In social science, reality is too frequently conceived of from the point of view of European or American white men. I intend to examine the perceived realities and world-view of a marginalized oppressed group, the Rastafarians. The contemporary social movement literature focuses heavily on framing processes, how movement members portray their grievances to potential sympathizers. Reggae music is the most popular vehicle for the Rastafarians to disperse their world-view. This study explores how reggae music serves certain social movement functions for the Rastafarian movement. I seek to show that reggae music is indeed political and draws heavily from Rastafarian ideology. I will perform a content analysis of the lyrics of reggae music and identify the diagnostic, prognostic, and motivational framing used by the reggae artists. / Master of Science

The thesis deals with the language practices of French-speaking reggae singers. The work investigates how Jamaican musical inspiration came to the French scene, and which phonetic, morphosyntactic and especially lexical devices are found there. An inseparable object of research, equally undescribed, was the vernacular of francophone reggae fans. The empirical part investigates a random sample of French reggae (approx. 50 thousand words). The songs differ geographically, chronologically (1979-2010) and musically (roots, raggamuffin, dancehall). The research not only focuses on popular and colloquial French, slang, urban language, musical influence or poetry, but also on the coherence between themes and functions fulfilled by francophone reggae. A list of neologisms shows preferences in lexicogenic processes. Furthermore, the method includes a web survey answered by 189 French-speaking reggae fans, who represent the 'new speech' community. As a result, the hypothesis of a new vernacular, independent from rap, is confirmed. The specific hybridity is defined by code switching and more than a hundred English and Jamaican borrowings, which are commonly used by the fans.

Ce travail analyse le dancehall, dernière forme en date de la musique jamaïcaine, à travers les questions de violence et de sexualité. Cette musique rencontre des difficultés sur le plan local et international non seulement à cause des thématiques abordées mais aussi par la manière dont elles sont traitées. Ainsi, le traitement de la violence à travers le gun talk, ces textes faisant l’apologie des armes à feu, entraîne des critiques, on leur reproche d’être des incitations à la violence physique, psychologique, au désordre social et on juge leur influence négative. Par ailleurs, l’approche très explicite et très crue de la sexualité entraîne également des critiques du fait de la teneur misogyne et homophobe de certaines chansons.Par conséquent, cette étude du dancehall explique les raisons pour lesquelles le contexte particulier de la Jamaïque a conduit à ce genre de propos. Puis, elle démontre que les textes incriminés pour homophobie ou misogynie renferment une codification de la sexualité qui va au-delà de l’orientation sexuelle et de l’opposition hétérosexualité/homosexualité, pour ériger un modèle valorisant et valorisé en termes de pratiques sexuelles (le coït pénis/vagin). Pour répondre à ces questions, cette analyse s’appuie sur une série d’outils offrant une vision cohérente de cette musique : les travaux précédents sur le dancehall, les traductions d’un large éventail de chansons, l’utilisation de l’Internet qui permet de suivre les derniers déroulements de ce phénomène culturel en constante évolution et enfin les entretiens et les enquêtes menés sur le terrain. / Completely different to play a part in the social unrest that this country is facing. The second part of the thesis focuses on the issues of violence and sexuality in dancehall music. It shows how politics and religion have a strong influence on the population and offer some legitimacy to the lyrics which lead to the controversies surrounding dancehall music. On the one hand, religion is the cornerstone of this society (although Jamaicans have integrated some principles and do not pay much attention to others) and determines what should be endorsed or rejected. On the other hand, the politicians apply some sort of physical and psychological violence to maintain their leading position. In addition, these politicians rely on the contempt for homosexuality to create cohesion within a society that is deeply characterized by divisions and tensions of all kinds. In the Jamaican context that is deeply influenced by patriarchal values, the individuals of the lower social strata (especially males) who experience difficulties to obtain a valorizing social status can turn to violence and criminal activities, and will hang to heterosexuality and “moral” sexual practices as vehicles to restored self-esteem (this vision of sexuality is one of the only valorizing aspects of masculinity that any individual can rely on regardless of their social status). Consequently, these sexual archetypes are expressed through the lyrics of dancehall music and are promoted by the artists of dancehall, self-proclaimed spokesperson for the Jamaican population. The third part addresses the issue of the perception of dancehall music on the international level through the issue of sexuality and homosexuality. This part shows that even though the language used by the artists can be hardly understood, some lyrics leave the listeners with different way of interpreting the message, especially when it comes to threatening some people physically or psychologically on the ground of sexual orientations and practices. These songs which express strong criticism towards some individuals have triggered vehement reactions from sexual minority groups. Different campaigns on the international level have forced the artists to tone down their lyrics. These campaigns show how the music is also utilized by these gay groups to fight against discrimination. Because of or thanks to the media attention that Jamaican music enjoys, the homosexuals are able to expose to the public opinion the physical and psychological violence they are experiencing in Jamaica. In addition, the close geographic, cultural and economic relationship between Jamaica and the USA shows, on the one hand, how homosexuality is perceived on the island as an imposed foreign value and on the other hand, how this Caribbean country is labeled as a homophobic nation. And finally, the influence of Jamaica on the international level allows us to analyze dancehall music in the French Caribbean islands. This chapter shows how these local artists can use the Jamaican codes and adapt them to their own reality when they correspond with the values of their own society.

Studiens syfte är att ta reda på hur och varför människors förhållningssätt till musik kan förändras vid det jag valt att kalla ”kontextbyten”. Kontextbyte avser när en person flyttar från den kulturella och sociala plats personen är uppvuxen på till Sverige. Empirin bygger på fyra kvalitativa intervjuer med personer som är uppväxta i Sovjetunionen/Ukraina, Mandinka/Senegal, Japan och Jamaica och nu bosatta i Sverige. De är alla på något sätt musicerande. För att uppfylla syftet undersöks informanternas förhållningssätt till musik i deras respektive hemland och Sverige. Dessa jämförs med varandra och utifrån ett kulturanalytiskt perspektiv, för att upptäcka eventuella förändringar sedan de anlänt till Sverige. Metoden för insamlandet av empirin är kvalitativ intervju. De teoretiska perspektiven är kulturanalys och delar av Pierre Bourdieus begreppsapparat. Resultatet visar inledningsvis att informanterna har relativt liknande bakgrunder. Några teman som framkommer är t.ex. att föräldrar varit inblandade i musikintresset, disciplin kring musiken, musikgenrer används som distinktion och att musik kan utövas seriöst eller oseriöst. I Sverige synliggörs både individuella och gemensamma förändringar. Två huvudteman uppstår där de två männen är negativa och de två kvinnorna är positiva till upplevelsen av den svenska musikkulturen. Detta visar förändrade förhållningssätt. Bourdieus begrepp appliceras sedan på resultatet för att förklara de förändrade förhållningssätten till musik.

Thesis (Ph. D.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 135-143).

Titre de l'écran-titre (visionné le 29 juin 2023) / À travers la musique reggae, le mouvement rastafari diffuse une relecture spécifique du christianisme qu'il met au service d'un certain nombre de revendications qui lui sont propres. Le présent mémoire de maîtrise cherche à montrer comment ce mouvement religieux utilise cette réinterprétation chrétienne afin d'appuyer une critique socioreligieuse de l'Occident qu'il diffuse grâce à la musique reggae. Ce style musical est ainsi présenté comme un outil dont se servent les artistes rastafariens pour diffuser plusieurs éléments de leur vision du christianisme, de l'histoire des Noirs et de la société occidentale et pour sensibiliser les auditeurs à ces éléments. Par l'analyse du message socioreligieux de trois chansons reggae, Exodus de Bob Marley & The Wailers, Sensimilla de Barrington Levy et No White God de Sizzla Kalonji, certains fondements de la théologie rastafarienne sont présentés comme partie intégrante du message libérateur rastafarien. / By analyzing the socioreligious aspects of three songs : Exodus by Bob Marley & The Wailers, Sensimilla by Barrington Levy and No White God by Sizzla Kalonji, this master's dissertation demonstrates how the Rastafari movement uses Reggae music to disseminate a specific interpretation of Christianism, reflecting Rastas' appreciation of Black history and Western culture and institutions. The Rastafarians' theology is therefore perceived as a liberating message progressively aiming to free all people from a certain Western alienation.

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-08-18T13:59:06Z No. of bitstreams: 1 MARISTANE DE SOUSA ROSA.pdf: 6850489 bytes, checksum: a4c1542ca7573a9562622bd71121a4a9 (MD5) / Made available in DSpace on 2016-08-18T13:59:06Z (GMT). No. of bitstreams: 1 MARISTANE DE SOUSA ROSA.pdf: 6850489 bytes, checksum: a4c1542ca7573a9562622bd71121a4a9 (MD5) Previous issue date: 2009-12-18 / The city of St. Louis was seduced by a rhythm that captured the soul of a large population of low income black Maranhao, the reggae. Once nominated Brazilian in Athens, City of Tiles, Island of Love, the capital of Maranhão has given the codename of 'Brazilian Jamaica', in reference to music of the Caribbean that are proliferating in every corner of the island. The Culture from Maranhão - widely recognized by the drum-to-Creole, the bumba-meu-boi, the cacuriá, the Feast of the Divine and terreiros Mine - now, therefore, to be represented by reggae, which came in waves of the cultural industry from the mid-l970. Although disputed by some advocates of "cultural authenticity", the Jamaican roots were adopted by large segments of the population and the Ludovicense black youth, becoming an important element of ethnic identity and leisure. This dissertation investigates mystical characteristics, religious and political inequalities that condemn ethnic and social differences, from the lyrics and music played widely known in the city and showing how the Jeje diaspora overcome problems of construction of identity, to incorporate the reggae as its cultural heritage. The results collected in the ethnographic field research indicate the broad social significance of this heritage, embodied in rituals, in Pan-African colors and recurring images of lion-man who has set propitious scenario for claims of citizenship and political rights. The phenomenon studied provides visibility to the bluff of traditions attributed to a restricted social group dominant in Maranhão and processes of "cleaning" historically experienced by Africans and descendants. To better situate the complex social and symbolic in which the party was conceived and established as language identity, this interpretative bias resubmit the Jamaican rhythm, seeking the roots in Ancient Egypt to the aesthetic use of Dreadlocks and the ancient rite of passage from a Masai people emblematic figure of the lion. / A cidade de São Luís foi seduzida por um ritmo que conquistou a alma de grande parte da população maranhense negra de baixa renda, o reggae. Outrora nomeada de Atenas Brasileira, Cidade dos Azulejos, Ilha do Amor, a capital do Maranhão passou a receber o codinome de 'Jamaica brasileira', em menção à música do Caribe que se proliferou por todos os cantos da ilha. A cultura maranhense - amplamente reconhecida pelo tambor-de-crioula, o bumba-meuboi, o cacuriá, a Festa do Divino e os terreiros Mina - passou, assim, a ser representada pelo reggae, que veio nas ondas da indústria cultural a partir de meados da década de l970. Apesar de contestado por alguns defensores da “autenticidade cultural”, o roots jamaicano foi adotado por amplos segmentos da população e da juventude negra ludovicense, tornando-se um importante elemento de lazer e identidade étnica. Esta dissertação investiga características místicas, religiosas e políticas que denunciam desigualdades étnicas e sociais, partindo das letras musicais amplamente tocadas e conhecidas na cidade e revelando como a diáspora jeje superou problemas de construção da identidade, ao incorporar o reggae como seu patrimônio cultural. Os resultados colhidos na pesquisa de campo etnográfica indicam o amplo significado social deste patrimônio, materializado nos rituais, nas roupas coloridas com cores panafricanas e nas recorrentes imagens de lion-man que passou a configurar cenário propício para reivindicações de cidadania e direitos políticos. O fenômeno estudado fornece visibilidade ao blefe de tradições atribuídas a um restrito grupo social dominante no Maranhão e aos processos de “higienização” vivenciados historicamente pelos africanos e descendentes. Para melhor situar a complexidade social e simbólica na qual o reggae foi concebido e estabelecido como linguagem identitária, este viés interpretativo reapresenta o ritmo jamaicano, buscando no Egito Antigo as raízes estéticas para o uso dos dreadlocks e no milenar ritual de passagem do povo Masai a figura emblemática do leão.

Made available in DSpace on 2015-04-16T14:48:38Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1838135 bytes, checksum: b74e32a31b6149f994779fa54ed8f3ef (MD5) Previous issue date: 2011-09-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study aims to understand the relations of production and consumption in the world of reggae sound systems, identifying meanings, symbolisms and marketing aspects, from its operations in the city of São Luís. Based on the dynamics and structure of the reggae movement in Brazil and in the world and based on the discussions and theoretical approaches that give substance to the understanding of the relationship between culture and consumption in the context of the commodification of cultural products, an immersion in aspects involving the production of reggae sound systems, to identify the meanings designed from the products offered and practices from the production of these enterprises, as well as symbolic aspects existing in the forms of consumption of the product by the reggae public. The choice of participant observation as a methodological approach, made on account of the need to seek a partial or complete description of situations in order to identify specific aspects and operations of sound systems as cultural products, whose representations, from the relational interactions between producers and consumers of their offerings, cause a large repertoire of symbols and meanings that have properly identified and analyzed to understand the dynamics of marketing projects and their impacts in the city of São Luís / MA. Thus, the discourse of informants, treated under the guidance of the method of discourse analysis, allowed the identification of aspects, whose peculiarities have to understand the nature of identity reggae movement in the city and their role of this process as contributors. In general, the research results shows that the produced by reggae sound systems, since its initial design, includes a dynamic system, producing a network of symbols and meanings that shape the relations of the market, involving images, types of communication and a peculiar way of consumption by reggae public of São Luís. / O presente estudo tem por objetivo compreender as relações de produção e consumo no universo das radiolas de reggae, identificando os significados, simbolismos e aspectos mercadológicos, decorrentes de suas operações na cidade de São Luís. Inspirado na dinâmica e estruturação do movimento reggae no Brasil e no mundo e tendo como base as discussões e abordagens teóricas que dão substancia ao entendimento da relação entre cultura e consumo no contexto da mercantilização dos produtos culturais, faz-se uma imersão nos aspectos que envolvem a produção musical das radiolas de reggae, buscando identificar os significados projetados e práticas desses empreendimentos, assim como os aspectos simbólicos existentes nas formas de consumo do produto pelo público regueiro. A escolha da observação participante, como abordagem metodológica, se deu por conta da necessidade de buscar uma descrição parcial ou completa de situações como forma de identificar aspectos e particularidades nas operações das radiolas enquanto produtos culturais, cujas representações, decorrentes das interações relacionais entre produtores e consumidores de suas ofertas, originam um grande repertório de significações e simbologias que devidamente identificadas e analisadas permitiram a compreensão da dinâmica mercadológica desses empreendimentos e seus impactos na cidade de São Luís/MA. Assim, os discursos dos informantes, tratados sob a orientação do método de análise de discurso, possibilitaram a identificação de aspectos, cujas peculiaridades permitiram a compreensão do caráter identitário do movimento reggae na cidade e o papel das radiolas como contribuintes desse processo. De maneira geral, os resultados da pesquisa mostram que o reggae produzido pelas radiolas, desde a sua concepção inicial contempla um sistema dinâmico, produzindo uma rede de significações e simbologias que modelam as relações de mercado, envolvendo imagens, formas comunicacionais e de consumo peculiares e únicas pelos regueiros de São Luís.

Made available in DSpace on 2016-04-25T20:20:27Z (GMT). No. of bitstreams: 1 Marcus Ramusyo de Almeida Brasil.pdf: 16866646 bytes, checksum: 0f78b0d4e3f43982fa8e7a852280a7d6 (MD5) Previous issue date: 2011-10-17 / The political dimension that surrounds the relations between music, popular culture and media productions is the main theme of the present study. The focus of the empirical observation performed was on the ties that connect media and marketing power to institutional politics. For such, the reggae phenomenon was analyzed from its genesis to nowadays, specially its path in the state of Maranhão and its capital, São Luís, from 1970 to 2011, with attention to the relations of its growth and broadcasting through radio and television programs, sound systems circuits, reggae club parties and the institutional political system. The main purpose was to analyze the relations between artistic expression, media and politics inside reggae in Jamaica and Maranhão; to understand how and why reggae possesses such a mobilizing potential and significant power to affect subjectivities, having established itself as a cultural element in Maranhão. The methodology was based upon a historical approach, and field procedures centered in direct observation, video and photographic documentation allied with the analysis of songs, videos, media and marketing materials. The theory references are set amongst authors that collaborate with reggae s historicity and with discussions in the areas of sociology of culture and cultural studies, such as White (1999), Albuquerque (1997), Silva (2007, 1992), Williams (2008, 1997), Benjamin (1994), Sodré (2006, 1998), Martín-Barbero (2001, 2004), Hall (2003), and others. The analysis sustained the initial theses that the reggae movement, as its symbolical apparatus, are being used and transformed by local politicians, through political marketing and media instrumentation strategies, into potential political influence and power / O presente trabalho tem como tema a dimensão política que perpassa a relação entre música, cultura popular e produção midiática. O recorte empírico para a pesquisa utiliza-se dos vínculos entre poder mercadológico-midiático e política institucional. Para tanto, é estudado o reggae desde sua gênese até os dias atuais, em especial, os trânsitos deste gênero musical no Estado do Maranhão e na sua capital, São Luís, de meados da década de 1970 a 2011, tendo em vista as relações estabelecidas entre o crescimento e a difusão deste fenômeno cultural através de: programas de rádio, programas de TV, circuito de radiolas, festas em clubes de reggae e o sistema político institucional. Os objetivos principais são analisar as imbricações entre expressão artística, mídia e política dentro do reggae na Jamaica e Maranhão; entender como e por que o reggae possui este potencial mobilizador e o significativo poder para afetar subjetividades, instaurando-se como elemento da cultura no Maranhão. A metodologia privilegia a perspectiva histórica de problematização do objeto, assim como os procedimentos de campo, que se centraram nas técnicas de observação direta, registro imagético e análise interna de obras musicais, videográficas, peças midiáticas, materiais de propaganda, etc. O referencial teórico trabalha principalmente com autores que colaboram com a historização do reggae, com a sociologia da cultura e com os estudos culturais, tais como: White (1999), Albuquerque (1997), Silva (2007, 1992), Williams (2008, 1997), Benjamin (1994), Sodré (2006, 1998), Martín-Barbero (2001, 2004), Hall (2003), entre outros. A análise realizada ao final da pesquisa sustenta a tese inicial de que o movimento reggae, assim como todo o aparato simbólico que o subjaz, estão sendo apropriados por atores da política local, para serem transformados através de estratégias de marketing político e instrumentos midiáticos em capital político para fins eleitorais

Made available in DSpace on 2016-04-26T14:53:21Z (GMT). No. of bitstreams: 1 Marcus Ramusyo de Almeida Brasil.pdf: 16866646 bytes, checksum: 0f78b0d4e3f43982fa8e7a852280a7d6 (MD5) Previous issue date: 2011-10-17 / The political dimension that surrounds the relations between music, popular culture and media productions is the main theme of the present study. The focus of the empirical observation performed was on the ties that connect media and marketing power to institutional politics. For such, the reggae phenomenon was analyzed from its genesis to nowadays, specially its path in the state of Maranhão and its capital, São Luís, from 1970 to 2011, with attention to the relations of its growth and broadcasting through radio and television programs, sound systems circuits, reggae club parties and the institutional political system. The main purpose was to analyze the relations between artistic expression, media and politics inside reggae in Jamaica and Maranhão; to understand how and why reggae possesses such a mobilizing potential and significant power to affect subjectivities, having established itself as a cultural element in Maranhão. The methodology was based upon a historical approach, and field procedures centered in direct observation, video and photographic documentation allied with the analysis of songs, videos, media and marketing materials. The theory references are set amongst authors that collaborate with reggae s historicity and with discussions in the areas of sociology of culture and cultural studies, such as White (1999), Albuquerque (1997), Silva (2007, 1992), Williams (2008, 1997), Benjamin (1994), Sodré (2006, 1998), Martín-Barbero (2001, 2004), Hall (2003), and others. The analysis sustained the initial theses that the reggae movement, as its symbolical apparatus, are being used and transformed by local politicians, through political marketing and media instrumentation strategies, into potential political influence and power / O presente trabalho tem como tema a dimensão política que perpassa a relação entre música, cultura popular e produção midiática. O recorte empírico para a pesquisa utiliza-se dos vínculos entre poder mercadológico-midiático e política institucional. Para tanto, é estudado o reggae desde sua gênese até os dias atuais, em especial, os trânsitos deste gênero musical no Estado do Maranhão e na sua capital, São Luís, de meados da década de 1970 a 2011, tendo em vista as relações estabelecidas entre o crescimento e a difusão deste fenômeno cultural através de: programas de rádio, programas de TV, circuito de radiolas, festas em clubes de reggae e o sistema político institucional. Os objetivos principais são analisar as imbricações entre expressão artística, mídia e política dentro do reggae na Jamaica e Maranhão; entender como e por que o reggae possui este potencial mobilizador e o significativo poder para afetar subjetividades, instaurando-se como elemento da cultura no Maranhão. A metodologia privilegia a perspectiva histórica de problematização do objeto, assim como os procedimentos de campo, que se centraram nas técnicas de observação direta, registro imagético e análise interna de obras musicais, videográficas, peças midiáticas, materiais de propaganda, etc. O referencial teórico trabalha principalmente com autores que colaboram com a historização do reggae, com a sociologia da cultura e com os estudos culturais, tais como: White (1999), Albuquerque (1997), Silva (2007, 1992), Williams (2008, 1997), Benjamin (1994), Sodré (2006, 1998), Martín-Barbero (2001, 2004), Hall (2003), entre outros. A análise realizada ao final da pesquisa sustenta a tese inicial de que o movimento reggae, assim como todo o aparato simbólico que o subjaz, estão sendo apropriados por atores da política local, para serem transformados através de estratégias de marketing político e instrumentos midiáticos em capital político para fins eleitorais