[pt] A dissertação tem como objetivo apresentar e comparar as trajetórias e pensamento de Angela Yvonne Davis (Alabama/EUA, 1944) e Lélia Almeida Gonzalez (Minas Gerais/Brasil, 1935 - Rio de Janeiro/Brasil, 1994) - duas intelectuais e militantes dos movimentos negros nos EUA e no Brasil. Angela destacou-se internacionalmente na década de 1960 como símbolo da luta negra nos EUA, o impacto da sua imagem se inscreveu na memória daqueles que viveram aqueles anos. Lélia foi militante importante do movimento negro brasileiro de finais dos anos 1970, quando também participou ativamente luta política pela redemocratização do país. Minha discussão das obras dos autores enfatiza as teorizações desenvolvidas acerca da inserção das mulheres negras em seus países, com destaque para o debate a respeito das experiências das mesmas com a escravidão. Explora-se, ao longo da dissertação, o legado conceitual que deixaram para os estudos contemporâneos sobre relações raciais. / [en] My goal with this thesis to present and compare the trajectories and thoughts of Angela Yvonne Davis (Alabama/USA, 1944) and Lélia Almeida Gonzalez (Minas Gerais/Brasil, 1935 - Rio de Janeiro/Brasil, 1994) - both women intellectuals and activists of the Black movements in the US and Brazil. Angela became internationally known in the 1960s as a Black struggle symbol in the US. The impact of her figure still lingers on in the memory of those who lived in those years. Lélia was an important activist in the Brazilian Black movement of the late 1970s, when she intensively took part in the political struggle for the return of democracy in Brazil. My discussion of the authors´ main works emphasizes the theoretical essays they developed on the social insertion of black women in their countries. It specially highlights the debate forwarded on black women experiences under slavery. Throughout the thesis I call attention for the contribution of their conceptual legacy for contemporary studies on racial relations.

Thesis (Ph. D.)--Ohio State University, 2006. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2011 Aug 15

Cette thèse porte sur le leiwah d’Arabie orientale, un rite de possession pratiqué par les Zunûj, une population de descendants d’esclaves originaires des côtes est-africaines. Durant les quatre dernières décennies, les institutions culturelles des États-nations d’Arabie orientale ont présenté la musique et la danse de ce rite comme une pratique festive sans lien avec la possession, participant ainsi à dissocier ce rite de l’histoire régionale et de la population qui le pratique. Cette thèse, qui combine l’étude de sources écrites et orales avec l’analyse de discours et une ethnographie fondée sur l’observation participante (11 rites leiwah au Sultanat d’Oman, dont 1 décrit en détail) montre que le leiwah ne peut se comprendre que par rapport à l’histoire et au statut initial d’esclaves des Zunûj. Dans un premier temps (chapitres 1 à 3), cette étude révèle la profondeur historique du leiwah et explore les différents processus ayant participé à l’invisibilité de sa pratique rituelle. Dans un deuxième temps (chapitre 4), elle montre en quoi les notions d'esprit de possession en vigueur dans cette population diffèrent de celles connues en Islam ainsi que dans la pratique du zâr, un autre rite de possession décrit dans la région depuis le XIXe siècle (mais aussi dans la corne de l’Afrique, en Égypte et en Iran). Enfin (chapitres 5 à 7), l’analyse de la mise en œuvre de la possession et de la musique dans le rite leiwah (interactions, protocole, structure) montre l’existence d’un complexe rituel qui interagit, depuis près d’un siècle, avec la norme culturelle et religieuse arabo-musulmane qui l’environne. / This thesis focuses on the leiwah of Eastern Arabia, a rite of possession practiced by the Zunûj, a population of slave descendants from the coasts of East Africa.During the last four decades, the cultural institutions of Eastern Arabian nation-states have presented the music and the dance of the rite of possession as a festive practice unrelated to possession, and participated in dissociating this rite from the regional history and the population practicing it.This thesis, which combines the study of written and oral sources with discourse analysis and an ethnography based on participant observation (11 leiwah rites observed in the Sultanate of Oman, 1 described in detail) shows that the leiwah can be understood only in relation to the history and original slave status of the Zunûj.First (chapters 1 to 3), this study reveals the historical depth of the leiwah and explores the various processes contributing to the invisibility of its ritual practice. It then shows (chapter 4) how the notions of spirit of possession in this population differ from the ones known in Islam as well as in zâr, another rite of possession described since the 19th century in the area (and in the Horn of Africa, Egypt, and Iran). Finally (chapters 5 to 7), the analysis of the execution of possession and the music in the leiwah rite (interactions, protocol, structure) reveals the existence of a ritual complex that has been interacting, for almost a century, with the cultural and religious Arab-Muslim norm surrounding it.

Orientador: Robert Wayne Andrew Slenes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-19T03:36:33Z (GMT). No. of bitstreams: 1 Santos_MaykonRodriguesdos_M.pdf: 2543973 bytes, checksum: ed11e9b21b339e9c6b5fabe99af5a05c (MD5) Previous issue date: 2011 / Resumo: Neste trabalho estudamos as escravas e libertas do grupo étnico Mina que atuaram no pequeno comércio de Vila Rica entre os anos de 1753-1797. Enfatizaremos como um saber aprendido ainda na África, atuação no pequeno comércio, foi utilizado por tais mulheres para construir uma identidade relacionada ao passado e em torno da procedência comum, como também ser parte das estratégias de ascensão social que envolveu a compra da liberdade e de escravos, inserção em irmandades e acúmulo de patrimônio. Tal processo se consolida na formação de um grupo étnico: o Mina. Assim, estudamos os registros de licença de vendas de Vila Rica com o objetivo principal de comprovar a alta participação forra e escrava na atividade. Após isso, cotejamos tal fonte com testamentos para identificar nosso objeto, mulheres do grupo étnico Mina, e a partir das pretas Mina comerciantes deciframos o universo social e econômico do grupo étnico / Abstract: In this paper, it was studied the slave and freed women from the ethnic group Mina which took part in the small scale commerce in Vila Rica between the years 1753-1797. It is emphasized how the knowledge learned back in Africa, participation in small scale commerce, was used by those women to build such identity related to the past and around their common origin, as well as being part of strategies for social mobility that involved the purchase of freedom of slaves, insertion into brotherhoods and heritage accumulation. This process was consolidated in the formation of an ethnic group: Mina. Thus, records of sale license from Vila Rica were studied aiming at proving the high participation of freed and slave women in the activity. Then, that source was compared to testaments in order to identify our object, women of the ethnic group Mina, and the social and economic universe of the ethnic group was deciphered from Mina black traders / Mestrado / Historia Social / Mestre em História

Orientador: Jefferson Cano / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-19T23:14:54Z (GMT). No. of bitstreams: 1 Almeida_MarcosAbreuLeitaode_M.pdf: 2645734 bytes, checksum: dc8013b1aaa27f7a37fdb2b75b03de16 (MD5) Previous issue date: 2012 / Resumo: A presente dissertação de mestrado atenta para a dimensão sociolinguística da experiência dos africanos escravizados levados ao Império do Brasil pelo contrabando de africanos, que Joaquim Nabuco denominou de "Trilogia infernal", encenada nos "sertões da África", no "mar" e nas "fazendas" do sudeste brasileiro. Meu objetivo foi investigar como o repertório linguístico dos africanos contribuiu para construir as "estrofes e prosódias" do Atlântico Sul e abordar a questão da comunicação em cada um dos palcos da "trilogia infernal" para, em seguida, buscar entender como a formação de novas linguagens, e os subsequentes intercâmbios culturais que elas permitiram, foram mobilizadas por muitos africanos escravizados na luta quotidiana contra a massiva escravização ilegal no Império do Brasil entre 1831 e c.1850. Dada a importância das rotas atlânticas que ligavam o centro-sul brasileiro com a região do Congo e de Angola, na África, a pesquisa concentrou suas atenções nos centro-africanos e suas habilidades linguísticas, isto é, como eles aprendiam e manejavam o português, negociavam comunidades de fala a partir de suas línguas maternas e intercambiavam suas bagagens culturais. Com isso, foi possível perceber como a questão da língua se articulava com as relações de poder e econômicas do contrabando de escravos e da escravidão ilegal em meio ao processo de construção do Estado Imperial / Abstract: This dissertation aims the sociolinguistic dimension of the enslaved Africans' experience brought to Brazilian Empire by the illegal slave trade, that Joaquim Nabuco called the "Trilogy of hell," staged in "Africa", "the ocean" and "plantations" in southeastern Brazil. My goal was to investigate how Africans' linguistic repertoire helped to build the South Atlantic "strophes and prosodies" and address the issue of communication in each stage of the illegal slave trade to seek understand how the formation of new languages and the subsequent cultural exchanges were mobilized by enslaved Africans in daily struggle against massive illegal enslavement in the Brazilian Empire between 1831 and c.1850. Given the importance of the Atlantic routes that connected southeastern Brazil to Congo region and Angola, this research has focused its attention on Central Africans and their language skills, that is, how they learned and handled Portuguese language, negotiated speech communities from their mother tongues and exchange its cultural baggage. Thus, it becomes possible understand how the "language question" was linked with economic and power relations during Brazilian contraband and illegal enslavement amidst the process of State building in Brazilian Empire / Mestrado / Historia Social / Mestre em História

This thesis is structured around an exploration of the global phenomenon hip-hop. It considers how its far-reaching effects, as a cultural export from the United States,have influenced cultural production in South Africa. The investigation focuses specifically on the work of two visual artists: Zimbabwean born, Johannesburg-based Kudzanai Chiurai, and Cape Town born, Berlin-based Robin Rhode. The introduction familiarises the reader with the two artists and briefly outlines their histories and methods, as well as giving a short history of the development of hip-hop as a subculture from its beginnings in 1970s New York. The first chapter follows this brief introduction to outline some of the parallels, especially concerning race relations, between 1970s America and post-apartheid contemporary South Africa. This comparison aims to highlight similarities that gave rise to the hip-hop phenomenon and which also place South Africa in a prime position to welcome such influences. The second half of the chapter explores how migration theory and issues of diaspora have not only influenced the development of hip-hop, but have also become points of focus for both artists, who are in fact disporans themselves. The second chapter explores ‘ground level’ concerns of everyday life in the city. Issues of crime,gangsterism, politics and activism are characterised as focal elements of Chiurai’s and Rhode’s artwork and also of hip-hop musical content. Inner city contexts in different parts of the globe are compared through a discussion of the art and music that come out of them. This comparison of the philosophical and conceptual content of the art and music is extended, in Chapter three, into a comparison of methods of production, considering how these influence various readings of the artistic output, whether musical or visual. Ideas of authenticity are discussed and finally the focus shifts to explore how both the conceptual and practical concerns of musicians and artists are being shaped by an increasingly ‘globalized’ world. The conclusion explores the challenges that globalization poses to cultural practitioners and seeks to highlight some of the artists’ methods as examples with which to facilitate the growth of a more inclusive global aesthetic.

Reading this dissertation means joining me on an 8-year journey that began with my desire to understand the lives and decisions of African immigrants in relation to retention and transmission of our native languages and cultures. The Akan say that <i>ntontom pe n'ase fi ako, na nframa ebo no</i>. Wherefore, like the mosquito propelled by the wind blowing me towards my desired direction, I sat under the shade of the heritage tree as I pondered how to get there. The journey became a quest to find an approach or methodology that will not just talk about African languages and cultural retention and transmission, but also center histories, worldviews, and philosophies while actively encouraging these values. Thus, approaching storytelling from the African oral tradition, I arrived at the development of the African Oral Traditional Storytelling (AOTS) Framework as an ethical and culturally centered approach to studying with African peoples. Because I wanted to go far and not fast, two heads (African families in the Midwest) collaborated with me by sharing through our African oral traditions and storytelling, our lived experiences of how we (as parents) navigate usage, retention and transmission of our living native languages and cultures while in the U.S. Emergent in this approach to storying, was the AOTS Framework. Now, what was needed was a description of the framework retrospective of the shared stories; what does it look like? What did/will she do, and how will she birth a transformative and relevant approach to satisfy that hunger for African histories, worldviews, indigenous knowledges and philosophies in research? The AOTS Framework, through African oral traditional storytelling, brings to the fore the relevant and essential role that African philosophies, worldviews, languages, and cultures play in understanding African peoples' experiences. Our stories reveal how our African worldviews and languages (embedded with our indigenous knowledge) inform how we navigate decision on 1) building a community of like-minded people from the continent, same country and ethnic group; 2) decolonizing our minds about the value of African languages, cultures, and worldviews: building a sense of pride in our indigenous ways and teaching them to our children as a resistance to neocolonialism and global erasure; 3) cultural, linguistic, and identity reconceptualization, revitalization, redefinition, and resistance; 4) conscious effort to use native language in the home; and 5) racialized experiences that influence decisions about heritage language retention and transmission. With that, we stand on the shoulders of postcolonial and decolonial theory, as we move through postcolonial indigenous methodologies in resisting imperialism and coloniality in education, research and language in relation to African peoples. Additionally, the AOTS Framework is the arable land that is not selective in growing varied linguistic, cultural, and philosophical perspectives of African peoples in research albeit challenges in relation to transitioning oral techniques into writing. As a framework, our desire and interests in learning with African peoples is not a question-and-answer approach. Instead, it is a collaborative, communal approach where the privileged gatherer shares in co-creating stories, meanings, and understandings with African peoples.<br>

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