El siguiente trabajo tiene como principal objetivo el plantear la condición de subalternidad que poseen ciertos discursos minoritarios en relación a un discurso oficial dominante, y cuales son las formas que estos discursos no oficiales han ocupado para manifestarse o construir un cuerpo de identificación que les permita diferenciarse. Para ello se abordará el tema de las tribus urbanas y sus modos de comportamientos, en especial el Hip Hop, por conformar una subcultura urbana que agrupa un comportamiento estético y de expresión artística para manifestar su desacuerdo con el sistema social imperante.

With the rise of First Nations owned and created television content at the turn of the century, came a demand to see an accurate representation of Aboriginality that could look at Aboriginals as both here and modern. From 2003-2006, the first Aboriginal made and produced television series entitled Moccasin Flats, I argue, used modern day hip-hop discourse to both engage and dissect a host of complex issues facing modern day urban Aboriginal society. This research project mobilizes multiple methodologies; including: 1.) Eco’s code and sign function semiotic analysis, which operates to identify various hip-hop codes in the text; 2.)Hall’s method of articulation to look at how meaning is fixed in the discourse surrounding the show; and finally 3) Deleuze’s rhizomic approach to identity to see how the shows main characters are constructed in a way to highlight the paradoxical and undercut certain flirtations with essentialization. This three-tiered methodological process paints a picture of a new complex use of discourse to accentuate different facets of aboriginality that had previously been the sole product of dominant hegemonic institutions which relied on racist stereotypes. By dissecting how identity is formed on Moccasin Flats, I will show how aboriginal filmmakers construct a self-reflexive space where the character is perpetually in the process of ‘becoming’ and identity is always a site of negotiation.

Tesis para optar al grado de magíster en artes, mención musicología / Adentrarme en el estudio del comportamiento de quienes se reúnen alrededor de la música hip hop en Chile me exigía la utilización de un concepto que diera cuenta del grupo social que investigo, es decir, a los hiphoperos chilenos. Reconozco en el concepto de escena musical un referente para caracterizar a mi objeto de estudio, porque hace mención a una territorialidad en donde confluyen diferentes participantes por el agrado hacia un determinado género musical, en este caso el hip hop. No obstante, el término no es satisfactorio del todo a mis propósitos porque básicamente infiero una cierta jerarquización entre los involucrados. Tanto la industria como los músicos se encontrarían en un estadio superior en referencia a por ejemplo los seguidores, quienes incluso algunos no necesariamente se inmiscuyen en la práctica de este género. Ante esto, en el presente trabajo, prefiero utilizar el de comunidad musical, porque aun cuando los propios hiphoperos chilenos incurren en una jerarquización del tipo informal, en un primer momento todos se posicionaron desde un mismo escalafón, especialmente cuando la industria cultural aún no se relacionaba con el hip hop nacional. Esta circunstancia provocó que el sentido “comunitario y de hermandad” se convierta en la marca identitaria de este género en sus primeros años en Chile (los ’80). De este modo, puedo construir un relato en que evidencio cómo las relaciones sociales de los exponentes locales se complejizaron y se abandonó este enfoque de comunidad, facilitando así el paso a una escena musical. Una que, por cierto, hizo que este tipo de música pudiese llegar a oídos de una mayor cantidad de personas en el país.

Tesis para optar al título de periodista / A nivel nacional como internacional el hip hop es una cultura urbana masiva donde sus cultores encuentran un punto de unión en las condiciones de marginalidad social contra las que primero se irigió el movimiento siendo heredero de otras formas de protesta social de raíces afroamericanas nacidas en la década del ´60. Así, esta memoria, a través de un reportaje, busca establecer un paralelo entre los alcances políticos de este movimiento artístico en sus expresiones estadounidenses y chilenas.

Can you feel the groove? Hip-Hop has the rhythmic power to connect individuals while providing an outlet for creative expression. The COVID-19 pandemic has been a disruption in our day-to-day lives, causing a sense of disconnect between each other. The implementation of government protocols such as mask mandates, social distancing, and the transition to virtual learning has caused challenges for teachers in the dance community. I am curious to phenomenologically inquire into the experience of pedagogical connection during the COVID-19 pandemic. Can we connect in a time of disconnection? The purpose of this Motion-Sensing Phenomenological study is to understand the interactive experiences of connection through Hip-Hop dance during the COVID-19 pandemic. Participants of this study were three Hip-Hop dance teachers who taught consistently, in-person or online through interactive technology during the pandemic. By actively immersing myself in the pedagogical connection, I observed, moved, and sensed this phenomenon in action. I conducted semi-structured motion-sensing phenomenological interviews with teacher to elaborate on their meaningful and connective experiences. Drawing from my participatory sensations and observations, I used the Interactive Function to Flow Model (Lloyd & Smith, 2022) to form my research questions: What connective postures showed when a participant was ready to groove? What connective gestures drew out the moments of connection? What qualities of timing and force cultivated feelings of a connection, and what kinaesthetic sensations were experienced when connections were felt? By stepping into these motion-sensing experiences, pedagogical connective moments emerged between participants, revealing somatic connective meanings in Hip-Hop dance. A deeper understanding of the intricate relation between Hip-Hop, movement, and its connective power within a global pandemic was found tethered within three contexts: a cypher, a partnered dance activity, and beyond a four walled computer screen. From relational positions of teacher and students, connective gestures shaped moments of collective synergies cultivated interactive flow. Despite the barriers of the COVID-19 pandemic, we can feel the groove, and it is clear with HIP-HOP, WE DON’T STOP.

Historical contexts of trauma have created a complex relationship with African Americans and farming. Further, the lack of urban participation within the food system has resulted in little knowledge of how food is produced or understanding of environmental impacts of food and fiber production. The only participation has been the consumption of food. This study indicated the importance of exposing normalized food system inequalities and fostering critical consciousness to challenge systems of oppression. Further, this study alludes to returning to the food system and reimagining taking control of the food system through a reconnection to the land as a form of resistance, protest, and liberation from oppressive systems. The school system is failing to teach about the inequalities of the food system and how youth can participate in the food system. To address disparities in education, education should be more relevant to the student population. In order to make progress toward connecting the food system and urban minority youth, new methods should be implemented to engage and connect. After-school and non-formal spaces are innovative educational opportunities to address these problems. This study was guided by critical pedagogy that challenges the current social order and culturally relevant pedagogy's cultural relevance. To break away from the oppressive banking system, students must acquire a critical awareness of the systems of oppression and confront reality critically by recognizing its causes, which will require breaking away from oppressive guidelines and the freedom of autonomy and responsibility. To assess minority youth conceptions of the food system through a hip-hop based learning curriculum, the researcher selected a group of seven students from an after-school program in Roanoke, Virginia, to participate in the workshop. The qualitative case study consisted of one workshop a week for two weeks, followed by an initial focus group. Two workshop groups were conducted after and were followed by a concluding focus group. Data sources included researcher field notes and focus group transcripts. Transcripts were analyzed using two cycles with field notes utilized for triangulation of findings. In the first coding cycle, descriptive coding paired with emotion coding was used. The second cycle of coding consisted of axial coding and then codes were consolidated by matching like codes grouped by similar categories. Finally, the researcher developed themes based on the research literature, research questions, and conceptual framework. Findings of this study include the importance of exposing normalized food system inequalities and fostering critical consciousness to challenge systems of oppression. Further, this study expressed that youth are engaged in hip-hop culture and creating culturally relevant spaces for youth allows for participation and connection that other after-school programs cannot provide. Participants presented a change in conception and developed an emerging critical viewpoint to the once-normalized systems of food access. Lastly, participants expressed interest in developing the local community and improving healthy food access. / Master of Science in Life Sciences / Creating educational spaces that support the cultural context of youth is a growing concern. Disconnection from the traditional classroom has led education researchers and practitioners to explore ways to connect minority students to the learning environment. The concern of the modern education system and its deficit in supporting minority populations has called for implementing new strategies. Outside of the classroom, non-traditional spaces have become spaces of creativity. Historical disconnection and historical trauma from agriculture has resulted in the population of minorities becoming passive recipients of an unequal food system. In order to assess the importance of exposing normalized food system inequalities and fostering critical consciousness within minority youth, a culturally relevant program was used to explore minority youth conceptions of the food system and explore their change in conceptions. Youth participated in a four-week, hip-hop-based workshop to explore the food system. This workshop challenged their perceived understanding of their local food system and the hidden inequalities within it. The findings of this study indicated the importance of exposing normalized food system inequalities and fostering critical consciousness within minority youth. Participants presented a change in their conception of the food system. Further, participants expressed emerging socio-political awareness of food access. This research study contributes to the work of culturally relevant education, the development of youth critical consciousness, awareness, and community development.

Masters of Art / Since the arrival of hip-hop in Cape Town and indeed South Africa in the 1980s, a diverse and vibrant range of hip-hop sub-genres has developed in Cape Town. Scholarship, however, have approached hip-hop mainly through a linguistical angle focusing mostly on Cipha hiphop in the Cape Flats. This ethnographic work looks at performances and practices of Spaza hip-hop. It explores the musical genre of Spaza hip-hop in the township of Khayelitsha, discussing ideas advanced by scholarship almost ten years ago and re-assessing issues of language, citizenship and ethnicity from today’s perspective. It looks at Spaza hip-hop not only as a musical genre, as it explores questions of identity, ethnicity, race, and gender. My research discusses how Spaza hip-hop music is consumed today, how it is produced and how it circulates. Across two years of fieldwork, I followed park sessions, open mic sessions and events; I have interviewed artists, producers and audiences. I argue that Spaza hip-hop in 2018 had changed drastically from its first apparition. Not only most of the artists are now older, but also the Spaza hip-hop scene is now invaded by trap hip-hop artists. Across my research I explore issues of gender in hip hop which is generally perceived as a “masculine” music. I illustrate how female artists constantly challenge norms and negotiate a space of their own, paradoxically transforming Spaza hip hop in a space for freedom.

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

Orientada, sobretudo, por noções de complexidade epistemológica, esta tese desenvolve proposta de abordagem transdisciplinar integrando as quatro manifestações artísticas e o discurso da chamada \"cultura hip hop\" na cidade de São Paulo. Apesar da tendência às pesquisas mutiladoras dessa tradição compósita, este trabalho propõe uma visão integrada dos seus elementos, a saber: a dança (break), a produção de imagens (nesta tese, grafites e pichações), o canto de longos poemas (rap) sobre bases sonoras criadas por manipuladores de discos e outros recursos tecnológicos (DJs). Há ainda o \"quinto elemento\" - o \"conhecimento\" - ou os enunciados ligados aos referenciais culturais dos adeptos do hip hop. As manifestações corpóreas, pictóricas, rimadas e musicais são tomadas como narrativas e o discurso, como religioso. As narrativas, em geral, são líricas e poéticas nas imagens, épicas nas letras de rap, dramáticas na dança e paródicas nas mãos dos DJs. O conhecimento orienta a postura de praticantes e admiradores fomentando uma comunidade cultural sectária e dogmática similar às religiões de salvação. Para realizar esse percurso, o cruzamento teórico envolveu certos ramos da teoria da Literatura, da Filosofia, da Semiótica e da Sociologia. / This thesis seeks a transdisciplinary approach of the so-called \"hip hop culture\" in the city of Sao Paulo, aiming to comprise its four artistic manifestations and its discourse, chiefly based on notions of epistemological complexity. Granted, there is a mutilative proclivity on researching such a composite tradition. Nonetheless, this paper offers an integrated point of view of the said elements. That is, dance (break), imagery production (graffitti, in the context of this thesis), the chanting of long poems (rapping) over sonic bases produced by records and other technological resources manipulators (DJs). There is also a fifth element: knowledge, or the cultural statements of the hip hop suporters. Its bodily, pictorial, rhyming, and musical manifestations are taken as narratives, and its discourse, as a religious text. These narratives generally have lyrical and poetical imagery, and comprise the epic rap lyrics, the dramatic dance moves and the parodical creations of the DJs. This knowledge guides the hip hop followers\' and admirer\'s attitude, leading to a sectarian and dogmatic cultural community, much similar to those formed by the believers of salvation religious denominations. In order to achieve this goal, the author has assembled a theoretical cross-over with certain realms of Literary Theory, Philosophy, Semiotics, and Sociology.

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.