Orientador: Soraia Georgina Ferreira de Paiva Cruz / Banca: 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

ABSTRACT WORDSMITH: EXAMINING THE ROLE HIP-HOP TEXTS PLAY IN VIEWING THE WORLD by Crystal LaVoulle Originally the voice of a silenced group of inner city Black males, hip-hop culture contains a historical road map that chronicles the experiences of its members. This study attempted to examine hip-hop through the stories of adults who incorporateaspects of hip-hop culture into their daily lives. Specifically, this study investigated, “How is hip-hop a critical element in the lives of poets, artists, and educators who are actively and intimately involved in its music and culture?” Additionally, this study will explore the following sub-questions: (1) What does it mean to be a member of the hip-hop community? (2) How does hip-hop inform the view of the world for participants in this study? This qualitative research study, framed by critical literacy, attempted to fill the void in the scholarship of hip-hop texts. Data collection included in-depth individual interviews, photo-elicited interviews and music-elicited interviews, a group interview, and cultural artifacts. Narrative inquiry and analysis served as both the process and product used to describe the participants’ lives as members of the hip-hop community. Narrative analysis allowed the construction of cipher-styled presentation of the data collected. Using participants’ lived experiences, their individual stories are molded into a concise narrative. This narrative, told by members of the hip-hop community, may provide a context for other researchers seeking to understand the influence of hip-hop on everyday people around the world.

Made available in DSpace on 2014-06-11T19:29:01Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-12-04Bitstream added on 2014-06-13T19:37:42Z : No. of bitstreams: 1 silva_rg_me_assis.pdf: 552705 bytes, checksum: 325bcffbf6adf0368b933b0b34164de6 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / 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.

In 1988, rap group Public Enemy's front man Chuck D declared that hip-hop was the "black CNN." His assertion was that hip-hop music could be used as a tool to disseminate information amongst communities that traditionally have been underserved by mainstream media outlets. In the years since, several explicitly political and activist groups have formed within hip-hop communities. Most hip-hop audience members are not, however, directly involved in such groups. My dissertation investigates the links between hip-hop music and culture and politics in the lives of audience members, exploring audience member's definitions of politics and community and examining the influence of hip-hop on these definitions. This is an ethnographic project that includes participant observation as well as in-depth interviews with self-identified hip-hop fans. Participant observation took place at two National Hip-Hop Political Convention conferences, in Austin at concerts, panel discussions, and other hip-hop oriented events, and online in an email listserv devoted to hip-hop and politics. Interviews address listening and other practices that serve to connect individual members to hip-hop communities. In addition, I asked participants to explore their definitions of "politics" and to comment on connections between music and politics from their individual perspectives. Finally, participants were asked to list issues of particular concern to them. This is an interdisciplinary project that combines aspects of sociology, cultural studies, and popular music studies. I also rely upon Patricia Hill Collins' concept of intersectionality, assuming that race, class, and gender each work together to contribute to audience members' experience with hip-hop music and culture and their sense of belonging to the hip-hop community. This project contributes to understandings of music reception as well as to understanding political affiliation and practice by exploring and describing the ways in which people register and experience music and politics in the hip-hop generation. / text

As a result of the groundbreaking success of his debut film Boyz N the Hood (1991), filmmaker John Singleton gained worldwide acclaim, the respect of major film industry figures and became the topic of both scholarly and popular culture film conversations. He also made history, becoming the youngest and the first African-American to be nominated for the Academy Award for excellence in directing. However, the lukewarm critical reception for his sophomore release Poetic Justice (1993) countered the promise many felt he had shown earlier and initiated a lack of interest in Singleton’s subsequent films, rendering him almost obsolete from any future cinematic analysis. This dissertation seeks to resurrect the discussion of John Singleton as a substantial contributor to the world of cinema by bringing attention to the voice that he has given young African-American men and women in the works that comprise what he calls his “hood trilogy,” which includes the aforementioned films and Baby Boy (2001). Specifically, the dissertation addresses this topic by examining how Singleton’s own discussion of black masculinity via film is an extension of the same conversation about maleness began by writers Richard Wright and Ralph Ellison, how the South Central Los Angeles environment has had a tremendous effect on the behaviors and attitudes of the young people that populate the area, the influence of hip hop culture on gender dynamics, and the strain often placed on black male/female relationships in urban settings. The methodological approach of the dissertation combines film, literature, music, and cultural and sociological studies in the effort to locate Singleton and these films as meaningful components in the investigation of film, popular culture and African-American history and culture. In analyzing these films that, as a result of their subject matter and setting, find the filmmaker at his most assured both narratively and cinematically, the intent of the dissertation is to confirm the potential that Singleton revealed in his debut and also bring awareness to the significant effect his work has on African-American youth culture at large. / text

Orientador: Gilberto Figueiredo Martins / Banca: 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

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.

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.

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.

Esta tese trata das práticas de “cuidado de si” de jovens de uma região de periferia de Porto Alegre (RS), os quais enfrentam uma série de restrições e violências que marcam a sua condição juvenil. Participantes de um grupo de dança de rua associado à cultura hip hop (o grupo Restinga Crew) esses jovens encontram em suas práticas artísticas e de amizade um conjunto de elementos que acabam por ressignificar suas biografias. Fundamentada em estudos de Michel Foucault, especialmente aqueles relativos ao tema da “hermenêutica do sujeito”, a tese analisa as formas contemporâneas que o “cuidado de si” pode assumir, no processo de constituição de sujeitos jovens, a partir de práticas que dizem respeito ao estabelecimento de uma particular “relação consigo”. O levantamento de dados (ocorrido no período de 2012 a 2013) consistiu em um trabalho de inspiração etnográfica, com o acompanhamento, a observação e o registro de cenas cotidianas individuais e coletivas na periferia, bem como de situações de ensaios, treinos e apresentações do grupo de dança; constam dos dados, igualmente, as narrativas individuais, nascidas do encontro do pesquisador com alguns dos jovens. O estudo tem como foco de análise três planos constitutivos da experiência de vida desses indivíduos, e que se relacionam com os modos de viver em uma periferia, a partir dos quais foi possível chegar a algumas conclusões. Em primeiro lugar, o plano da amizade (de caráter político), que se refere aos vínculos desenvolvidos com os pares, às redes de sociabilidade e solidariedade, por meio dos quais os jovens pesquisados evidenciam a criação de novas formas de lidar com o social e o público. Em segundo lugar, o plano da dança (de caráter tecnológico), o qual compreende a prática artística, e que aparece meio de produzir efeitos de mudança de si para si mesmo; trata-se de uma “técnica de si” que articula não somente um trabalho sobre si mesmo, mas também a construção de uma identidade como dançarino, a produzir reconhecimento e visibilidade. Finalmente, o plano da morte (de caráter ontológico), referido às opções de vida desses jovens, as quais mostram-se atreladas à possibilidade radical de encontrar um fim iminente (devido à sua condição social); essas escolhas alteram as maneiras de cada um conduzir-se, principalmente quanto aos modos de operarem com o tempo, nas suas trajetórias individuais. Implicados entre si, os três planos constituem matéria da experiência de vida 16 desses jovens, resultando em modos de ser e relacionar-se consigo e com o outro, e em formas de viver no social e na cultura. Nas conclusões, dá-se destaque à singularidade das práticas pedagógicas produzidas pelos jovens nesse contexto de arte e amizade, e que estão relacionadas a um conjunto de saberes e processos vivenciados nas trajetórias dos integrantes do grupo. / These thesis will adress the praxis that the care of itself in a group of Young people in the suburb of Porto Alegre (RS), in wich their juvenile condition faces a various form of violence and restriction. Participants of a hip hop dancing group (The Restinga Crew), find in their artistic practices and in their friendships elements that can reframe their biographys. Based in studies of Michel Foucault, especially those related to the “hermeneutics of the subject”, the thesis analise the contemporary mode of the “care of self” may assume in the youth’s constituition process, deriving out of practices that stablishes a peculiar relationship with oneself. The data collection (ocurred in the period of 2012 to 2013) consisted in a a work of etnographic inspiration, with accompaniment, monitoring and record of the individual and collective everyday scenes, on the outskirt, as well as the dancing group's rehearsal and performance; the data also included the individual narrative, that were recorded in the meetings between the researcher with some of the components of the group. These academic work focus in the analises in three constituent plans of the experience of life of these young people, that correlates with the way of life in the suburb, from wich it has some conclusions. First of all, in the friendship plan (in a political caracther), regarding the connection between their pairs, the sociability and solidarity network, in wich the interviewed demonstrate the criation of new ways that they can handle with social and public lifes. The second, the dancing plan (in a technological caracther), contained in the artistic practice, and are used as a way in wich they can change themselves; consisted in "techniques of the self" that articulates not only a effort of oneself, as also the construction of a dancing identidy, that can produce recognition and visibility. Third of all, the death plan (in a ontological caracther), that interconnects with the life's choices, choices that can be directly responsable to a tragic end of their life (considering their social condition); those choices that change the way they behave, especially related to the way they operate with the time that are given, in their individual path. In these three plans involved lie the life experience of these 18 young people, resulting in ways of being and relating to oneself and with the other, in action of living culturally and socially. Finally, in the conclusions, it enphasis the singularity of the pedagogic practices produced by these young people in the art and friendship context, and that are related to some knowledge and process that are lived by these young peoples's path.