In this project, I situate the Black Rio movement and Brazilian música soul within a history of representations of black Brazilian masculinities in music. I do so in order to trace changing conceptualizations of race and citizenship in 1970s Rio de Janeiro. I seek to move beyond the existing literature which judges the Black Rio movement on its political expediency while ignoring its historico-cultural context. That is, prior works tend to pit black soul musicians and dancers against the mostly-white, middle-class intellectuals who have historically made determinations about black Brazilians, and in doing so these works have judged the Black Rio movement a political failure. Instead, I focus on the agency asserted by black Brazilian musicians and dancers in representing themselves and in creating alternative places for the enactment of their identities in opposition to the normative expectations of Blackness and standards of masculinity. Beginning in the 1920s and the 1930s, expectations for black masculine behavior were tied to restrictive, demeaning representations of the malandro in samba music and of afrobrasilidade in Carnaval celebrations. These representations were influenced by changing attitudes towards race in the context of national consolidation and the propagation of the myth of racial democracy, which recognized racial difference while not recognizing extant racial inequality. Entrenched modes of thinking and normative modes of being were adamantly challenged by soul musicians and dancers in the 1970s. Through the adoption of U.S. funk and soul music and strong masculine imagery associated with the Black Power movement, black Brazilians appropriated and resignified international symbols in order to forge a new black identity. In doing so, soul musicians and dancers carved alternative spaces for themselves, and renegotiated the terms of their inclusion in the Brazilian nation. This paper considers the shifting place of Blackness in Brazil through an analysis of visual, aural and lyrical representations of Blackness in music and in the critical reception of that music. I argue that funk and soul music played a key role in destabilizing the restrictive notion of afrobrasilidade held by mainstream Brazilian society, enabling new ways of being both black and Brazilian. / text

Orientador: José Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T08:52:06Z (GMT). No. of bitstreams: 1 Goncalves_EloaGabriele_M.pdf: 60495318 bytes, checksum: 3a3ebc85450535991b7e825c6bfdb5ef (MD5) Previous issue date: 2011 / Resumo: Este trabalho estuda a trajetória da Banda Black Rio, formada em meados dos anos de 1970, cuja produção caracteriza--?se por fusões de múltiplas musicalidades. Através da análise musical de uma amostragem do repertório gravado pela banda, verificou?se nessa produção a presença de elementos característicos de gêneros brasileiros como o samba, o choro e o baião, mesclados aos do jazz, do soul e do funk. A pesquisa revelou que procedimentos adotados pelos músicos nas composições, releituras, arranjos e instrumentação produziram resultados sonoros peculiares. Trata--?se de uma sonoridade híbrida, que, de certa forma, expressa a emergência de uma nova sensibilidade num contexto histórico brasileiro marcado pela presença de um regime político autoritário, do desenvolvimento e da integração da indústria cultural e do advento de novas identidades geracionais e étnicas / Abstract: This work studies the history of the band Black Rio, formed in the mid 1970s, whose production is characterized by a fusion of multiple musicalities. Through musical analysis of a sample of the repertoire recorded by the band, it was verified the presence of characteristic elements of Brazilian genres such as samba, choro and baião, merged with components of jazz, soul and funk. The research found that the procedures adopted by the musicians in compositions, re--?readings, arrangements and instrumentations produced a peculiar sound result. It is a hybrid sonority that, in a certain way, expresses the emergence of a new sensibility in a Brazilian historical context marked by the presence of an authoritarian political regime, by the development and integration of the cultural industry and by the advent of new generational and ethnical identities / Mestrado / Fundamentos Teoricos / Mestre em Música

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-01-26T21:27:46Z No. of bitstreams: 1 AndreGarciaBraga_DISSERT.pdf: 3522881 bytes, checksum: daa0b5278c2041d0d408a882fa5c289c (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-02-02T19:17:02Z (GMT) No. of bitstreams: 1 AndreGarciaBraga_DISSERT.pdf: 3522881 bytes, checksum: daa0b5278c2041d0d408a882fa5c289c (MD5) / Made available in DSpace on 2016-02-02T19:17:02Z (GMT). No. of bitstreams: 1 AndreGarciaBraga_DISSERT.pdf: 3522881 bytes, checksum: daa0b5278c2041d0d408a882fa5c289c (MD5) Previous issue date: 2014-10-02 / O presente trabalho pretende, a partir da an?lise da circula??o de discos de vinil em uma determinada situa??o hist?rica, produzir uma interpreta??o da forma??o e desenvolvimento do fen?meno sociocultural conhecido como cena Black Rio, ocorrido no Rio de Janeiro na d?cada de 70 do s?culo XX. Trata-se tamb?m de mapear o campo art?stico e de consumo em a??o na cena, inserindo-o em um contexto mais amplo de circula??o de cultura caracterizado no conceito que Paul Gilroy (2012) nomeia de Atl?ntico negro. Ao inserir a Black Rio ao Atl?ntico negro, a pesquisa permitiu, desta maneira, a possibilidade de investiga??o da forma??o de identidades locais a partir de referenciais estrangeiros ou globais, e dos estilos de vida decorrentes deste processo de ressignifica??o e trocas culturais. Em um segundo momento, faz-se um esfor?o para se entender a identidade racial e a sua conex?o com a dimens?o pol?tica do contexto dos bailes e da cena Black Rio. Utilizando-se para tanto dos trabalhos de Hall, Giacomini e Sansone, que orbitam em torno dos conceitos de ra?a, etnicidade e identidade, planejase, no limite, refletir sobre a seguinte quest?o: o qu?o negra (ou black) foi (ou ?) a cena Black Rio? / This work aims to make, through the analysis of vinyl discs circulation in a certain historical situation, an interpretation of the formation and development of the socialcultural phenomenon known as Black Rio scene, which took place in Rio de Janeiro in the 20th century?s 70s. It also intends to map the field of arts and consumerism that took place in the scene, including it in the wider context of circulation of culture rooted in the concept that Paul Gilroy (2012) names Black Atlantic. By associating Black Rio with the Black Atlantic, this reasearch has thus allowed the possibility for investigating the formation of ?native? or local identities related to foreign or global references, and the lifestyles that sprung from this process of cultural ressignification and exchange. On a second step, we make an effort to understand the racial identity and its connection to the political dimension of the context of the festivals and the Black Rio scene. For this purpose, we refer to the writings by Hall, Giacomini and Sansone, who explore the concepts of race, ethnicity and identity, and we try to think about the following question: how black was (or is) the Black Rio scene?

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-05T13:18:12Z No. of bitstreams: 1 Maria Elise G. B. M. Rivas.pdf: 3552936 bytes, checksum: f7b8bcdf7f4a70bdd8671da3133040c6 (MD5) / Made available in DSpace on 2017-12-05T13:18:12Z (GMT). No. of bitstreams: 1 Maria Elise G. B. M. Rivas.pdf: 3552936 bytes, checksum: f7b8bcdf7f4a70bdd8671da3133040c6 (MD5) Previous issue date: 2017-11-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This paper adresses black women in the macumbas of Rio de Janeiro, in the newspapers of such city, from 1870 to 1930, aiming to analyse their presence or absence in the macumbas. There are two hypothesis here considered: to verify if the presence of black women found in the researched material (that is, the newspapers of Rio de Janeiro) equals their importance in the macumbas, and to verify how much do the papers performed by man and women in the terreiros influence or not the musical macumba regarding aesthetics. The research uses a feminist perspective, so the theoretical reference privileges gender. I recollect Fiorenza’s hermeneutics of suspicion (1992) in order to find women in the newspaper, a historical look that aims to find them as characters of day by day in Perrot (2005), and a anthropologic approach of black women in the Candomblés in Bernardo (2005-2005). Also, we refer to Pollak (1989) and the underground memory, and to Weber (2013) and the separation of the issues in order to understand better the division of macumba into religious and musical. The empirical field is formed by 19 newspapers that were active in the city of Rio de Janeiro through the chosen period. Such newspapers are available in the Hemeroteca Digital of Rio de Janeiro, so the analyzed material is a primary source. Methodology used to analyze the newspapers is the approach given by Zicman (1985). It is worth mentioning that too much effort has been needed so we could find black women in both macumbas: they were there / Esta pesquisa tem como objeto as mulheres negras nas macumbas cariocas, nos jornais do Rio de Janeiro, entre os anos de 1870 a 1930, tendo como objetivo analisar a presença ou ausência das mesmas nas macumbas. As duas hipóteses elencadas são as seguintes: verificar se a presença das mulheres negras no material encontrado (os jornais cariocas) corresponde à importância delas nas macumbas, e verificar em que medida a configuração dos papéis desempenhados por homens e mulheres nos terreiros influenciaram ou não a macumba musical na esfera estética. A pesquisa é realizada sob uma perspectiva feminista, de modo que o horizonte teórico privilegia as questões de gênero. Faço uso da hermenêutica da suspeita de Fiorenza (1992) para encontrar as mulheres nos jornais, um olhar histórico que busca encontrar as mulheres como personagens do cotidiano em Perrot (2005) e uma abordagem antropológica das mulheres negras nos candomblés em Bernardo (2003-2005). Mas, também trago Pollak (1989) com o referêncial memória subterrânea e Weber (2013) com a separação das esferas para melhor entender a “separação” da macumba em religiosa e musical. O campo empírico são 19 jornais que circularam na cidade carioca no período pesquisado disponibilizados na Hemeroteca Digital do Rio de Janeiro, ou seja, o material analisado é uma fonte primária. A metodologia utilizada para análise dos jornais é a abordagem dada por Zicman (1985). Vale ressaltar que foi necessário muito esforço para podermos encontrar as mulheres negras em ambas as macumbas, mas elas estavam lá