz desafiaram a esquerda mundial em seus livros O fim da história e o último homem e O colapso da Modernização, respectivamente, com a seguinte provocação: existe vida possível além da economia de mercado e da democracia liberal que não leve o mundo a uma derrocada catastrófica tal como a sofrida quando da existência do socialismo real? Muito mais do que um apressado "sim, de fato, existe", esta questão ainda está em aberto vinte anos após sua formulação. É neste contexto que esta pesquisa procura tratar de pensar o hip-hop como uma forma de construir o que Donna Haraway chama de postura de oposição, e isto tanto no que diz respeito aos seus militantes e intelectuais orgânicos quanto aos intelectuais acadêmicos das ciências humanas que sobre ele se debruçam. Esta mesma postura de oposição, se não traz uma resposta ao desafio lançado por Fukuyama e por Kurz, ao menos propõe encará-lo de frente, tendo-se, para isso, de levar bastante em consideração o que é essa união entre economia de mercado e democracia liberal e qual é o preço a ser pago ao se assumir a postura de confrontá-la
Abstract: After the collapse of real socialism at the end of the 20th century - whose main landmarks were the fall of the Berlin Wall and the soviet dèbâcle -, the world seems to have taken new directions. In this period, Francis Fukuyama and Robert Kurz have defied the World Left in their books The end of History and the last man and The collapse of Modernization, respectively, with the following provocation: is there possible life beyond the market economy and liberal democracy that doesn't take the world to a catastrophic collapse like that suffered during the existence of real socialism? Much more than a hasty "yes, in fact, there are", this issue is still open twenty years after its formulation. In this context, this research aims to deal with thinking about the hip-hop as a way to build what Donna Haraway points as oppositional posture, and this regards both to their militants and their organic intellectuals as to social scientists that study and work about hip-hop themes. This same oppositional posture, if does not brings a response to the challenge posed by Fukuyama and Kurz, the least proposes face it straightforward, and it having, for this reason, to take a long account of what is this union between the market economy and liberal democracy and what is the price to be paid for taking the position of confronting it
Mestrado
Sociologia
Mestre em Sociologia

This chapter shows how MCs became the dominant participants in hip hop. In addition, the chapter argues that it is because of this important shift that The Sugar Hill Gang, a crew from New Jersey that did not have any symbolic capital prior to releasing their song “Rapper’s Delight,” became a household name. This final chapter also brings to a culmination an analysis that has been unfolding throughout the preceding chapters, namely, how hip hop developed cultural and social attributes. By demonstrating how it developed these attributes, it shows another aspect of the endurance of an emerging entity. On how it became cultural, it draws together examples of how it instilled in participants a real or imagined sense of distinction between themselves and the outside world; formed among them a sense of mutual connection and responsibility; and shaped how they expressed themselves (e.g., through gestures, postures, and language). In regard to how it became social, it shows how it shaped the behaviour of participants even in aspects of their lives not directly related to the entity or other participants therein (e.g., decisions regarding how to spend their time, how to lead their lives, or how to serve their community).