Relevant bibliographies by topics / Igbo african people music

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  2. Dissertations / Theses
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  5. Conference papers

Academic literature on the topic 'Igbo african people music'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Igbo african people music"

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Okoro, Justice Chukwudi, and Festus Goziem Okubor. "Abigbo’s Identity in Music Making and Repertory of Songs: The Mbaise People’s Heritage." UJAH: Unizik Journal of Arts and Humanities 21, no. 2 (March 30, 2021): 170–94. http://dx.doi.org/10.4314/ujah.v21i2.9.

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This paper directs attention to Abigbo, an outstanding traditional music of Mbaise people of Igbo south, east of the Niger. It gears to interrupt and challenge willful observations by western-oriented music lovers’ derogatory opinion, contrary to music in traditional setting such as ‘Abigbo’. To realize this objective and prove wrong the ill-informed critics, ‘Abigbo’s uniqueness in song rendition and peculiarity in music making is conspicuously examined here as a case study. The origin and development of Abigbo, its uses, and relationship with other aspects of Mbaise culture are discussed in this work. The musical challenges are highlighted with the dance formation, movements/steps and the ensembles costumed critically analyzed. All these are essentially adumbrated in association with music making trends in contemporary Mbaise. Equally reviewed where applicable are Abigbo’s relevance and inevitable roles in achieving the goal of societal well being. Song communication supported with body language and phonic emission via vocals are equally matters of great interest here. Methods employed in the data collection are library source of information obtained from associated printed materials documented in the library shelves. The researcher consulted relevant ones, read through them during desk work, and use their extracts as backup information to the subject of discourse which he initiated. Few of the procured print media materials are equally paraphrased as and when due. Datum is also secured through participant observation. At this juncture, the researcher’s sense of sight and aural perceptions are actively utilized along with retentive memory with the view to capturing the salient points needed for the paper. A few literature reviews that border round music making in rural culture are altogether, examined to guide and back up the thrust of this discourse. Abigbo has proved its worth beyond all reasonable doubt during its performance presentation in Mbaise social culture. The musicians’ close attention to the masses, particularly the zealous ones who are inclined to get at African tribes’ traditional music to subject them to western notation is a spring board to its fame. At this juncture, we resolve that for music making through song communication to logically reign supreme in Abigbo, its practice by interested artistes should be enhanced and encouraged even beyond the ensemble’s environmental origin. This done helps to secure indigenous interest akin to norms and values within the fabric of Mbaise society.
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Thieme, Darius L., David Ames, and Cynthia Tse Kimberlin. "An Anthology of African Music. Nigeria III: Igbo Music." Ethnomusicology 36, no. 1 (1992): 137. http://dx.doi.org/10.2307/852093.

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Nnamani, Nnamani Sunday. "The Role of Folk Music in Traditional African Society: The Igbo Experience." Journal of Modern Education Review 4, no. 4 (April 20, 2014): 304–10. http://dx.doi.org/10.15341/jmer(2155-7993)/04.04.2014/008.

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Islam, Momtajul. "The Role of Native Weaknesses and Cultural Conflicts in Escalating Colonial Supremacy in the Igbo Society, as Perceived in Arrow of God by Chinua Achebe." International Linguistics Research 4, no. 2 (April 27, 2021): p19. http://dx.doi.org/10.30560/ilr.v4n2p19.

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The colonial invaders and their repressive means of governance in Africa were not the only reasons that could be solely held accountable for the fall of indigenous African society during the colonial invasion. Native weaknesses, socio-cultural conflicts and hegemony were equally responsible for the falling apart of native social setups when confronted with colonial alternatives. Native people had had their own covert religious and cultural limitations long before the colonizers entered their soil. The colonial powers cleverly used such inherent societal flaws of African people as excuses to impose European religion and traditions on them. Chinua Achebe does not blindly idealize native African traditions in his writings. He frequently narrates his doubts on flawed socio-cultural practices and moral dualities in the native society, too. This paper is an attempt to explore how innate weaknesses of native Igbo people, socio-cultural conflicts and domination in the native society have also made it easier for the colonial administration to prolong their supremacy in the Igbo land, as depicted in Arrow of God by Chinua Achebe. It also elaborates how Ezeulu, the chief priest of god Ulu, falls from dominance in his society because of his intent to execute personal desires which jeopardize his societal role in the Igbo land.
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Nwauwa, A. O. "The Dating of the Aro Chiefdom: A Synthesis of Correlated Genealogies." History in Africa 17 (January 1990): 227–45. http://dx.doi.org/10.2307/3171814.

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Precolonial African historiography has been plagued by historical reconstructions which remain in the realm of legend because events are suspended in almost timeless relativity.Igbo history has not been adequately researched. Worse still, the little known about the people has not been dated. It might be suggested that the major reason which makes the study of the Igbo people unattractive to researchers has been the lack of a proper chronological structure. Igbo genealogies have not been collected. The often adduced reason has been that the Igbo did not evolve a centralized political system whereby authority revolved round an individual—king or chief—which would permit the collection of regnal lists. Regrettably, Nigerian historians appear to have ignored the methodology of dating kingless or chiefless societies developed and applied elsewhere such as in east Africa. In west African history generally, there has been an overdependence for dating on external sources in European languages or in Arabic, and combining these with the main regnal list of a kingdom. Even within kingdoms, genealogies of commoners and officials have rarely been collected or correlated with the regnal lists. Among the Igbo, the external sources are rare and the regnal lists few. Even the chiefdoms—Onitsha and Aboh, Oguta and Nri—were ignored for a long time after modern historiography had achieved major advances elsewhere. Arochukwu has been another neglected Igbo chiefdom. Most of these states with hereditary leadership were peripheral to the Igbo heartland. Nevertheless, they were important because of their interactions with the heartland and the possibility of dating interactive events from their genealogies.
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Nnebedum, Chigozie. "Empirical Identity as Dimension of Development in Africa: With Special Reference to the Igbo Society of South-east of Nigeria." Mediterranean Journal of Social Sciences 9, no. 2 (March 1, 2018): 195–204. http://dx.doi.org/10.2478/mjss-2018-0039.

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Abstract Identity, as discussed in this paper, is seen as a phenomenon which is constantly changing under certain circumstances. From empirical point of view, the identity of man is influenced by the environment through experience and unconscious socialization; it is continually modified by the individual’s encounter with the world. The aim of this work is to analyse the intricacies involved in understanding the situation and mentality of the Igbos as far as identity is concerned and to determine how this hampers or helps in the development of the Igbo/African society. In this work ‘identity’ as a means of development with regard to the Igbo people of South-East Nigeria is treated. The work is methodically qualitative. It analyses literatures and different views on identity and tailors the discussion of development along the lines of hermeneutical approach to subjective experiences. The Igbos and Africans find themselves sometimes in the danger of a mixture of identity. This is the case with most of the Igbo people who are scattered all over the world and who are becoming more foreign in their trends and ways of life. Being unable to maintain a definite identity, one is lost in the politics of development. Those who still hang on to pure imitation of the western life are jeopardizing their autonomy and by extension, frustrating development of the African society. Rediscovering the Igbo/African Identity and putting it to the service of development in the African continent is the task of the Africans themselves.
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Majeed Kadhem, Suhaib. "Conflict between Tradition and Change in Chinua Achebe's postcolonial novel Things Fall Apart." Al-Adab Journal 1, no. 124 (September 15, 2018): 81–92. http://dx.doi.org/10.31973/aj.v1i124.115.

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In studying the history of Asian and African countries, the colonial period plays an important role in understanding their history, religion, tradition and culture. Things Fall Apart is an English novel by the Nigerian author Chinua Achebe, published in 1957, which shows the African culture, their religious and traditions through the Igbo society. This novel captures the colonial period and its effect on Igbo society. It is a response and a record of control of western colonialism on the traditional values of the African people. This paper treats the novel as a postcolonial text, by focusing on the clash between occupied and colonizers, the clash between tradition and change, and the clash between different cultures, The Europe Empire and the African natives
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van den Bersselaar, Dmitri. "Missionary Knowledge and the State in Colonial Nigeria: On How G. T. Basden became an Expert." History in Africa 33 (2006): 433–50. http://dx.doi.org/10.1353/hia.2006.0006.

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Between 1931 and 1937, the Anglican missionary G. T. Basden represented the Igbo people on the Nigerian Legislative Council. The Igbo had not elected Basden as their representative; he had been appointed by the colonial government. Basden's appointment seems remarkable. In 1923 the Legislative Council had been expanded to include seats for Unofficial Members, representing a number of Nigerian areas, with the expressed aim of increasing African representation on the Council. In selecting Basden the government went against their original intention that the representative of the Igbo area would be a Nigerian. However, the government decided that there was no “suitable” African candidate available, and that the appointment of a recognized European expert on the Igbo was an acceptable alternative. This choice throws light on a number of features of the Nigerian colonial state in 1930s, including the limitations of African representation and the definition of what would make a “suitable” African candidate.In this paper I am concerned with the question of how Basden became recognized as an expert by the colonial government and also, more generally, with the linkages between colonial administrations' knowledge requirements and missionary knowledge production. Missionary-produced knowledge occupied a central, but also somewhat awkward position in colonial society. On the one hand, colonial governments and missions shared a number of common assumptions and expectations about African peoples. On the other hand, there also existed tensions between missions and government, partly reflecting differing missionary and administrative priorities, which means that the missionary expert was not often recognized as such.
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Chuks, Madukasi, Francis. "Ozo Title: An Indigenous Institution In Traditional Religion That Upholds Patriarchy In Igbo Land South-Eastern Nigeria." International Journal of Social Sciences and Humanities Invention 5, no. 5 (May 3, 2018): 4640–52. http://dx.doi.org/10.18535/ijsshi/v5i5.02.

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In Igbo land, the institution of Ozo title has underpinnings of male chauvinism and often used by men to remind those who appear to be very forward of their subordinate place in the society. Among the Igbo people, the Ozo title is an indigenous institution that is regarded as a central aspect of African indigenous religious practice through which they engage questions about the meaning for life. Through an ethnographic study conducted in recent years, I propose to explore the origin of the Ozo title and the symbolic significance of this indigenous sacred institution with specific reference to its religious, cultural, political, ethical and social significance, a method by which the indigenous communities keeps in constant religious communication with their deities and ancestors. However, I propose to not only examine the various ways in which Ozo title as a sacred institution has been used by their initiates to mediate religious beliefs and practices in African religion, but to specifically focus on its members as agents or ambassadors of different communities. Through an evaluation of significant Igbo religious practices involving Ozo title as a sacred institution performed by initiated men only which upholds patriarchy, I wish to suggest that the Ozo title as a sacred institution has two significant and related functions. The first one is that it enables the initiates to bridge the gap between the visible and unseen world of the ancestors and thus making possible an Igbo understanding of those forces that are believed to control the destinies of man. Secondly, Ozo title as a sacred institution of the Igbo is believed to uphold and sustain the Igbo religious system, and a complex of traditional religious rituals which uphold the privileges of those men who have been initiated into the ancestral cult. This paper point to particular understandings of Ozo title as integral to African religion, and proposes to illustrate this through an examination of Traditional Igbo Religion through the mediation of Ozo title as a sacred institution as part of the broader socio-sacral order.
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Nwafor, Matthew Ikechukwu. "The living-dead (ancestors) among the Igbo-African people: An interpretation of Catholic sainthood." International Journal of Sociology and Anthropology 9, no. 4 (April 30, 2017): 35–42. http://dx.doi.org/10.5897/ijsa2017.0719.

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Dissertations / Theses on the topic "Igbo african people music"

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Chukwu, Christopher Nkemdi. "Igbo culture : implications for counseling Nigerian Igbo students in the United States /." View abstract, 1993. http://library.ctstateu.edu/ccsu%5Ftheses/1560.html.

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Thesis (M.S.) -- Central Connecticut State University, 1993.
Thesis advisor: Dr. Paul Tarasuk; Research supervisor: Dr. Rikke Wassenberg. "...in partial fulfillment of the requirements for the degree of Master of Science in Counseling Psychology." Includes bibliographical references (leaves 60-63).
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Obiekezie, Matthew U. "The doctrine of the hypostatic union in the context of Igbo anthropology." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Ikebude, Chukwuemeka. "Identity in Igbo architecture Ekwuru, Obi, and the African Continental Bank building /." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1250885407.

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Affam, Rafael Mbanefo. "Traditional healing of the sick in Igboland, Nigeria." Aachen : Shaker, 2002. http://catalog.hathitrust.org/api/volumes/oclc/52188514.html.

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Asomugha, Catherine. "Constructing an Igbo theology of the Eucharist toward a covenanted kinship /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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Pruitt, Richard A. "The incultuartion of the Christian Gospel theory and theology with special reference to the Igbo of southeastern Nigeria /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5061.

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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 month day year) Includes bibliographical references.
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Friedson, Steven M. "The dancing prophets of Malawi : music and healing among the Tumbuka /." Thesis, Connect to this title online; UW restricted, 1991. http://hdl.handle.net/1773/11238.

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Shragg, Lior David. "Songs of a lost tribe| An investigation and analysis of the musical properties of the Igbo Jews of Nigeria." Thesis, The University of Arizona, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1590945.

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This document examines the musical performance practices of the Igbo Jews of Abjua, Nigeria. Amongst the 50 million Igbo, an estimated 5,000 are currently practicing Judaism. Despite prior research conducted by Daniel Lis (2015), William Miles (2013), Shai Afsai (2013), Edith Bruder (2012), and Tudor Parfitt (2013), there is little to no discussion of the role of music in this community. This study of the musical practices of the Igbo Jews of Nigeria reveals that the Igbo combine traditional Nigerian practice with modern Jewish and Christian elements. This combination of practices has led to the development of new traditions in an effort to maintain a shared sense of individualized Jewish identity and unity in a time of persecution and violence towards the Igbo from terrorist organizations. This study demonstrates that the Igbo Jews view the creation of this new music as serving to rejuvenate their Jewish identity while preserving Igbo traditions. The analysis draws upon theories of Eric Hobsbawm, Philip Bohlman and Alejandro Madrid to explain Igbo practice. Data includes material gathered from fieldwork conducted in the summer of 2014 in Abuja and in the cities of Kubwa and Jikwoyi. My observations focused on the musical properties of the Shabbat prayers and zmirot (para-liturgical table songs). While the Igbo are often considered one of “the lost tribes of Israel,” my research indicates that “lost” is not so “lost” as previously believed.

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Obu-Anukam, Angela Ngozi. "The power of the silenced women, agency and conscientization in the Igbo church /." Chicago, IL : Catholic Theological Union at Chicago, 2007. http://dx.doi.org/10.2986/tren.033-0863.

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Anagah, Mathew Ike N. "North-Eastern Igbo music : a case study of Efvu/ Odabara/Itutara music and its social function among the Izhiangbo people of Nigeria." Thesis, Queen's University Belfast, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356883.

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Books on the topic "Igbo african people music"

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Nzewi, Meki. Musical practice and creativity: An African traditional perspective. Bayreuth (Germany): IWALEWA-Haus, Univ. of Bayreuth, 1991.

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Afulezi, Uju Nkwocha. African (Igbo) scholarship. Lanham, Md: University Press of America, 2000.

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Igbo. New York: Rosen Pub. Group, 1995.

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Nwala, T. Uzodinma. Igbo philosophy. Ikeja, Lagos: Lantern Books, 1985.

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Afigbo, A. E. Igbo genesis. Uturu [Nigeria]: Abia State University Press for Centre for Igbo Studies, Abia State University Uturu, 2000.

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Edeh, Emmanuel M. P. Towards an Igbo metaphysics. Chicago: Loyola University Press, 1985.

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Obianyido, Anene. Igbo-Yoruba politics. Jos, Nigeria: Fab Education Books, 1998.

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Onunwa, Udobata. Studies in Igbo traditional religion. Uruowulu-Obosi, Anambra State, Nigeria: Pacific Publishers a division of Pacific Correspondence College and Press, 1990.

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Adibe, Gregory E. M. Ogwu: Igbo traditional power challenges the Igbo Christian. Onitsha, Nigeria: Archdiocesan Secretariat, 2006.

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Wawa people arise! Enugu [Nigeria]: Fidgina Global Books, 2006.

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Book chapters on the topic "Igbo african people music"

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Sacré, Robert. "Black Music USA: From African to African American Music." In Charley Patton, 3–12. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816139.003.0001.

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This chapter discusses the history of African American Music. Many of the roots of black American music lie in Africa more than four hundred years ago at the start of the slave trade. It is essential to realize that the importance given to music and dance in Africa was reflected among black people in America in the songs they sang, in their dancing, and at their folk gatherings. As such, every aspect of jazz, blues, and gospel music is African to some degree. Work songs and the related prison songs are precursors of the blues. One can assume that primitive forms of pre-blues appeared around 1885, mostly in the Deep South and predominantly in the state of Mississippi. However, it was several more years before the famous AAB twelve-bar structure appeared, and when it did, one of its leading practitioners was Charley Patton.
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Summit, Jeffrey A. "Music and the Construction of Identity among the Abayudaya (Jewish People) of Uganda." In The Garland Handbook of African Music, 312–24. Routledge, 2010. http://dx.doi.org/10.4324/9780203927878-28.

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Cataliotti, Robert H. "“Not Many People Ever Really Hear it”: Richard Wright, Ann Petry & James Baldwin." In The Music in African American Fiction, 118–56. Routledge, 2018. http://dx.doi.org/10.4324/9780429423864-8.

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Cataliotti, Robert H. "“There Must Be Some People Who Lived for Music”: Margaret Walker & William Melvin Kelley." In The Music in African American Fiction, 186–202. Routledge, 2018. http://dx.doi.org/10.4324/9780429423864-11.

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May, Brian. "Modernism in Chinua Achebe’s African Tetralogy." In Modernism, Postcolonialism, and Globalism, 33–54. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199980963.003.0002.

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Analyzing Chinua Achebe’s tetralogy of novels, this chapter shows how Achebe addresses one of the central issues of both modernism and postcolonialism: the organization and conceptualization of time. Things Fall Apart (1958) and No Longer at Ease (1960) present snapshot moments of arrested temporality that Achebe treats with the modernist techniques of imagism and epiphany. Taking a more pessimistic turn, Arrow of God (1964) grounds the handling of sequentiality not in Igbo ideas of cyclical change but in Spenglerian, Yeatsian, and Eliotic notions of apocalypse, in which endings do not mark new beginnings but a point of terminal cessation. Finally, Man of the People (1966) further modifies this version of time, replacing the cultural collapse of the previous novel with the more affirmative vision of community and village life found in Eliot’s “East Coker.” In sum, the chapter traces the tetralogy’s evolution of divergent and competing notions of time, especially as they relate to Igboland and more generally to postcolonialism.
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Barron, Charrise. "Between Free Grace and Liberty." In Theology, Music, and Modernity, 245–59. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0012.

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African Methodist Episcopal (AME) Bishop Richard Allen’s hymnody, when coupled with his anti-racist activism and his encouragement of communal music-making in worship, evoked eschatological freedom from sin and called for socio-political freedom for people of African descent in the years following the founding of the United States of America. To fully comprehend Allen’s hymnody, one should consider the urgency he bore for freedom and justice for black people in America. Allen (1760–1831) first published a hymnal in 1801, followed by a revised edition in the same year; the included hymns articulate his belief that people could receive individual freedom from both sin and God’s wrath at the final judgement. Allen held to the evangelical hope of Christ’s return which would inaugurate the emancipation of all enslaved people; likewise, eschatological justice must include freedom from political bondage for people of African descent in America. While holding the expectation of eschatological freedom and justice, he adamantly pursued this political freedom during his lifetime, as evidenced in his theo-political writings against slavery and other forms of racial injustice. Consequently, While the lyrics in his 1801 hymnbooks do not explicitly speak against contemporaneous racial injustice, Allen’s life’s work and prose suggest that this is an integral part of the context for Allen’s compilation of eschatological hymnody.
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"Singing for Change: Music as a Means of Political Expression for Young People in Sierra Leone and Liberia." In Travelling Models in African Conflict Management, 181–204. BRILL, 2014. http://dx.doi.org/10.1163/9789004274099_009.

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Walker, Iain. "The Comorian People." In Islands in a Cosmopolitan Sea, 209–32. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190071301.003.0008.

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The final chapter looks more closely at the islands’ people: their matrilineal kinship systems, age systems, associated rituals and powerful forces for social cohesion. It surveys their material culture, clothing, music and food, and explores the different types of social and ethnic identities that Comorians might invoke, particularly the hierarchies that continue to distinguish the noble born, those of Arab ancestry, and the descendants of slaves, the African, particularly on Ndzuani. On Mayotte, now firmly part of France, different identities are at play. The importance of the Comorian diaspora is explained, whether in Zanzibar, Madagascar or in France, and their contribution, particularly in terms of remittances, to local economic development. This chapter ends with some reflections on the future of the archipelago – both the independent state and French Mayotte.
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Riis, Thomas L. "Defying Boundaries and Escaping Stereotypes." In Rethinking American Music, 200–220. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.003.0010.

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Riis takes up the complicated conventions and troubled history of late-nineteenth-century blackface minstrelsy as it was blended and interwoven into the activities among a largely unknown contingent of thousands of African American (and mostly midwestern) musicians and entertainers. He explores how nineteenth-century entertainers understood their business, including the moniker “minstrel” itself, and what for them constituted original, creative work. In this essay, the questions of identity have less to do with personal stories than the importance of the group and how its activities have been lost to history. Knowledge of these forgotten show people, and the sources where more information about them might be found, can help us combat the persistence of degrading stereotypes used to provide oversimplified explanations of black musical and theatrical activity.
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McCreless, Patrick. "Richard Allen and the Sacred Music of Black Americans, 1740–1850." In Theology, Music, and Modernity, 201–16. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0010.

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This chapter’s central claim is that the notion of freedom, in the context of theology, music, and modernity (1740–1850), is incomplete if it does not address the sacred music of the enslaved people of North America during this period—a population for whom theology, music, and freedom were of enormous personal and social consequence. The central figure in this regard is Richard Allen (1760–1831), who in 1816 founded the African Methodist Episcopal (AME) Church, the first independent black religious denomination in the United States. Allen was born enslaved, in Philadelphia or Delaware, but was able to purchase his freedom in 1783. He had already had a conversion experience in 1777, and once he gained his freedom, he became an itinerant preacher, ultimately settling in Philadelphia, where he preached at St George’s Methodist Church and a variety of venues in the city. In 1794 he led a walkout of black members at St George’s, in protest of racism; and over the course of a number of years he founded Mother Bethel, which would become the original church of the AME. This chapter situates Allen in the development of black sacred music in the US: first, as the publisher of hymnals for his church (two in 1801, and another in 1818); and second, as an important arbitrator between the traditions and performance styles of Protestant hymnody as inherited in the British colonies, and an evolving oral tradition and performance style of black sacred music.
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Conference papers on the topic "Igbo african people music"

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Paulo, Avner, Carlos Eduardo Oliveira De Souza, Bruna Guimarães Lima e Silva, Flávio Luiz Schiavoni, and Adilson Siqueira. "Black Lives Matter." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10459.

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The Brazilian police killed 16 people per day in 2017 and 3/4 of the victims were black people. Recently, a Brazilian called Evaldo Rosa dos Santos, father, worker, musician, and black, was killed in Rio de Janeiro with 80 rifle bullets shot by the police. Everyday, the statistics and the news show that the police uses more force when dealing with black people and it seems obvious that, in Brazil, the state bullet uses to find a black skin to rest. Unfortunately, the brutal force and violence by the state and the police to black people is not a problem only in this country. It is a global reality that led to the creation of an international movement called Black Lives Matter (BLM), a movement against all types of racism towards the black people specially by the police and the state. The BLM movement also aims to connect black people of the entire world against the violence and for justice. In our work, we try to establish a link between the reality of black people in Brazil with the culture of black people around the world, connecting people and artists to perform a tribute to the black lives harved by the state force. For this, the piece uses web content, news, pictures, YouTube’s videos, and more, to create a collage of visual and musical environment merged with expressive movements of a dance, combining technology and gestures. Black culture beyond violence because we believe that black lives matter. such as the Ku Klux Klan, which bring the black population of the world into concern for possible setbacks in their rights. In Brazil, it is not different. Brazil is the non African country with the biggest afro descendant population in the world and one of the last country in the world to abolish slavery. Nowadays, a black person is 3 times more propense to be killed and most part of the murders in the country happened to afro Brazilians. Marielle Franco, a black city councillor from Rio, the only black female representative and one of seven women on the 51-seat council was killed in 2018. The killers were two former policeman. According to Human Rights Watch, the police force in the state of Rio de Janeiro, Brazil, killed more than 8,000 people between 2005 and 2015, 3/4 of them were black men. At the same time, the African culture strongly influenced the Brazilian culture and most part of the traditional Brazilian music and rhythms can be considered black music.
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