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Isoke, Saidah K. "“Thank God for Hip-hop”: Black Female Masculinity in Hip-hop Culture." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492775852958055.
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Branch, William. "Theological implications of hip-hop culture." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.
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Branch, William. "Thelogical implications of hip-hop culture." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.
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Silva, Roberta Grangel da. "Experimentações juvenis : nas trilhas do Hip Hop /." Assis : [s.n.], 2009. http://hdl.handle.net/11449/97541.
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Orientador: Soraia Georgina Ferreira de Paiva CruzBanca: Helio Rebello Cardoso Junior
Banca: Sonia Regina Vargas Mansano
Resumo: Esse trabalho teve como objetivo cartografar a Cultura Hip Hop, tendo como foco o Breaking. Nossa prática foi de um exercício de nomadismo na tentativa de acompanhar as linhas que foram tecidas ao longo dos encontros com a literatura, com os grupos que se agenciam com a Cultura Hip Hop, dando visibilidade aos modos de subjetivação, de singularização, aos afetos que escaparam de determinados territórios capturados pela cultura de massa e de estratégias de controle. Nesse processo, afetamos e fomos afetados pela história do Hip Hop que nos foi sendo percebida como narrativas de processos criadores. Tais processos foram sustentados por corpos vibráteis cujas intensidades dispararam movimentos de resistência com linhas de fuga que possibilitaram a produção de modos de existência singulares em relação aqueles produzidos pelos fluxos capitalísticos. Cartografar o movimento do desejo na vontade de expandir a vida através do agenciamento corpo-cidade-ruptura, significou entender que o devir não se repete e que sempre há algo no outro que nos transforma.
Abstract: The present paper has the object of mapping the Hip Hop culture, being Breaking the focus study. Our practice was an exercise of nomadism in an attempt of following the lines drawn throughout the encounters with the literature with the groups that are influenced by the Hip Hop Culture, giving visibility to the modes of subjectivity, singularity and affections that escaped from certain territories captured by mass culture and control strategies. In this process, we affected and were affected by the history of Hip Hop that was being perceived as narratives of creative processes. Such processes were sustained by vibrating bodies whose intensities shoot resistance movements with lines of escape that allow the creation of particulars ways of existence related to those created by the capitalistic flows.. To map the movement of desire in the will of expanding life through the managing of body-city-breaking meant understand that the change does not repeat and that there is always something in the other that transforms one.
Mestre
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Silva, Roberta Grangel da [UNESP]. "Experimentações juvenis: nas trilhas do Hip Hop." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/97541.
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Esse trabalho teve como objetivo cartografar a Cultura Hip Hop, tendo como foco o Breaking. Nossa prática foi de um exercício de nomadismo na tentativa de acompanhar as linhas que foram tecidas ao longo dos encontros com a literatura, com os grupos que se agenciam com a Cultura Hip Hop, dando visibilidade aos modos de subjetivação, de singularização, aos afetos que escaparam de determinados territórios capturados pela cultura de massa e de estratégias de controle. Nesse processo, afetamos e fomos afetados pela história do Hip Hop que nos foi sendo percebida como narrativas de processos criadores. Tais processos foram sustentados por corpos vibráteis cujas intensidades dispararam movimentos de resistência com linhas de fuga que possibilitaram a produção de modos de existência singulares em relação aqueles produzidos pelos fluxos capitalísticos. Cartografar o movimento do desejo na vontade de expandir a vida através do agenciamento corpo-cidade-ruptura, significou entender que o devir não se repete e que sempre há algo no outro que nos transforma.
The present paper has the object of mapping the Hip Hop culture, being Breaking the focus study. Our practice was an exercise of nomadism in an attempt of following the lines drawn throughout the encounters with the literature with the groups that are influenced by the Hip Hop Culture, giving visibility to the modes of subjectivity, singularity and affections that escaped from certain territories captured by mass culture and control strategies. In this process, we affected and were affected by the history of Hip Hop that was being perceived as narratives of creative processes. Such processes were sustained by vibrating bodies whose intensities shoot resistance movements with lines of escape that allow the creation of particulars ways of existence related to those created by the capitalistic flows.. To map the movement of desire in the will of expanding life through the managing of body-city-breaking meant understand that the change does not repeat and that there is always something in the other that transforms one.
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Lafargue, de Grangeneuve Loïc. "Fonctionnaliser la culture ? : action publique et culture hip-hop." Cachan, Ecole normale supérieure, 2004. http://www.theses.fr/2004DENS0042.
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L'action publique menée vis à vis de la culture hip-hop consiste en une politique de reconnaissance destinée à contribuer au traitement des problèmes sociaux urbains. Or, l'enquête réalisée à Marseille et dans l'agglomération bordelaise montre que la fonctionnalisation du hip hop entre en contradiction avec l'ancrage social et territorial de cette culture. Le hip hop gagne les institutions culturelles classiques de centre ville, mais l'esthétisation passe par l'adoption de codes de l'art savant : elle implique un changement de nature de l'activité qui conduit au retrait partiel des jeunes hommes des quartiers populaires. La culture hip hop constitue aussi une prise de parole d'un groupe dominé: les politiques publiques du hip hop représentent une institutionnalisation ambiguë du conflit. Enfin, les stratégies municipales vis à vis du hip hop dépendent fortement de la volonté et de la capacité des maires à inscrire cette culture dans la politique d'image de leur villePublic action towards hip-hop culture consists of a recognition policy that must help the treatment of urban social problems. Nevertheless, the inquiry realized in Marseille, Bordeaux and its suburbs shows that the < functionalization » of hip hop enters in contradiction with the social and territorial embeddedness of this culture. Hip hop reaches the classical cultural institutions of city centre, but its esthetization needs adoption of fine art's codes ; it implies a transformation of activity's nature that brings young men from popular neighbourhoods to a partial exit. Hip hop culture constitutes also a voice of a subordinated group : hip hop public policy represents an ambiguous institutionalization of conflict. Finally, local govemment's strategies towards hip hop depend strongly on the will and the ability of mayors to connect this culture with the image policy of their town
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Süß, Heidi. "Hip-Hop-Feminismus." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221253.
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Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.
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Süß, Heidi. "Hip-Hop-Feminismus." Universität Hildesheim, 2016. https://ul.qucosa.de/id/qucosa%3A15447.
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Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.
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Mansfield, John. "Hip-hop pathology and the commodification of culture /." Title page and introduction only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09arm287.pdf.
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Sachs, Aaron Dickinson. "The hip-hopsploitation film cycle: representing, articulating, and appropriating hip-hop culture." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/591.
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In this dissertation, I examine the articulation of hip-hop in the mid-1980s as it emerged onto the national stage of American popular culture. Using Articulation Theory, I weave together an argument explaining how and why hip-hop went from being articulated as a set of multicultural and inclusive practices, organized around breaking, graffiti, and DJing, to being articulated to a violent, misogynistic, and homophobic hyper-masculine representation of blackness as essentially rap music culture. In doing so I also argue that there are real political, social, racial, cultural, and ideological implications to this shift in articulation; that something is at stake in defining hip-hop as both black and rap music culture.
I put forward this argument by making three distinct steps over the course of this dissertation. First, I identify a change in how hip-hop was represented and thus articulated in popular media. Through an intertextual analysis of the hip-hopsploitation genre films I show that early hip-hop was being represented primarily as a set of cultural practices cohering around breaking, graffiti, and DJing rather than the now dominant articulation as rap music culture.
Next I set forth one possible reason for this shift within the limiting conditions set by the available media technologies and means of commodification. The visual nature of hip-hop's early articulation coupled with the economic inaccessibility of consumer home video made breaking and graffiti difficult to commodify compared to rapping as an aural element. Using "technological determinist" theorists like McLuhan, Innis, and Kittler, I argue that understanding how hip-hop as been historically constructed requires analyzing the limiting effect that the material conditions of media technologies have on the production of hip-hop.
Finally, I offer a second, racial and cultural reason for this shift in articulation, and begin identifying some of the significance of this shift. A key aspect of the articulation of hip-hop as rap music is the further connection to blackness. This connection may function to maintain white patriarchal hegemony by displacing it on the black body via rap music: a complex dynamic of disidentification and appropriation.
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Jenkins, Derrick J. Sr. "Hip Hop Activism in Education: The Historical Efforts of Hip Hop Congress to Advance Critical Hip Hop Pedagogy through the Urban Teachers Network." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1338905792.
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Evans, Derek. ""It's bigger that hip hop" popular rap music and the politics of the hip hop generation /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5034.
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Thesis (M.A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 25, 2008) Includes bibliographical references.
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Ferreira, Tania Maria Ximenes. "Hip hop e educação : mesma linguagem, multiplas falas." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252771.
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Orientador: Aurea Maria GuimarãesDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A presente dissertação foi desenvolvida na área ¿Ensino, Avaliação e Formação de Professores¿, com a contribuição de estudos realizados junto ao grupo de pesquisa VIOLAR ¿ Laboratório de Estudos sobre Violência, Imaginário, Práticas Sócio-Culturais e Formação de Professores ¿ da Faculdade de Educação da UNICAMP. A pesquisa teve como interesse o estudo do hip hop que se constitui como um movimento sócio-cultural e reúne três manifestações artísticas: o rap, o break e o graffiti. Foram abordados os conflitos e as ambigüidades que permeiam o hip hop em sua trajetória, entrecruzando o ontem e o hoje, a partir do seu surgimento em Campinas (SP), há, aproximadamente, vinte anos. As relações tecidas entre o hip hop e a educação no processo de sua construção no município de Campinas foram igualmente consideradas
Abstract: The present work was developed in the area ¿Teaching, Evaluation and Formation of Professors¿, with the contribution of studies performed with the research group VIOLAR ¿ Laboratory of Studies on Violence, Imaginary, Socio-Cultural Practices and Formation of Professors ¿ Education School ¿ UNICAMP. The objective of this research was the study of the Hip Hop, which is considered as a socio-cultural movement that gathers three artistic manifestations: rap, break and graffiti. The conflicts and ambiguities that involve the Hip Hop in its trajectory were approached, including yesterday and today since its emergence in the city of Campinas (SP), about 20 year ago. The relationships verified between Hip Hop and education in the process of its construction in the city of Campinas were equally considered.
Mestrado
Ensino, Avaliação e Formação de Professores
Mestre em Educação
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Laabidi, Myriam. "Représentations scolaires et culture hip-hop : Expériences et trajectoires." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29119/29119.pdf.
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LODI, CELIA AMALIA. "YOTHFUL CULTURE DEMOSTRATIONS: THE HIP HOP IS THE WORD." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=6396@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROA segmentação social dos sujeitos contemporâneos em diversos agrupamentos, constituindo referências identitárias que se organizam e se expressam por meio de manifestações culturais específicas, parece ser a marca atual de uma nova ordem social e política. Nesta perspectiva, analisar a especificidade das diversas manifestações da juventude requer uma delimitação desta ampla categoria, que no caso da presente pesquisa se concretiza a partir da cultura Hip Hop. Portanto, juventude e cultura Hip Hop se constituem mutuamente, apresentando especificidades que apontam para novas modalidades de ação política como modos de produção da cultura e da subjetividade de determinados grupos de jovens habitantes das periferias dos grandes centros urbanos. A criação de modos de expressão que legitimam espaços de voz e de ação política de jovens marginalizados se configura como um dos modos de apropriação e recriação da cultura no mundo globalizado e excludente. Tendo por base diversas fontes documentais, tais como, observações de grupos específicos de jovens que desenvolvem atividades culturais com apoio de ONGs, entrevistas gravadas em vídeo com jovens participantes da cultura Hip Hop, relatórios de encontros e mesas redondas com a participação de lideranças expressivas do universo Hip Hop, pretendeu-se analisar e discutir as táticas de sobrevivência e de re-invenção do cotidiano, nos termos de Michel de Certeau, desenvolvidas por estes grupos de jovens como formas de reação aos processos de exclusão social. Nossa análise do lugar social e político ocupado pela juventude Hip Hop, coincide com a visão apresentada por Milton Santos, quando este autor enfatiza que a grande parte da população excluída do mercado global, ou que sobrevive à margem da contabilidade pública oficial, cria uma cultura própria, endógena, resistente, que constitui uma base sólida para a produção de uma política. A tomada de consciência trazida pelo enraizamento no meio, pelo território comum e pela experiência da escassez torna possível a produção de projetos e ações políticas como modos genuínos de resistência. O uso criativo da cultura Hip Hop, por determinados setores da juventude, é, portanto, tomado aqui como estratégia de luta e de re-invenção dos modos de fazer política no mundo contemporâneo.
The social segmentation of the citizens contemporaries in diverse groupings, constituting references of identity which organize and express by specific cultural demonstrations, seems to be the current mark of a new social order and politics. In this perspective, to analyze the specific of the diverse demonstrations of youth, requires a delimitation of the ample category, in the case of the present research, it materialize from the culture Hip Hop. Therefore, youth and culture Hip Hop together presenting specifics of production of the culture and the subjectivity of determined groups of young habitants of the peripheries from great and urban centers. The creation of expression ways that legitimize the action and voice space politics of kept out of society young it configures as one in the ways of appropriation and recreation of the culture in the global and excluded world. Having bases of diverse document develops cultural interviews in video with young participants of the culture Hip Hop, reports meeting and round tables with the participation of great leaderships of sources, such as, comments of specifics groups of young that the universe Hip Hop, it was intended to analyze and to argue the tactics of survival and reinvention of the daily one, in the terms of Michel de Certeau, developed for these groups of young as form of reaction to the processes of social exclusion. Our analysis of the social place and busy politician for youth Hip Hop, it coincides with the vision of Milton Santos, when the author emphasizes that the great part of the excluded population of the global market, or that the survives the edge of official public accounting, it creates a proper culture, endogenous, resistant, that it constitutes a solid base for the production of one politics. The taking of conscience brought for the rooted way, for the common territory and for experience of the scarcity becomes possible the production of projects and action politics as genuine way of resistance. The creative use of the Hip Hop culture, for determined sector of youth, it is, therefore, taken here as strategy of fight and reinvention in the ways to make politics in the word contemporary.
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Singh, Jaspal Naveel. "Transcultural voices : narrating hip hop culture in complex Delhi." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/98597/.
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This study uses in-depth, qualitative analyses of narrative fragments elicited during nine months of ethnographic research in Delhi and elsewhere. I develop the notion of 'transcultural voices' to understand narrative practices of young, male, hip hop-affiliated ethnographic interlocutors. As participants tell stories about their lives, their plans, their fears, their urban experience and their views of the world, many voices seem to appear. These voices support and challenge each other in manifold ways, constructing complex polyphonic depth. I show that narrators other (Chapter 4), synchronise (Chapter 5) and embody (Chapter 6) this polyphony to construct narrative moments in which their ‘own’ transcultural voices can be recognised. In conversation with me or other audiences, these young men, most of who have migratory histories, narrativise their experiences of being hip hop practitioners in one of India’s complex megacities to discursively imagine themselves as part of a globally unfolding hip hop culture. I also analyse narratives told by North American and European hip hop practitioners, most of them diasporic Indians, who travel to India to practise, promote and research hip hop. From their accounts we begin to understand how hip hop in Delhi is narrated through hybrid subject positions from outside. My own ethnographic practices and the writing of this thesis surely have to be counted as such an account from outside, which leads me to assume my own authorship here with heightened reflexivity. The thesis shows that an analytical focus on voice in narrative, one which considers both the physical and the social voice and is informed by ethnography, can complexify research on urban subcultures in the contemporary globalised moment.
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Rutherford, Marc A. "Mass media framing of hip-hop artists and culture." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1974.
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Eason, Keri. "Reppin' and Rice: How AAPI Hip-Hop Fans Negotiate Their Racial Identities in the US Hip-Hop Community." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595847077716551.
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Machado, Carlos Geovani Ramos. "O Ensino de geografia e o Hip Hop." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/56237.
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A pesquisa, na qual trilhamos esta caminhada acadêmica fundamenta-se na análise e interpretação sobre o Movimento Hip Hop e a sua relação com o ensino da Geografia. Ao longo deste estudo foram trabalhados conceitos geográficos que subsidiaram nossos argumentos, tais como: espaço, lugar, território e paisagem. Ainda dialogamos com alguns conceitos secundários porém, não menos importantes tais como: cultura, identidade, cidade, representações sociais, espaço-escola e comunicação. Ao mergulharmos nossas inquietações no movimento hip hop, buscamos verificar se é possível a lugarização do sujeito a partir de sua metalinguagem, facilitando, ou não a construção do conhecimento geográfico. Refinamos nossas argumentações transitando pela Teoria do Pensamento Complexo, de Edgar Morin que nos levou a interpolações questionadoras sobre as contradições do cotidiano dos Sujeitos rappers, avaliando sua cultura originária das ruas, guetos e da periferia, buscando a compreensão destas relações com o universo escolar e a aprendizagem; examinando suas ações e sua busca pela superação dos problemas sociais, preconceitos e abandono, tendo no conhecimento um objetivo importante em suas trajetórias. O estudo realizado teve como ferramenta a pesquisa qualitativa que nos possibilitou entrevistas semiabertas, buscando fugir das simplificações, dialogando, duvidando ou reafirmando, provisoriamente os conceitos sociais e geográficos. O espaço urbano, especialmente a periferia, foi o pano de fundo deste cenário pesquisado, lugar onde ocorrem as diferentes manifestações protagonizadas pelos Sujeitos jovens da cultura hip hop.This research, in which we have walked this academic path, is based on the analysis and interpretation of the Hip-hop Movement and its relationship with the teaching of geography. Throughout this study some geographical concepts were used and subsided our arguments, such as space, place, territory and landscape. We will also dialogue with some secondary concepts – which nonetheless are not less important by this fact such as culture, identity, social representations, city, scholar space, and communication. As we plunge our concerns into the hip-hop movement, we wish to verify whether or not it is possible for the subject to find their geographical identity from its metalanguage, thus facilitating the construction of geographical knowledge. We immersed our arguments through Edgar Morin’s Complex Thinking Theory, which allowed us to interpolate questions to the contradictions of the rappers’ subject in everyday life, evaluating their culture, which comes from the streets, the ghettos, the suburbs, seeking to understand these relations with the school universe and with the learning process, examining their actions and their struggle to overcome their social problems as well as prejudice and neglection, having the knowledge as an important goal in their trajectories. This research used qualitative research as its main tool, allowing us to do semi-open interviews, attempting to avoid simplifications, dialoguing, questioning or reaffirming, in a provisional way, the social and geographical concepts. Urban space, its suburbs particularly, were the background for this research, the place where different actions occurs starred by these young subjects of hip hop culture.
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Souza, Ana Lucia Silva. "Letramentos de reexistencia = culturas e identidades no movimento hip hop." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269280.
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Orientador: Angela Del Carmen Bustos Romero de KleimanTese (doutorado) - Universidade Estadual de Campinas. Instituto de Estudos da Linguagem
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Resumo: Esta tese caracteriza o movimento cultural hip hop como uma agência de letramento e seus ativistas, em suas comunidades de pertença e naquelas em que estão em contato, como agentes de letramento. Tomando por base uma perspectiva sócio-histórica, as análises dos dados explicitam que os letramentos singulares praticados pelo grupo de participantes da pesquisa têm lhes permitido redimensionar suas identidades, ressignificando papéis e lugares sociais a eles atribuídos por uma sociedade ainda marcada por desigualdades raciais e sociais. Os aportes teóricos que embasam esta tese ancoram-se na perspectiva bakhtiniana de linguagem; nas abordagens sobre letramentos múltiplos e heterogêneos (STREET, 1984; GEE, 1990; KLEIMAN 1995, 2006a; BARTON e HAMILTON, 2000; ROJO, 2009); nas contribuições dos estudos culturais, no tocante às concepções de cultura e identidades (HALL, 2000, 2003; GILROY, 2001; CANCLINI, 2005); nos aportes sobre os estudos de práticas cotidianas (CERTEAU, 1994); bem como em estudos sobre educação da população negra no Brasil (BARROS, 2005; FONSECA, 2005; ARAUJO e SILVA, 2005; CUNHA, 2005; CARDOSO, 2005 e CRUZ, 2005). A metodologia assumida na pesquisa contou com dados gerados por meio de questionários, "rodas de conversa", entrevistas individuais e autobiografias, além de materiais produzidos pelo grupo, tais como DVDs, CDs, fanzines, letras de rap, projetos e roteiros de palestras e oficinas. As análises evidenciaram uma reinvenção de práticas de uso da linguagem que os sujeitos realizam levando em conta as experiências educativas - de que compartilham na esfera escolar, como estudantes - as produzidas na esfera do cotidiano e as engendradas pelos movimentos sociais negros, tornando-as próprias, o que pode contribuir para repensar os múltiplos letramentos dentro e fora da escola. A configuração desse conjunto de práticas sociais da língua escrita e oral mostra-se não linear, multimodal, heterogênea e crítica, o que na tese nomeio como letramentos de reexistência, uma vez que responsivamente questionam,contestam, criam e propõem alterações nos moldes e nos espaços já ratificados e socialmente legitimados em relação aos usos da linguagem em sociedade.
Abstract: This study characterizes the hip hop cultural movement as a literacy agency and its activists, the belonging communities and those which are related to it, as literacy agents. The study shows, from sociol-historical perspective that the unique literacies used by the young participants of this research have allowed them to redimension their identities, obtaining new meanings for their social roles and places, as established by a society still marked by tense and uneven racial and social relationships. The basic theoretical framework of this study is given by the Bakhtinian-perspective on language (Voloshinov, Bakhtin, etc) ; the multiple and heterogeneous literacy approach of the New Studies of Literacyi (Kleiman, 1995; 2006a, Barton and Hamilton, 2000; Rojo, 2009), the Cultural Studies contributions for the study of identity (Hall, 2000, 2003; Gilroy, 2001; Canclini, 2005 and the studies about education among Afro-descendants in Brazil (Barros, 2005; Fonseca, 2005; Araujo e Silva, 2005; Cunha, 2005; Cardoso, 2005 e Cruz, 2005, entre outros). The data for the study was obtained from questionnaires, open-talk meetings, individual interviews and autobiographies, and from materials produced and socialized by the participants, such as DVDs, CDs, fanzines, rap lyrics, projects, guides for lectures and workshops. The analysis pointed out a reinvention of the language practices by these subjects, in dialogue with school literacies, their daily routine literacy practices and with those practices made by black movement. The configuration of this set of written and oral language non-linear, multimodal, heterogeneous and creative practices is called in this study literacies of reexistence, literacies since they responsively contest, create, propose changes in language uses that have already been socially ratified and valorized.
Doutorado
Lingua Materna
Doutor em Linguística Aplicada
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Corrêa, Jaergenton de Souza. "Autoestilismo em diáspora: modelando tradições têxteis desde o Hip-hop." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/12850.
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Previous issue date: 2014-09-12This research presents the developments of the textile family production, as support for the cultural preservation and the strengthening of african diasporic traditions in Brazil. From the contact with HIP-HOP, artistic, political, cultural and educational mediations are established through the tissues. New technologies and influences with various inhabited diasporas in São Paulo provided the adaptation of the textile tradition in order to gain personal and collective autonomy, where each body is the proponent of its expansion, by personal and ancestral experience transposed in modelling and stamping. The meeting between sports, the peripheral landscape and the virtual world resulted in disconnected performing propositions for the rails of the classic Eurocentric fashion catwalk, which will be analysed here as resistance from the oral tradition shaped in clothing
Essa pesquisa apresenta desdobramentos da produção têxtil familiar, como suporte de preservação cultural e fortalecimento de tradições afro diaspóricas no Brasil. A partir do contato com o HIP-HOP, são estabelecidas mediações artísticas, politicas, culturais e educativas através dos tecidos. Novas tecnologias e influências com diversas diásporas habitadas na cidade de São Paulo, proporcionaram a adaptação da tradição têxtil, no intuito da autonomia pessoal e coletiva. Onde cada corpo é o proponente de sua expansão, pelas experiências pessoais e ancestrais transpostas nas modelagens e nas estamparias. O encontro entre os esportes, a paisagem periférica e o mundo virtual resultaram em proposições performáticas desconexas aos trilhos das passarelas clássicas da moda eurocêntrica, que serão analisadas aqui como resistência da tradição oral plasmadas na vestimenta
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Kauffmann, Isabelle. "Génération du hip-hop : danser au défi des assignations." Nantes, 2007. http://www.theses.fr/2007NANT3032.
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C’est à partir d’une enquête ethnographique qu’on a pu montrer que la pratique de la danse hip-hop constitue un espace d’autonomie où des enfants des quartiers populaires peuvent s’affranchir des assignations assimilationnistes, forme de violence symbolique qu’exercent l’État et la pensée d’État. Le hip-hop présente de fait dès son importation en France des couples d’opposition (visibilité et illisibilité, mass média et groupe d’initiés, population stigmatisée et piédestal esthétique) qui offrent l’image d’une issue à des jeunes gens soumis à la fois à la stigmatisation et à l’injonction à s’intégrer. Les pionniers d’un nouveau genre vont forger un groupement tout en acquérant ses principes et parmi ceux-là, l’émulation agonistique et l’autodidaxie. Il s’ensuit l’institution d’une auto-validation collective par ceux-là mêmes que la conjoncture invalide. Cette socialisation est possible car elle prolonge celle du quartier tout en la dépassant, au-delà de la cité et jusqu’à l’âge adulteHip-hop Generation. Dancing to Battle against Assignation. A fieldwork among hip-hop dancers led us to demonstrate that when practicing these dances, working class neighbourhood children built an autonomous social space where they could escape the State double bind asking them to assimilate while telling them they were a problem. Hip-hop importation relied on images that linked æsthetic magnificence and stigmatized people, illegible forms and conspicuousness. Thus, it offerred an alternative to assimilation. The pionneers of a new genre constituted a group while learning its principles, among them, self-education and contesting. It gave way to a collective self-validation by youngsters that were said socially disabled. This socialisation continue the one that took place in the neighbourhood, but exceeding it: out of the public housing project and beyond teenage years
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Usher, Carlton A. "An analysis of Hip-Hop culture as a political instrument." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2002. http://digitalcommons.auctr.edu/dissertations/184.
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This dissertation examined the political philosophy of Hip Hop culture (HC), and whether it qualified as a viable political instrument. The study was based on the premise that in order to determine the existence of a political philosophy, elements that encompass a political must be identifiably located within the HC.
A case study of two organizations that have historically shaped the political ideas of participants in HC was conducted in order to identify the nature of its influence on HC and its consequent development of a political philosophy. In addition, a case study of Underground HC (UHC) was conducted to identify the source of HC’s political philosophy. Sequentially, a case study of Atlanta radio stations which deliver Hip Hop music was also conducted to determine whether these institutions are impediments to the delivery of politicized material. A survey of college students (AUCSI) in the Atlanta University Center (AUC) was conducted. The data gathered allowed the researcher to determine the political ideas of participants, whether they identified the political philosophy with HC and, whether they adhered to, or disregarded its political philosophy. Lastly, the model of a political system designed by David Easton was applied to access the nature of the interactions between HC and the political system.
The researcher found that there is, in fact, a formidable political philosophy within HC. The artists produced such materials, participants can distinguish between political and non political material but in many cases choose to identify with the latter. While Black radio consistently fails to disseminate such materials, the underground attempts to find alternative methods of distribution. Furthermore, the researcher found that adversaries of HC use the political system to censor and control HC.
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Suárez, Dania Chaviano. "Movimiento hip hop: estudo comparativo entre Cuba y Brasil." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/84/84131/tde-07122018-170333/.
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O objetivo desta dissertação é dar uma visão do movimento do hip hop como um todo, comparando como é expressa neste movimento em Cuba e no Brasil. Para fazer isso, procura abordar os fatores históricos, sociais, culturais e políticos que promovem essa dinâmica em ambos países. A motivação para a realização do trabalho decorre da participação em eventos nos dois países em diferentes momentos, onde uma certa semelhança no comportamento dos jovens que praticam esse movimento tornou-se perceptível, o que despertou o desejo de investigar quão profundos seriam esses laços entre grupos tão distintos. A música está intimamente ligada à existência e à dinâmica dos grupos, pode ser vista em seus modos de representação e recepção, frequentemente exigidos por um grupo de indivíduos para se comunicar entre eles ou com outros grupos; assim, a maioria das músicas (...) tem um caráter coletivo intrínseco não compartilhado pelas artes visuais e verbais. Isso pode significar que a música é capaz de transmitir identidades afetivas, atitudes e padrões de comportamento de grupos socialmente definidos (MONSON, 2000). Embora a música tenha uma dimensão coletiva, não podemos ignorar seu caráter individual, porque os sujeitos desde sua particularidade como indivíduos em seu universo pessoal, também constroem significados integrados ao social.The objective of this dissertation is to give a vision of the hip-hop movement as a whole, comparing how it is expressed in this movement in Cuba and Brazil. To do this, it seeks to address the historical, social, cultural and political factors that foster this dynamic in both countries. The motivation for carrying out the work arises from the participation in some events in Cuba at different times, where a certain similarity in the behavior of the young people who practice this movement was perceptible, which aroused the desire to investigate how deep these ties would be between such different groups. Music is closely linked to the existence and dynamics of groups, \"it can be seen in its modes of \'representation\' \'and\' reception \', frequently required by a group of individuals to communicate either among themselves or with other groups; thus most music (...) has an intrinsic collective character not shared by the visual and verbal arts. This could mean that music is capable of transmitting affective identities, attitudes and behavior patterns of socially defined groups (MONSON, 2000). Although music has a collective dimension, we cannot ignore its individual character, because subjects from their particularity as individuals in their personal universe also construct meanings that are integrated into the social.
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Mangialardi, Nicholas Rocco. "Egyptian Hip Hop and the January 25th Revolution." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366040894.
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Mashiyi, Sikelelwa Anita. "Spaza Hip hop in the townships of Khayelitsha." University of the Western Cape, 2019. http://hdl.handle.net/11394/6966.
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Masters of ArtSince the arrival of hip-hop in Cape Town and indeed South Africa in the 1980s, a diverse and vibrant range of hip-hop sub-genres has developed in Cape Town. Scholarship, however, have approached hip-hop mainly through a linguistical angle focusing mostly on Cipha hiphop in the Cape Flats. This ethnographic work looks at performances and practices of Spaza hip-hop. It explores the musical genre of Spaza hip-hop in the township of Khayelitsha, discussing ideas advanced by scholarship almost ten years ago and re-assessing issues of language, citizenship and ethnicity from today’s perspective. It looks at Spaza hip-hop not only as a musical genre, as it explores questions of identity, ethnicity, race, and gender. My research discusses how Spaza hip-hop music is consumed today, how it is produced and how it circulates. Across two years of fieldwork, I followed park sessions, open mic sessions and events; I have interviewed artists, producers and audiences. I argue that Spaza hip-hop in 2018 had changed drastically from its first apparition. Not only most of the artists are now older, but also the Spaza hip-hop scene is now invaded by trap hip-hop artists. Across my research I explore issues of gender in hip hop which is generally perceived as a “masculine” music. I illustrate how female artists constantly challenge norms and negotiate a space of their own, paradoxically transforming Spaza hip hop in a space for freedom.
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Sunami, April J. "Transforming "blackness" "post-black" and contemporary hip-hop in visual culture /." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1219161375.
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Easterling, Michael H. "U.N.I.T.Y. Addressing Misogyny and Transcending the Sista-Ho Dichotomy in Hip Hop Culture." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/5939.
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In this thesis I investigate the portrayal of women in Hip Hop as either a sista' or a ho, a dichotomy that mirrors the Freudian Madonna-whore complex prevalent in Western Society. Belittled and disparaged by the sexism implied by this dichotomy, women have become victims of various forms of misogynistic abuse. Queen Latifah stands up against this misogyny, using Hip Hop in the very way it was designed to be used “as a voice for the disenfranchised“ speaking out against the sexism in Hip Hop in the same way African American males use Hip Hop against White mainstream society. She thus challenges the sista'-ho dichotomy and becomes empowered to decry gender discrimination in the same way African American males become empowered to denounce racism through the performance of Hip Hop.
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Dantas, Elenildes. "Estética Hip-Hop: Transgressão como estratégia de explicitação das diferenças." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-26022019-161758/.
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Esta pesquisa propõe uma revisão do conceito de estética, que, para além, de um conjunto de regras de categorização da arte, pode ser compreendida como expressão dotada de sensibilidade capaz de provocar reações ainda que momentâneas, voltadas para a experiência afetiva, emotiva e sensorial do espectador. Isso se deve, especialmente, porque o conceito de estética precisou se adaptar às novas formas de expressão como a fotografia, o cinema, as performances, instalações e, agora, a incorporação dos dispositivos eletrônicos não apenas na divulgação, como também na produção de sensibilidades. O mundo mediado pelos meios de comunicação eletrônicos e que se torna ainda mais presente na era digital vê o espírito de vanguarda e constante transformação, desloca-se das artes ditas primárias para a expressão tecnológica. No campo das artes, a grande novidade a partir do último quarto do século XX, foi a valorização da arte de rua, do retorno ao coletivo e ocupação do espaço público, especialmente com a arte da periferia, sintetizada na cultura hip-hop, que sempre se utilizou dos dispositivos eletrônicos de forma subversiva, tanto na produção como na divulgação de sua expressão cultural. Arte da periferia, que vem sendo reconhecida como uma das tendências criativas mais importantes deste início de século, como fenômeno orgânico, pulsante e visceral, além de uma forma autêntica de fazer política conectada com as experiências sociais de grandes massas urbanas segregadas, gera soluções originais, criativas, sustentáveis e autônomas. O hip-hop é uma arte de rua e para a rua, voltado para a ocupação do espaço público, para expressão do corpo, desde o flash mob à street dance, passando pelos graffitis e a pichações, o rap e o funk com seus \"pancadões\". Um fenômeno cultural surgido nas periferias dos grandes centros urbanos do mundo inteiro. Estética do improviso, da criatividade, da bricolagem, da mixagem, da colagem e reelaboração de elementos de outras artes, que utiliza a transgressão como estratégia de explicitação das diferenças.The purpose of this research is to review the concept of aesthetics understood not only as a set of rules for categorizing art. Aesthetics can also be understood as a form of expression endowed with sensitivity and capable of provoking reactions related to affective, emotional and sensorial experience of the viewer, although the reactions could be momentary. In a certain way, this happens because the concept of aesthetics has been adapting to deal with new forms of expression such as photography, cinema, performances, installations and, more recently, the incorporation of electronic devices, which plays an important role not only in the dissemination but also in the production of sensitivities. In the field of arts, the great novelty of the last quarter of the twentieth century was the valorisation of street art, the return to the collective and occupation of public space, especially with the art of the periphery, synthesized in hip-hop culture, which has always used subversive electronic devices, both in the production and in the dissemination of its cultural expression. Periphery art, which has been recognized as one of the most important creative trends of this century, as an organic, pulsating and visceral phenomenon, as well as an authentic way of doing politics connected with the social experiences of large segregated urban masses, generates original solutions, creative, sustainable and autonomous. Hip-hop is a street and street art, focused on the occupation of public space, for expression of the body, from flash mob to street dance, graffiti and graffiti, rap and funk with their \" pancadões \", all of them part of hip-hop aesthetics, as a cultural phenomenon that appeared in the peripheries of the great urban centers of the whole world. Aesthetics of improvisation, creativity, DIY, mixing, collage and re-elaboration of elements of other arts, creating syncretism and cultural hybridism, in addition to using transgression as a strategy to explain differences.
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Peck, RaShelle R. "Imperfect Resistance: Embodied Performances in Nairobi Underground Hip Hop." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397664120.
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Callais, Todd Michael. "Music and New Social Movements: Hip-Hop Culture as Social Protest." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391611174.
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Silva, Ana Cristina Ribeiro 1980. "Dança de Rua : do ser competitivo ao artista da cena." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285220.
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Orientador: úlia Ziviane VitielloDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho visou apresentar reflexões sobre as Danças Urbanas e suas possibilidades de atuação no campo educacional, competitivo e artístico. Além disso, verificou-se que a preparação corporal e artística destes dançarinos urbanos necessita contemplar procedimentos que favoreçam diferentes espaços como o palco italiano, espaços alternativos e ou locais onde ocorrem as batalhas, portanto, questiona-se a possibilidade de haver uma efetiva contribuição da técnica somática Ideokinesis. Como existe uma estreita relação entre a Cultura Hip Hop e as danças urbanas, observada em diferentes fatores como a maneira de se comportar na sociedade e a visão de mundo destes dançarinos, não poderia se falar de dança urbana, sem falar dos diferentes elementos que compõem esta cultura híbrida. Para este trabalho a pesquisa de campo foi realizada com a "Cia Eclipse Cultura e Arte" e Associação "Família Eclipse", na cidade de Campinas, São Paulo, onde foi importante observar desde a metodologia utilizada na preparação corporal do elenco até os espetáculos criados para diferentes espaços. Durante esta etapa da pesquisa houve também a oportunidade de investigar outros grupos nacionais e internacionais de dança urbana, o que contribuiu para o desenvolvimento de um olhar diferenciado para a dança urbana a partir dos conceitos da educação somática
Abstract: This research aimed to present reflections about urban dances and their possibilities of action in the educational, artistic and competitive field. Furthermore, it was verified that the body and artistic urban dancers preparation, needs to include procedures that promote different and alternative spaces like Italian stage, areas where battles happens, therefore, its question the possibility of an effective contribution of somatic Ideokinesis technique. As there is a close relationship between Hip Hop Culture and urban dances, it was observed different factors such as how to behave in society and the world view from all of these dancers, there is no way to speak of urban dance, and not to mention the different elements that make this hybrid culture. For this work the field research was held by "Cia Eclipse Culture and Art" and "Eclipse Family" Association in Campinas city, São Paulo, where it was important to observe the methodology used in the cast body preparation to the shows for different spaces. During this stage of the research there was also the opportunity to investigate other national and international groups of urban dance, which cont
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena
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Bautz, Diego Kauê. "Os contos de Ferréz : das relações entre a nova literatura marginal e o rap /." Assis, 2019. http://hdl.handle.net/11449/180668.
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Orientador: Gilberto Figueiredo MartinsBanca: Ana Paula Franco Nobile Brandileone
Banca: Francisco Claudio Alves Marques
Resumo: Busca-se, neste trabalho, reconhecer proximidades estruturais e temáticas entre o conto de Ferréz e o rap nacional, rastreando possíveis influências do princípio ético característico das produções periféricas e do lugar de enunciação desses artistas para, finalmente, analisar as marcas de oralidade nos contos ferrezianos em suportes impressos e eletrônicos. Para que tais objetivos fossem alcançados, as reflexões de Bakhtin (1990) (2011) sobre as relações entre texto e contexto ajudaram a pensar as produções periféricas inseridas na nova literatura marginal e na cultura do hip-hop; as ideias de Cortázar (2006) acerca do conto colaboraram para avaliar a produtividade de recursos do rap nacional inseridos nesse gênero literário; e os estudos de Ong (1998) sobre a "psicodinâmica da oralidade" permitiram reconhecer e analisar as marcas do pensamento fundados na oralidade presentes nos textos analisados. Então, observando que os contos de Ferréz se aproximam temática e formalmente ao rap nacional pela utilização de rimas, repetições, reiterações e de um tom combativo para abordar problemas sociais do mesmo contexto, se compreendeu a semelhança entre as funções de um MC e do narrador ferreziano como cronistas participantes de uma disputa simbólica. Parece, no entanto, haver uma oscilação entre a subversão e a apropriação dos valores hegemônicos que se relaciona com a questão do princípio ético das produções periféricas confrontado pelas concepções estéticas mais tradicionais. Sendo assim, a valorização da palavra falada como uma espécie de arma, notada tanto nos raps quanto nos contos de Ferréz, indica uma concepção da palavra como elemento estratégico de fortalecimento do grupo e, portanto, a ideia de que uma escrita mais articulada ao coletivo e menos à voz de um artista criador seja mais eficiente neste contexto
Abstract: The aim of this work is to recognize structural and thematic proximities between Ferrez's tale and national rap, tracing possible influences of the ethical principle characteristic of the peripheral productions and the place of enunciation of these artists to finally analyze the marks of orality in the short stories printed and electronic media. For such goals to be achieved, Bakhtin's (1990) (2011) reflections on the relationships between text and context helped to think of peripheral productions embedded in the new marginal literature and hip-hop culture; Cortázar's (2006) ideas about the short story collaborated to evaluate the productivity of national rap resources inserted in this literary genre; and Ong's (1998) studies on the "psychodynamics of orality" allowed to recognize and analyze the orality-based marks of thought present in the texts analyzed. Then, observing that Ferréz's tales thematic and formally approximate national rap by the use of rhymes, repetitions, reiterations, and a combative tone to address social problems of the same context, we understood the similarity between the functions of an MC and the narrator ferreziano as chroniclers participating in a symbolic dispute. It seems, however, that there is an oscillation between subversion and appropriation of hegemonic values that are related to the question of the ethical principle of peripheral productions confronted by more traditional aesthetic conceptions. Thus, the valorization of the spoken word as a kind of weapon, noted both in the raps and in Ferréz's short stories, indicates a conception of the word as a strategic element for strengthening the group and, therefore, the idea that a more articulated writing to the collective and less to the voice of a creative artist is more efficient in this context
Mestre
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Ostrove, Geoffrey, and Geoffrey Ostrove. "The Political Economy of Financially Successful Independent Hip Hop Artists." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12466.
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From 2000 to 2010, America's music industry's annual revenue went from $4 billion to $2 billion. Much of this is attributed to the internet's ability to provide consumers with easy access to free music, and hip hop has been especially impacted by this trend.
Utilizing document analysis and personal interviews, this study found that the success of independent artists has influenced the business strategies of major record companies. In response to a dramatic decrease in record sales, major labels have made more of an effort to sign their artists to 360 deals, which allow the labels to profit from every aspect of an artist's brand or identity.
While some independent artists are the main beneficiary of the profits generated from their music and personal brand, they also reify the commodity-form capitalist system by attempting to turn their music and brand into a fetishized commodity and by turning their audience into a commodity.
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Celemencki, Jacqueline. "Gettin' skooled : how hip-hop culture shapes the identities of urban youth." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112330.
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This thesis examines the ways in which a group of male youths from Montreal interpret the world and construct their identities through the lens of hip-hop. The theoretical framework draws mainly from discussions of youth subcultural theory as articulated by the Center for Cultural Studies in Birmingham, as well as current research on hip-hop culture and youth identities. Using narrative inquiry as a methodological framework, this study highlights how the participants' perceive their neighbourhoods through gangster rap culture, and construct their identities according to these perceptions. This study also reveals how the participants' create original rap lyrics as a self-reflexive tool, and how listening to rap music shapes their linguistic expression.
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Brandes, Blake. "The poetics of praxis: analogy, identity and commitment in hip-hop culture." Thesis, University of Kent, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594401.
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This dissertation contends that the distinctive poetic language of hip-hop enables individuals to understand and construct identities, as well as to challenge dominant narratives and provoke conscious shifts in their perceptions of self and community . Beginning with language, Chapter I explores the poetic structure of analogy and examines the cultural and cognitive ro les that analogy plays in American hip-hop. Acknowledging the transcultural nature of identity in hip-hop. Chapter 2 examines Gautam Malkani's novel Londonsrani and the ways in which postcolonial youth construct identities through analogy and hip-hop culture. Further developing the connection between art and audience, Chapter 3 applies Jean-Paul Sartre's notion of 'committed literature' to Christian rap and investigates the role of language in inspiring action and progressive change. The companion album to the dissertation uses poetic structures and tropes to explore political, philosophical and sociological concepts, with the goal of inspiring listeners to reevaluate fundamental assumptions , and be liefs that they may hold, in the tradition of committed literature. The album Scholar is available for free download online at BlakeBrandes.com and includes footnoted lyrics for all beongs to encourage educational application of the music.
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Hawkins, Brian. "¡Me Gusta Hip-Hop!: Evidence of Popular U.S. Culture Among Mexican Border Youth." University of Arizona, Department of Anthropology, 2006. http://hdl.handle.net/10150/110053.
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This paper examines a fragment of the evident cultural
exthange occurring along the U.S. — Mexico border in Nogales, Sonora,
Mexico. Many Nogales youth are absorbing American popular culture
through purchasing American popular culture commodities, such as
music. The paper raises questions of how and why the Nogales youth
purchase their pop culture commodities, and of the interpretations the
Nogales youth make of said commodities' symbolic significance. After
methodologies and context of the study are discussed, the paper defines
popular culture and its relationship to commodity production. It then
focuses on how the youth access their pop culture products and the
factors that influence their buying decisions. At its end, the paper
compares the interpretations of the Nogales youth with those of
American youth in terms of pop culture goods.
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Campos, Cristina Maria. "Rua e escola : o Hip Hop como movimento porta voz dos sem vez." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251702.
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Orientador: Corinta Maria Grisolia GeraldiDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: O tema da presente pesquisa é a influência da cultura de rua no cotidiano escolar, estudada através de fragmentos narrativos de uma professora de escola pública que focalizam as fronteiras/limites da rua e da escola na ótica da juventude de periferia da cidade de Campinas, tomando como eixo para sua visada o movimento Hip Hop e a cultura produzida no entorno da escola: sua arte e valores, buscando partilhar experiência de ressignificação e inclusão no espaço escolar para a juventude que não se sente reconhecida nesse espaço. Utilizando a investigação narrativa, seu processo de escritura resgata a história de formação da própria professora-pesquisadora, inúmeros fragmentos da história do movimento Hip Hop em Campinas e a literatura produzida no nível local, buscando algumas inserções destas no movimento internacional. O foco da investigação é o registro dos grupos existentes, das letras de raps que circulam e afazem a cabeça' de parte da juventude de periferia de Campinas. Utilizam-se como instrumentos de pesquisa entrevistas informais, gravações das músicas, registros de leiras e encontros informais com rappers. Com esse processo de 'resgate/engate", expõe outros lados e versões, via de regra silenciados na cultura oficial e nos registros homogêneos da escola institucionalizada, e questiona a escola e suas formas de atuação e as políticas oficiais, propondo possíveis canais de diálogos entre os universos da rua e da escola, diálogos sempre inconclusos, sem soluções mágicas numa sociedade de exclusões. A presente dissertação foi desenvolvida na área Ensino, Avaliação e Formação de Professores, junto ao GEPEC (Grupo de Estudos e Pesquisa em Educação Continuada), da Faculdade de Educação da UNICAMP.
Abstract: The theme of this present research is the influence of the street culture on the school daily routine through narrative fragments from a public school teacher that focus on the frontiers/limits of the street and the school through the youth vision from the outskirts of Campinas, which has the Hip Hop movement and the culture produced around school as the main part of their vision: its art and values, searching a way of sharing experience of meaning and inclusion in the school space to the young people who does not feel recognized in that space. Through the narrative investigation, its writing process gets back the historic formation of the own teacher researcher, many fragments of the Hip Hop movement history in Campinas and the produced literature in the local level, searching for some insertions in the international movement. The focus of this investigation is the register of the existent groups, the Raps lyrics that are available and call part of the young people attention from the outskirts of Campinas. Research instruments as informal interviews, song recordings, registers of lyrics and informal meetings with rappers were used. With this getting back process, shows otiier sides and concerns, by the way remained silent in the official culture and homogeneous registers from the instituted school, and it calls into question the school and its ways of working and the official politics, proposing possible dialogue channels among the street and school universe, dialogues always unfinished, without magic solutions in a society of exclusions. The present dissertation was developed on the Teaching, Evaluation and formation area of teachers, together with GEPEC (Studying and researching group in Continued Education), of the Unicamp Education University.
Mestrado
Ensino, Avaliação e Formação de Professores
Mestre em Educação
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Belhadj-Ziane, Kheira. "Culture populaire : le rap, un mythe actuel." Paris 5, 2008. http://www.theses.fr/2008PA05H084.
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La culture hip-hop a cette particularité d'avoir été créée par une jeunesse populaire et urbaine. Né au début des années soixante-dix aux États-Unis, le hip-hop s'est progressivement diffusé et installé dans la plupart des quartiers populaires du monde. En France, cette culture émerge au début des années quatre-vingt. Elle est alors adoptée et réaménagée par une jeunesse issue des immigrations, (nord-africaine, sub-saharienne et antillaise), rejoints par des jeunes d'origine française de milieux modestes. Le hip-hop est une culture populaire au sens dynamique ; et ceci est d'autant plus vrai que c'est le peuple lui-même qui la "créée". Au-delà des expressions artistiques qu'elle met en scène, elle est un style de vie vécu au quotidien. Il ne s'agit pas de contemplation, mais de participation culturelle. En devenant auteurs-acteurs de leur expression culturelle, ces jeunes dénoncent les insuffisances manifestes d'équité sociale. A travers cette thèse, je voudrais démontrer comment cette dynamique apparaît dans la construction du discours, à travers les paroles de Rap français underground (français non-commercialisés). Le décryptage sociolinguistique de textes de paroliers anonymes des cités urbaines d'une ville moyenne comme Perpignan, nous permettra de saisir les mécanismes à l'œuvre dans la construction de la contre-culture et comment le discours réflexif et poétique met en lumière la construction d'une nouvelle mythologie. Pour ce faire nous avons analysé les propos des rappeurs et ensuite leurs propres productions musicales à travers leurs textes de rap, à l'aide d'une méthode sémiologique inspiré de Roland Barthes : la recherche du métalangageThe hip-hop culture has been created and modeled by the urban youth of the working class. Born at the beginning of the seventies in the United States, the hip-hop movement gradually moved and established itself in most of the popular districts of the world. In France it appeared at the beginning of the eighties, adopted and reorganized mainly by a youth stemming from the immigration (North African, sub-Saharan and West Indian), joined by French young people of the working class. The hip-hop movement is a popular culture in his dynamic : it is the people who created it, shaped it and still feed it in everyday life. Beyond the artistic expressions which it stages, it is also a lifestyle. It is in perpetual motion, never definitive, always growing. It is not about contemplation but cultural participation. By becoming authors/actors of their cultural expression, these young people denounce the obvious incapacities of social equity. Through this thesis, I would like to demonstrate how this cultural dynamic appears in the construction of the speech used through the words of underground (not marketed) French Rap. Indeed, the sociolinguistic deciphering of texts of anonymous lyric writers of the urban towns of a mid-sized city as Perpignan, will allow us to seize on one hand the mechanisms behind the underground culture and on the other hand, how the reflexive and poetic speech brings to light the construction of a new mythology. In order to do so, we analyzed the texts of rappers and then their own musical productions through the lyrics, using a semiological method inspired by Roland Barthes : the research for the metalanguage
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Cherjovsky, Natalia. "VIRTUAL HOOD: EXPLORING THE HIP-HOP CULTURE EXPERIENCE IN A BRITISH ONLINE COMMUNITY." Doctoral diss., Orlando, Fla. : University of Central Florida, 2010. http://purl.fcla.edu/fcla/etd/CFE0003029.
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Armstrong, Andrew Barton. "Japanese hip hop in Kyoto, 2000-2002: localizing a global pop culture idiom." Thesis, University of Hawaii at Manoa, 2003. http://hdl.handle.net/10125/7093.
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Nearly thirty years since its inception in New York City in 1974, hip hop culture and style have become worldwide phenomena with local scenes appearing somewhere on nearly every continent. In the case of hip hop in Japan, the local scene has a relatively long history and has already developed into a "subculture" (Hebdige 1979) with an extensive infrastructure that is widespread across the archipelago. I chose Kyoto, Japan as the site for this study of the localization of hip hop outside of the U.S. The basic problem is to understand how a transnational pop culture form, which originated as an empowering expression among urban minorities in the U.S., has managed to take root in a city such as Kyoto where both social conservatism and Japanese traditional "high art" culture are prominent. The thesis argues that the Kyoto hip hop scene has taken root because it allows the performers and fans to reconstruct an identity for themselves which challenges discourses of essentialized "Japaneseness" which are manifest both in Japan and in the West. At the core of the Kyoto hip hop identity is a challenge to the hegemony of the Japanese socio-cultural mainstream. This mainstream is of course partly a discursive construct, but also stems from a daily reality lived by salaried workers, students on the university track. and mothers who struggle to keep stability in the family under stressful circumstances. Hip hop identity in Kyoto entails refusal of this "mainstream" through rap lyrics and on levels of personal style and lifestyle. The local hip hoppers' identity also entails a correlated refusal of white American culture and of the perceived economic and military subjugation of Japan by white America. I use the term "Japanese hip hop" to refer to hip hop which is produced by Japanese people and which is rapped mostly in the Japanese language. When I talk about "hip hop in Japan" I am referring to a number of categories including U.S. hip hop and Japanese hip hop which includes both locally and nationally recognized performers. "Kyoto hip hop" and "the Kyoto hip hop scene" refer to hip hop that is produced and performed in Kyoto by Kyoto residents, and also that which is produced by other people who perform in Kyoto on a regular basis. In nearly all cases these performers are ethnically Japanese. Within my discussion of "Kyoto hip hop," I at times switch to the designation "Japanese hip hop" to indicate an aspect which is not unique to the Kyoto scene but is common among Japanese hip hop scenes nationwide, including the Kyoto scene. I use the term "Japanese" without quotation marks to refer to ethnically Japanese people or in reference to culture (including language) which exists within the boundaries of present day Japan. The term "indigenous" is used to refer to socio-cultural elements, both traditional and modem, which have existed in Japan since several decades prior to the influx of hip hop culture. The thesis contends that hip hop, too, is in the process of becoming an "indigenized" Japanese music, in multiple senses of the word. The topic of Kyoto hip hop and the hypothesis of this study are connected to a complex body of inter-related theory and discourse. To set the stage for an overview of this body, I will first provide a brief history of hip hop and its arrival in Japan. Next, I will introduce Kyoto and the hip hop scene there. I will then give a theoretical overview and explain my field study methodology and transcription method. I then present the field study results in Chapters Two (performance), Three (text), and Four (analysis of musical form, style, and content).vi, 244 leaves
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Porteous, Catherine. "Rap's collective consciousness : the significance and dynamics of cypher in hip hop culture." Thesis, University of Newcastle Upon Tyne, 2013. http://hdl.handle.net/10443/1846.
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Cypher contributes significantly to the ‘underground’ hip hop scene in New York, as well as further afield; its rich musical and cultural roots can be traced directly from African oral traditions and cultural practices, and it reflects the epitome of hip hop culture by the way it advocates the principles of communication, knowledge and truth whilst enabling empowerment and fulfilment of its participants in a multi-faceted social dynamic. Cypher is unique in terms of its practice, as it requires little to no monetary or material input to take part, and is accessible to people from all backgrounds, but particularly to those from marginalised communities. It is an important musicological phenomenon which, seemingly unconsciously, contributes significantly towards the survival of hip hop; with so much discussion about the ‘death’ of hip hop, it is refreshing to have the assurance that certain practices within hip hop culture, such as cypher, are very much thriving and playing a large role in the survival, if not the existence, of hip hop culture as a whole. While there have been significant studies in hip hop culture in the fields of sociology and English studies, there remain relatively few published texts that have been written from a musicological standpoint. This thesis contributes to hip hop scholarship in a pioneering sense, especially since cypher is a form of rap which in itself is rarely investigated. In terms of the theoretical contributions that are made in this study, it is fair to say that cypher has a strong musicological and social role in its practice as well as holding great prominence in African-American culture; it forms an intrinsic part of everyday life for many of its participants. Using a combination of scholarly research and fieldwork methodology, using the latter to be able to account for experiencing cypher first-hand, means that this thesis presents academic research whilst remaining true to the essence of hip hop by keepin’ it real. With an emphasis on authenticity running throughout hip hop culture, the ability to reflect a genuine understanding of the role and dynamics of cypher has been of paramount importance in order to achieve credibility in the academic field as well as in the hip hop community. This thesis fully supports the notion that cypher has a highly significant role in hip hop culture, and, furthermore, that cypher reflects a team spirit that for some provides a form of cultural compensation and an alternative education; cypher also gives a voice to marginalised individuals and communities. This research marks cypher on the musicological map.
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Boone, William. "The Beautiful Struggle: an Analysis of Hip Hop Icons, Archetypes, and Aesthetics." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/21145.
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African American StudiesPh.D.
Hip hop reached its thirty-fifth year of existence in 2008. Hip hop has indeed evolved into a global phenomenon. This dissertation is grounded in Afro-modern, Afrocentric and African-centered theory and utilizes textual and content analysis. This dissertation offers a panoramic view of pre-hip hop era and hip hop era icons, iconology, archetypes and aesthetics and teases out their influence on hip hop aesthetics. I identify specific figures, movements and events within the context of African American and American folk and popular culture traditions and link them to developments within hip hop culture, discourse, and aesthetics. Because hip-hop emerged as an American phenomenon, I examine pre-hip hop American popular culture in the twentieth century such as America's World's Fairs, superhero mythology, popular culture iconography, etc. and illustrate the ways in which they served as cultural, social and historical precursors to hip hop aesthetics. Chapter 1 provides an introduction, which includes a definition of terms, statement of the problem and literature review. It also offers a perfunctory discussion of hip hop as culture. Chapter 2 examines pre-hip hop era African-American and American iconography, iconology and archetypes and the subcultures that spawned them (e.g. sports culture, comic super hero narratives, westerns, and the culture of capitalism, etc.). I explore early twentieth century popular culture, iconography, and manhood, and link them to hip-hop aesthetics. Lastly, this chapter identifies Afrocentric cross-currents within hip hop culture, which I describe as the post-Afrocentric movement in hip hop culture, and illustrate the ways in which hip hop culture grappled with the efficacy and viability of Afrocentric motifs, theory and aesthetics Chapter 3 offers a comparative analysis of blues and hip hop aesthetics. I explore gender dynamics within the context of inter-genre, call-and-response between male emcees and female neo-soul artists. Chapter 4 traces the development of hip-hop aesthetics and draws on African, American and African-American cultural practices to analyze its development. I focus on early characteristics of hip-hop culture, which are foundational components of hip-hop expression such as the influence of comic book super hero narratives. Hip-hop aesthetics are an amalgamation of post-modern, post-industrial, urban blues sensibilities filtered through African-American musical traditions. I utilize Bakari Kitwana's conceptualization of the hip hop worldview as a basis for highlighting hip hop attitudes, aesthetics, and expectations. Lastly, chapter 4 expands upon previous socio-economic discussions on hip hop culture with a focus on hip hop aesthetics and expression. In chapter 5, I identify specific pre-hip hop icons and their influence on hip-hop aesthetics. I examine the significance of the selection of these icons and their relevance to hip-hop aesthetics. This chapter explores hip-hop iconography, iconology and archetypes. I explore the significance of specific icons and archetypes within hip-hop culture and examine the socio-historical, political, and cultural implications of their selection. Icons and archetypes are integral parts of African, African-American, and American culture. I illustrate how these cultural origins are reflected within hip-hop's engagement of American popular culture icons. I also identify more recent hip hop icons and archetypes (e.g. the hater and gold digger), which operate as signifiers in hip hop narratives and aesthetics. Chapter 6 identifies specific characteristics of hip hop expression. I examine black male identity construction as it relates to hip-hop aesthetics and archetypal influences, particularly notions of 'bad" and "cool" within hip-hop culture. Perhaps more than any other African-American archetype, the badman/bad nigga archetype has survived within African-American male narratives. I explore the evolution of bad within hip hop aesthetics and offer a cultural analysis of 1984, identifying specific icons (e.g. Run-DMC), attitudes, values and trends that shaped both hip-hop culture and American popular culture. 1984 is an ideal site by which to examine the interface between race, class, sex, politics, American violence, technology, and pop culture. I examine specific cross-currents within 1980s American popular media and explore the ways in which hip hop narratives and aesthetics reappropriate and engage specific popular culture texts. I assert that not only was the framework for hip-hop aesthetics were solidified during the early 1980s, but also the framework for a new popular culture discourse effected by shifts in public policy concerning public space, racial representations and an emerging global market culture. I identify key figures, icons, archetypes, and popular media, circa 1984, and their influence on hip hop aesthetics and discourse.
Temple University--Theses
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Ballalai, Rodrigo Clemente. "O jovem no movimento hip hop : espaço potencial de criatividade e identificação? /." Assis : [s.n.], 2009. http://hdl.handle.net/11449/97560.
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Orientador: Olga Ceciliato MattioliBanca: Diana Pancini de Sá Antunes Ribeiro
Banca: Leila Rute Oliveira Gurgel do Amaral
Resumo: A partir de experiência de estágios da graduação em Psicologia, particularmente no trabalho desenvolvido junto ao "Programa de Liberdade Assistida" da FEBEM, unidade Bauru, quando oferecemos um pronto atendimento psicológico a seus participantes, iniciamos o contato com o movimento hip hop. Entrevistamos jovens que se identificam com o movimento hip hop, analisando sua trajetória ao ingressarem nos grupos organizados de hip hop do município de Bauru. Analisamos suas biografias e percepções que estes jovens têm de si e de sua realidade social. O instrumento utilizado foi a entrevista semi dirigida, cuja aplicação ocorreu individualmente O procedimento para a análise das informações se apoiou no método psicanalítico. Analisamos o que leva os jovens a participarem do referido movimento, por meio do conceito psicanalítico de identificação. Verificamos que a significação que os jovens atribuem ao hip hop pode ser entendido como um espaço potencial de criatividade, de acordo com a teoria do psicanalista inglês Donald Winnicott. Encontramos diferentes usos desse movimento cultural, de acordo com a singularidade de cada participante, inclusive manifestado pelos diversos meios de participação artística e ideológica de seus componentes. No campo identificatório consideramos o movimento hip hop como modelo identificatório contemporâneo e significativo para grande parcela da população jovem. Como apresenta Maria Rita Kehl, o tratamento de irmãos ("manos") indica um campo de identificação horizontal com um grupo de pessoas iguais, oriundas de uma mesma realidade dolorosa; distinto de uma identificação vertical, tal como ocorre na grande massa em relação ao líder ou ídolo.
Abstract: During the course of training in psychology, especially in a work with the Program of Freedom Febem Assisted in the unit of Bauru, offering psychological care ready to participants, initiated the contact with the hip hop movement. In this study, we analyzed the motivation of some young people to join this movement, to perform such analysis, we used the psychoanalytic concept of identification. We want to check the meaning given by these young people to the hip hop movement, and if this can be seen as a potential space for creativity. Young people interviewed are identified with the hip hop movement, and why we are looking at their life stories the moment they began to join the hip hop movement organized in the city of Bauru. I reviewed their biographies and their perceptions about themselves and about social reality in which they live. We conducted semi-directed interviews with each couple in particular. We use the psychoanalytic method to analyze the content of the interviews, especially the theory developed by psychoanalyst Donald Winnicot.
Mestre
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Wallaert, Kerry A. "Influence of the hip hop culture on the collegiate experience at Ball State University." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337639.
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The study determined if the hip hop culture influenced the collegiate experience, specifically attitude, socialization, and personal goals. Qualitative research methodology resulted in the use of semi-structured interviews. Participants were traditional undergraduate students who self-identified as listening to hip hop music at Ball State University. Data were collected in January and February of 2006.The hip hop culture influenced the socialization of the student participants. Participant attitude was seldom influenced by the hip hop culture. Mainstream hip hop had minimal influence on the personal goals of students. The hip hop culture was more than music to the undergraduate students; it was a way of life and provided the motivation to pursue an education.Department of Educational Leadership
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Templeton, Inez H. "What's so German about it? : cultural identity in the Berlin hip hop scene." Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/75.
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Literature on the appropriation of hip hop culture outside of the United States maintains that hip hop engenders local interpretations no longer reliant on African-American origins, and this research project is an attempt to determine the extent to which this is the case in a specific local context. My thesis is an effort to move beyond the rhetoric of much of what constitutes the debates surrounding globalisation, by employing a research strategy combining theoretical analysis and direct engagement with the Berlin hip hop scene. My project not only aims to uncover the meanings young people in Berlin give to their hip hop practices, but intends to do so within a framework that does not ignore the discursive spaces in which these young people are operating. This is particularly relevant because of the complex ways in which race and ethnicity are related to German national identity. Furthermore, this thesis is concerned with the ways in which the spaces and places collectively known as Berlin shape the cultural practices found there. While hip hop belongs to global culture, it is also the case that the city of Berlin plays a significant role in determining how hip hop is understood and reproduced by young people there.
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Silva, Rociclei da. "Informação, cultura e cidadania no coração da periferia pelas batidas do hip hop." Universidade Federal do Rio de Janeiro / Instituto Brasileiro de Informação em Ciência e Tecnologia, 2011. http://ridi.ibict.br/handle/123456789/749.
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Previous issue date: 2011-03-24Hip Hop movement has become an environment of reflection and social transformation. This movement grew up in Brazil, in the 80 s, as political and artistic production. After three decades, Hip Hop became one of the main spokesperson against social differences, racial prejudice and lack of perspective. Besides that, it is a catalyzer agent for justice, equality, law and recognition to youth from suburbs.This research aims investigate the Hip Hop movement as organizer / mobilizer of informational dynamics in favor of building youth citizenship. Therefore, the study has questioned what has made this movement surviving three decades? What are the strategies and informational practices used, communication and linguistic, in order to attract and to aware youth people. The research has observed the hip hop culture as a social political cultural phenomenon, under the contemporary resistance view, which is characterized by creativity and innovation. In this perspective, the information was approached as knowledge to action, according to Wersig. Language culture and art are considered resistance forms also. The results pointed art as the main feature strategy. It is the tool that not only attracts youth, but also gives voice to them. The colloquial language, which talks about daily issues, enriches the information and facilitates the interaction, arousing the interest of children and youth. The exchange and sharing of information and knowledge and the production based on cooperation are coefficient to the existence of this movement. Nowadays, the internet is an important tool, because it conveys the information and exchange knowledge and experience. Internet is highlighted in chapter three. The youth transformation begins when they use Hip Hop movement as their voice, expressing themselves in order to raise self-esteem
O movimento Hip Hop tem configurado espaço de reflexão e transformação social. O Movimento surgiu no Brasil, a partir da década de 1980, como uma produção artístico-política. Após três décadas o hip hop passou a ser um dos principais porta-vozes contra as agruras, desigualdade social, o preconceito racial, a falta de perspectiva, mas acima de tudo se tornou um agente catalisador da luta por justiça, igualdade, direito e reconhecimento dos jovens da periferia. A presente pesquisa teve como objetivo principal investigar o Movimento Hip Hop como articulador/mobilizador de dinâmicas informacionais em favor da construção da cidadania de quem dele participa. Nesse contexto, o estudo questionou o que leva o movimento a resistir três décadas? Quais as estratégias e práticas informacionais, comunicacionais e lingüísticas utilizadas pelo movimento para atrair, mobilizar e conscientizar os jovens, bem como para dar voz a eles? O estudo analisou o movimento/cultura hip hop como um fenômeno sócio-politico-cultural sob a ótica de uma resistência contemporânea que se caracteriza pelo ato criativo e pela inovação. Nesta perspectiva, a informação foi abordada como conhecimento para ação conforme conceituação de Wersig. Linguagens, cultura e arte também foram tratadas como formas de resistência. Os resultados da pesquisa apontam a arte como o principal elemento das estratégias informacionais e comunicacionais. A arte é o instrumento que o movimento para não só atrair para dar voz aos jovens. A linguagem coloquial abordando temas e questões do cotidiano valoriza a informação e facilita a interação despertando o interesse de crianças e jovens que a recebem. A troca e compartilhamento de informação e conhecimento e a produção baseada na cooperação são fatores determinantes para o movimento resistir. A internet, as oficinas, o audiovisual e o rap, são sem dúvida hoje um grande aliado do movimento que a explora com muita eficiente tanto como forma de comunicação, mas também como veiculo condutor de informação e troca de conhecimento, experiência; A transformação dos jovens começa pelo simples fato de o movimento dar voz aos jovens e às suas angústias e medos e ao mesmo tempo emergir suas potências criativas resgatando sua auto-estima, alegria e os conduzindo à ação
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Rotta, Daltro Cardoso. "O hip-hop (en) cena : problematicas acerca do corpo, da cultura e da formação." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253221.
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Orientador: Elisa Angotti KossovitchDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Esta dissertação que ora apresento tem como campo de problemáticas algumas práticas de socialização de bairros periféricos, e encontra no movimento hip-hop um grande campo de experimentação. De grande influência na cultura da Juventude contemporânea, o hip-hop engendra discursos carregados de preocupação com os cenários de segregação social e cultural vivenciadas pelas periferias urbanas, além de produzir por meio de seções exaustivas de treinamento, um corpo apto ao desenvolvimento de uma arte dotada de uma potência singular de encenar, por meio de gestos, composição corporal e movimento, um certo estilo de viver marcado por um cenário de falta, de precariedade e preconceito, porém não carente de inventividade. Diria que são corpos potentes que trazem consigo as marcas da exclusão social e uma certa ousadia de encenar, na forma de uma arte das ruas, uma estética da existência. Retraço, desta maneira, a trajetória de formação de dois grupos de hip-hop da cidade de Pelotas/RS: os Piratas de Rua Creew e a Banca C.N.R. Por meio de estratégias etnográficas como a observação participante, registro em diário de campo e depoimentos orais. Problematizo suas trajetórias, que vão da socialização como uma prática de lazer periférico, até uma organização que garante aos seus atores um importante dispositivo de formação e reinserção social
Abstract: This paper has as field of problems some practices of socialization of outlying neighborhoods, and it possesses the hip-hop culture as a great experimentation field. Of great influence in the contemporary Youth's culture, the hip-hop engenders speeches loaded of concern with the sceneries of social and cultural segregation lived by the urban peripheries, besides producing through exhausting sections of training, a capable body to the development of an art endowed with a singular potency of staging, through gestures, corporal composition and movement, a certain style of living marked by a lack scenery, of precariousness and prejudice, however no lacking of inventiveness. I would say that they are potent bodies that they bring the marks of the social exclusion and a certain daring of staging, in the form of an art of the streets, an aesthetics of the existence. I aim at, in this research, the path of formation of two groups of hip-hop of the city of Pelotas/RS: Street Pirates Crew and C.N.R. Rappers. Through ethnography strategies as the participant observation, registration in field diary and oral depositions. I problematize their paths, that space of the socialization as a practice of outlying leisure, until an organization that guarantees to their actors an important formation device and social insert
Mestrado
Educação, Sociedade, Politica e Cultura
Mestre em Educação
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Girgis, André. "Culture Hip-Hop et négociation identitaire à Taiwan : Entre les frontières de la mondialisation." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28782/28782.pdf.
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Les processus de la mondialisation culturelle sont décrits en termes de circulation d’idées, de personnes et de produits (Appadurai 1996), et ils sont également concomitants de pro-cessus de la négociation de l’identité (Hall 1992). La question principale au cœur de cette recherche est de déterminer comment les membres d'un groupe de Hip-Hop taïwanais, qui pratiquent une culture dite ‘mondiale’, participent à la définition de la culture ‘taïwanaise’ dans le contexte local et international, animés d’un projet politique précis, celui de l'indé-pendance nationale. Étant basé à Taipei, capitale de Taïwan, j’ai entrepris des entrevues se-mi-dirigées avec certains membres du groupe Kou Chou Ching, avec des personnes pré-sentes à leurs concerts et j’ai exploré d'autres espaces et activités associés à la culture Hip-Hop. Des informations à propos du groupe et des fans ont également été acquises grâce aux paroles de leurs chansons et aux informations publiques accessibles sur Internet, incluant les médias, les sites de réseautage social et les blogs des membres.
L'auto-identification stylistique du groupe est le Hip-Hop, et à ce titre, ils intègrent un dis-cours de justice sociale à des compositions musicales et des activités commerciales. Ils se distinguent d’autres artistes de Hip-Hop à Taïwan par leur intégration de sons et images qui sont, selon eux, d’un héritage proprement taïwanais. C'est ainsi qu'ils se situent dans un es-pace hybride et fluide (Hannerz 1997), avec des identifications multiples et contextuelles. Les associations stratégiques qu’ils nouent avec des figures culturelles et politiques contri-buent à leur popularité, mais elles érigent également des frontières (Barth 2000) qui empê-chent leur intégration dans de nouveaux domaines de la scène musicale locale et internatio-nale.
Globalisation is a process which is described in terms of the circulation of ideas, individuals and commodities (Appadurai 1996) and these processes are always related to identity negotiation (Hall 1992). The purpose of this research project is to determine the role that the identification to Hip-Hop, recognized as a global culture, plays on the members a musical group who seek to contribute not only to the definition of local popular culture, but also to the political objective of national independence. The fieldwork was carried out in Taipei, Taiwan, where semi-structured interviews were conducted with some of the members of the band, as well as with people who were present at shows and other activities of the Hip-Hop scene. Information about the group and fans was also gathered through the Internet and media resources.
The self-identification of the group is Hip-Hop, which entails that they incorporate a dis-course of social justice to their musical compositions and commercial activities. They differ from other Taiwanese Hip-Hop artists in that they incorporate sounds and images that, so they claim, are typically Taiwanese expressions of cultural heritage. Through these multiple and contextual referents, they are situated in a hybrid and fluid spaces (Hannerz 1997). As they strategically bond with important cultural and political figures, the musicians succeed in gaining popularity with politically aligned media and fans. However, they have also cre-ated boundaries (Barth 2000) within the local and international music scene.
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Oliveira, Ariadne Freitas Bianchi de. "HIP HOP COMO PROCESSO COMUNICACIONAL E SOCIABILIDADE PARA JOVENS INDÍGENAS DE DOURADOS – MS." Universidade Metodista de Sao Paulo, 2015. http://tede.metodista.br/jspui/handle/tede/1514.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
Study on Hip Hop as communication process and sociability among indigenous youth of Dourados, Mato Grosso do Sul, to see which major motion practice goals Hip Hop, understand it serves as communication, it contributes to the strengthening of the Guarani language or generates new social tensions on the reservation. To that end, we analyzed historical aspects of the movement, through the Cultural Studies, and how Social Movement, beginning the discussion of an alternative voice through Hip Hop. From a methodological point of view, it is a case study, with representatives of youth groups Brô Mc's and Jovens Conscientes, the Jaguapirú and Bororó reserves, Guarani Kaiowá ethnic groups of Dourados (MS). Semi-structured interviews were conducted with young people who participated in the hip hop workshops, indigenous leaders and teachers. Research is complemented by bibliographical, documentary research and analysis of rap lyrics in confrontation with the views of the press, from the analysis of the Diário MS and O Progresso. The results show that young people take ownership of a global culture to transform the local environment in order to preserve the Guarani language, an alternative to knowledge, just not to follow paths as the drug. Trading speak about their reality, inside and outside the reserve, since the local media there is little room for the voice of indigenous and within the reserve there is still contesting the move in a political context in an attempt to achieve a "pure" culture due to the concern of the older with the loss of territory.
Estudo sobre o Hip Hop como processo comunicacional e sociabilidade entre jovens indígenas de Dourados, Mato Grosso do Sul, para verificar quais os principais objetivos da prática do movimento Hip Hop, compreender se serve como comunicação, contribui para o fortalecimento da língua guarani ou gera novas tensões sociais na reserva. Para tanto, foi analisado aspectos históricos do movimento, passando pelos Estudos Culturais, e como Movimento Social, dando início à discussão de uma voz alternativa por meio do Hip Hop. Do ponto de vista metodológico, trata-se de um de estudo de caso, com representantes dos grupos de jovens Brô Mc's e Jovens Conscientes, das reservas Jaguapirú e Bororó, das etnias Guarani-Kaiowá de Dourados (MS). Foram realizadas entrevistas semiestruturadas junto a jovens que participaram das oficinas de hip hop, das lideranças indígenas e professores. A investigação é complementada pela pesquisa bibliográfica, documental e análises das letras de rap em confrontação com as visões da imprensa, a partir da análise dos jornais Diário MS e O Progresso. Os resultados apontam que os jovens se apropriam de uma cultura global para transformar o ambiente local com objetivo de preservar a língua guarani, uma alternativa para o conhecimento, logo para não seguirem caminhos como o das drogas. Negociando falas sobre sua realidade, dentro e fora da reserva, já que nos meios de comunicação locais há pouco espaço para a voz dos indígenas e dentro da reserva ainda há contestação do movimento em um contexto político, na tentativa de atingir uma cultura “pura”, devido à preocupação dos mais velhos com a perda de território.