Made available in DSpace on 2015-05-14T12:40:03Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 510617 bytes, checksum: b0ac5dd850554148b29fc47358dcbbf2 (MD5) Previous issue date: 2008-05-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research constitutes a study of poems about black representation in Urucungo (1932), by Raul Bopp, a work which is strongly characterized by the principles of the modernist anthropophagic movement (Antropofagia). Considering this perspective, the purpose is to examine in what ways black people are represented in these poems, having two parameters as a basis: the use of Afro-Brazilian cultural elements and aspects concerning the social and historical process of black people as slaves. Following the dynamics inherent to literary studies, the analysis of poems emphasizes aesthetic construction, without ignoring historical components that play a relevant function in the text. / Esta dissertação tem como objeto de estudo os poemas sobre o negro reunidos na obra Urucungo (1932), de Raul Bopp, fortemente marcada pelas propostas do movimento modernista da Antropofagia. Considerando esta perspectiva, busca-se verificar como se dá nesses poemas a representação do negro, a partir de dois eixos: a utilização de elementos culturais de procedência afro-brasileira e aspectos do processo sóciohistórico do negro enquanto escravo. Obedecendo a lógica dos estudos literários, a análise dos poemas priorizará a elaboração estética, sem deixar de lado componentes de apelo histórico que se apresentam com função importante no corpo do texto.

“Suingueiros do Sul do Brasil” tem como objetivo investigar os músicos, as músicas e os principais espaços de performance do suingue em Porto Alegre. Os suingueiros referidos no título são principalmente nove músicos nascidos nas décadas de 1940 e 1950 no estado do Rio Grande do Sul e identificados com a produção musical da comunidade negra distribuída pelo “Atlântico Negro” (África e Américas). O suingue é um gênero musical híbrido com diversas influências de outros gêneros da música popular. Os espaços de realização da prática musical suingueira são os bares, associações e blocos culturais da cidade de Porto Alegre. O trabalho se inscreve na perspectiva da etnomusicologia, e foi utilizado o processo metodológico de etnografia musical e o estudo de trajetórias, valendo-se de uma escrita que incorporou ao texto final, as vozes, os áudios e as imagens dos artistas colaboradores. Assim sendo, fez-se uma recomposição das trajetórias de músicos e grupos significativos do gênero denominado suingue (com variações para esta denominação encontradas com frequência em outras regiões do país, como samba-rock e balanço), buscando pontuar os percursos artísticos de alguns músicos e grupos como Luis Vagner, Bedeu e Pau Brasil, bem como o contexto social e cultural no qual estão inseridos, desde o período em que começou a se configurar o suingue de Porto Alegre, nos anos 60, até os dias de hoje. Na sequência, fez-se uma abordagem do repertório de canções, destacando cinco aspectos de âmbito musical, a partir de indicações surgidas na experiência de campo: melodia, ritmo, parcerias composicionais, presença dos sopros e possibilidades de arranjo. Além disto, foram destacados os principais espaços de lazer e sociabilidade onde as músicas e onde o próprio suingue como híbrido musical são reinterpretados e atualizados semanalmente, enfatizando a relação dinâmica que se estabelece nestes ambientes entre pesquisador, artistas e público frequentador. Ao final, buscou-se articular algumas reflexões a partir das questões suscitadas pela pesquisa etnomusicológica. São considerados como principais resultados da dissertação: a apresentação dos múltiplos cruzamentos entre os contextos local, nacional e global na formatação de uma identidade musical de artistas e público vinculados ao suingue musical da população da capital mais ao sul do Brasil, e a recuperação e discussão das obras e das trajetórias destes artistas, ainda ausentes na academia. / “Suingueiros from southern of Brazil” discuss as its main theme the musicians, the music and the main spheres where suingue music take place in Porto Alegre. The “suingueiros” mentioned in the article are nine musicians mainly, (born between the `40s and `50s, in the state of Rio Grande do Sul), who were indentified with the music production in the negro community, which was spread by the “ Negro Atlantic” (Africa and Americas). Suingue is a hybrid musical gender, which was influenced by many different kinds of popular music gender. Pubs, Organizations and Cultural spots, in Porto Alegre, are places where it’s performed the suingue music. This present work is inserted in the ethnomusicology´s perspective. So, in order to built the research process, it was used the methodological music ethnography process and further trajectories studies, taking advantage of a writing which incorporates to the final text: the voices, the songs, the audios and the image of the contributors artist. Therefore, a recomposition of musicians’ and significatives groups’ trajectories of suingue gender (not forgetting the variety of its denomination such as Samba-rock and balanço, which are found, more frequently, in other parts of Brazil) are done, seeking to point out the artistic path of some musicians and groups such as Luis Vagner, Bedeu and Pau Brasil, as well as the social and cultural context that the musicians are inserted, since the period it has began to configurate the Suingue of Porto Alegre, in the`60s, until now-a-days. Furthermore, the work goes through the song’s set list emphasizing five aspects from the musical sphere: melody, rhythm, composing partnership, presence of brass and arrangements possibilities. Besides that, in the dissertation are highlighted the leisure sphere and sociability, where the music and the musical gender are reinterpreted and up-todated weekly, emphasizing the dynamic relations that are established in those environments between researcher, artists and public. Finally, it tries to articulate some reflexions around the questions evoked in the field of ethnomusicology research. In the dissertation the main results are: the introduction of the multiples crossing between the local, national and global context in the construction of the artists musical identity and linked public to the negro urban community of Porto Alegre; the recuperation and diffusion of the work and the trajectory of those artists, who had their material dispersed without any formal systematization.

Made available in DSpace on 2014-08-20T13:46:36Z (GMT). No. of bitstreams: 1 Carolina_Vergara_Rodrigues_Dissertacao.pdf: 1680080 bytes, checksum: e1bb49aa6d43b088c4a3ec32337b7eec (MD5) Previous issue date: 2012-01-19 / The growing and current mobilization of black identities in the Black Atlantic has been stimulated by elements, objects and practices that results from are ne wed construction of black culture. Above all, is concerned black references non-traditional related to modernity. Given this statement and its reverberation in more remote areas and regions of the Black Atlantic, the focus of analysis is proposed in this work shows the process of building the blackness of a group of black women from southern Brazil. In the course of the text, we have identified and problematize the elements deployed in affirmation of blackness. Giving special attention to the food sand dishes played by the group of women who have been classified as african gastronomy-among them the "vatapa gaucho fashion" and the quibebe . In parallel, thestudy describes the emergence and consolidation of the black movement and the basics struggle anti-racist site, both linked within the path of militancy of these women-pastoral agents black / A crescente e atual mobilização de identidades negras no Atlântico Negro tem sido estimulada por elementos, objetos e práticas que partem de uma construção renovada da cultura negra. Tratam-se, sobretudo, de referências negras não-tradicionais relacionadas à modernidade. Tendo em vista esta assertiva e sua reverberação nas zonas e regiões mais longínquas do Atlântico Negro,o foco da análise a que se propõe este trabalho evidencia o processo de construção da negritude de um grupo de mulheres negras do extremo sul do Brasil. No decorrer do texto, identificamos e problematizamos os elementos mobilizados na afirmação da negritude. É dada especial atenção às comidas e pratos reproduzidos pelo grupode mulheres observado, que vêm sendo classificados como gastronomia afro entre estes, o vatapá à moda gaúcha e o quibebe. Em paralelo, o estudo descreve a emergência e consolidação do movimento negro e as bases da luta anti-racista local, ambos vinculados à trajetória de militância destas mulheres agentes de pastoral negras

This thesis aims to demonstrate how the processes of gentrification and displacement are interrelated processes that invent new ways of perpetuating anti- blackness in the U.S. I demonstrate this through an engagement with Christina Sharpe’s (2016) analysis of the imagery of the wake, the ship, the hold, and the weather as axis points that position Black life in the afterlife of slavery—how the conditions of slavery are ongoing today—presenting the racist encounters at Lake Merritt as illustrative examples. In her most recent book, In the Wake: On Blackness and Being, Sharpe (2016) deploys an interdisciplinary approach to critically theorize Black subjection and grief through a Black feminist framework, offering care, or what she terms “wake work” as an anecdote to state-sanctioned anti-black violence. She turns to poetry, film, historical archives, and intimate personal experiences to thoroughly articulate how the past is not passed; I reveal how capitalist logic simultaneously structures media representations of Black people in ways that distort what we signify— monstrosity, threat, and criminal are three examples of this distortion—and fix abstract space in hegemonic spatial imaginaries through privatization and commodification. Most importantly, I turn to art and expression—prominent examples being “BBQ’N While Black” and "The Black Spatial Imaginary" as a community response to BBQ Becky and serial displacement in Portland, Oregon respectively—as resistance and examples of place-making practices that Black people have been engaged in historically to articulate their self-hood, belonging, and beauty through Black love. I strive to undertake this work with intentionality and care, which necessitates an undisciplined approach as academic disciplines have historically deployed methodologies that construct narratives on Blackness that reproduce colonial and anti-black violence.

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and Keywords "In the World through which I travel, I am endlessly creating myself." - Frantz Fanon In this thesis, one of my first aims, among others, is to discuss and put in perspective the different levels of identification that can coexist and contribute to the creation of a person. I want to understand the impact and the role played by the city in one's identity-building process by studying the self-perception of visibly black people in Prague and Paris. Why did I decide to work on blackness within the European context? I decided to work on blackness for many reasons, one being that blackness as much as whiteness are social constructs. However, when whiteness has a history of multiplicity, and white people are being granted individuality, blackness, on the other hand, is often seen as an encompassing term. Black people are perceived as a monolithic social group in every sense of the word, sharing the same history and past across the globe. It is because of the peculiarity of blackness, which is seen as a factor of global identity that I wanted to study that topic within Europe. Working on blackness in Europe is working on a topic that would look like an oxymoron. Indeed, Europe is associated with whiteness, and blackness is associated with Africa. Therefore, thinking about black Europeans or...

and Keywords "In the World through which I travel, I am endlessly creating myself." - Frantz Fanon In this thesis, one of my first aims, among others, is to discuss and put in perspective the different levels of identification that can coexist and contribute to the creation of a person. I want to understand the impact and the role played by the city in one's identity-building process by studying the self-perception of visibly black people in Prague and Paris. Why did I decide to work on blackness within the European context? I decided to work on blackness for many reasons, one being that blackness as much as whiteness are social constructs. However, when whiteness has a history of multiplicity, and white people are being granted individuality, blackness, on the other hand, is often seen as an encompassing term. Black people are perceived as a monolithic social group in every sense of the word, sharing the same history and past across the globe. It is because of the peculiarity of blackness, which is seen as a factor of global identity that I wanted to study that topic within Europe. Working on blackness in Europe is working on a topic that would look like an oxymoron. Indeed, Europe is associated with whiteness, and blackness is associated with Africa. Therefore, thinking about black Europeans or...

The aim of this study is to explore the perception and experience of treatment and inclusion that Afroswedish parents have of the Swedish preschool. There are a few similar studies on the subject, but they are either coming in from another perspective or are focused on the theoretical aspect of the matter.  The study has been performed through semi structured, qualitative interviews with seven caregivers with an afroswedish background, who have children in the Swedish preschool, or that just have finished it. Throughout the study we have been using a phenomenographic method among an intercultural theory and Foucault’s theory to analyse and understand how different factors are associated and interact with each other, and how they affect the intercultural encounter. The study shows that their experiences vary depending on numerous factors. One of the most significant is that the individual preschools work for inclusion and diversity is dependent for the parent’s perceptions of the preschool and the pedagogues. The experiences of how the pedagogues treat and talk with the parents and the children are also important for the overall impression of the preschools. The study points out the awareness among the preschool staff and their approach to the matter of diversity as the main important factor for equal treatment and inlcusion.

Jade Montserrat ist eine britische Performerin und bildende Künstlerin, die sich im Rahmen ihres künstlerischen PhD mit Josephine Bakers Performances auseinandersetzt. Sie performt geloopte Choreographien, die aus überlieferten Aufzeichnungen von Baker abgeleitet sind und setzt sich auch in Zeichnungen und Installationen mit Baker auseinander. Der Beitrag verortet diese Arbeiten in den Debatten von Performance und Blackness und beschreibt Montserrats Performanceverfahren selbst als Forschungsmethode. Daraus leiten sich neue Formen der Archivierung und Auseinandersetzung mit Performance-Geschichte ab.

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