Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Sociais, Departamento de Sociologia, Programa de Pós-Graduação em Sociologia, 2012. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-01-23T15:59:16Z No. of bitstreams: 1 2012_SauloNepomucenoFurtadoAraujo.pdf: 668633 bytes, checksum: 1deb59d924f6380df2328df73f71deec (MD5) / Approved for entry into archive by Luanna Maia(luanna@bce.unb.br) on 2013-01-28T09:53:53Z (GMT) No. of bitstreams: 1 2012_SauloNepomucenoFurtadoAraujo.pdf: 668633 bytes, checksum: 1deb59d924f6380df2328df73f71deec (MD5) / Made available in DSpace on 2013-01-28T09:53:53Z (GMT). No. of bitstreams: 1 2012_SauloNepomucenoFurtadoAraujo.pdf: 668633 bytes, checksum: 1deb59d924f6380df2328df73f71deec (MD5) / Este trabalho tem por objetivo a compreensão de específicos processos transitados entre os anos setenta, oitenta e noventa relativos às manifestações culturais identificadas à música popular negra norte-americana, ou black music, no contexto da cidade de Brasília. Tomando por base metodológica um modelo de análise configuracional, interessa-nos a articulação interdependente entre dinâmicas de caráter técnico e redefinições nos protocolos éticos de consumo de bens tecnoculturais, produção e participações de eventos black, redefinições estas, tomadas enquanto indissociáveis de outro conjunto de transformações no que diz respeito ao plano das estéticas black, sobretudo musicais, em circulação no contexto investigado. Com base nos recursos técnicos da observação participante e da entrevista não estruturada, foi dada especial atenção neste processo de pesquisa à interlocução com os produtores culturais, Disc Jockeys (DJs) e donos de equipes de sonorização participantes de diferentes momentos do conjunto de expressões que dão corpo às tramas sociais às quais nos referimos por cena black brasiliense ou candanga, na exata medida em que estes interlocutores dispõe de posições e saberes privilegiados relativos às distintas formas de articulação entre dinâmicas de caráter técnico e novas possibilidades de vivências, ou expressões ético-estéticas relacionadas à black music em Brasília entre as décadas de setenta, oitenta e noventa do século XX. Busca-se assim, construir um processo narrativo em que se articulem as falas de diferentes interlocutores, autores e do próprio pesquisador na compreensão de alguns dos processos que levariam a região metropolitana do Distrito Federal a constituir, no plano nacional, um dos principais mercados de produção e consumo de estéticas black, tais como o rap e o funk. ______________________________________________________________________________ ABSTRACT / This work aims at understanding specific cases carried over from the seventies, eighties and nineties relating to cultural events identified to popular American black music, in the context of the city of Brasilia. Based on a methodological model of configurational analysis, we are interested in the interdependent dynamics between technical and ethical protocols resets in consumption of technocultural goods, production and participation of black music events. It is important to understand these redefinitions, taken as inseparable from another set of transformations with respect to the plane of black aesthetic, especially the expressions related to musical circulating in the context investigated. Based on the social science techniques of participant observation and unstructured interview, was given special attention in this research process to dialogue with cultural producers, Disc Jockeys (DJs) and owners of sound systems that participated from different moments of the set of expressions that give the social body frames which we refer to black brasiliense scene. In this research process these partners have privileged positions and knowledge regarding about the various forms of dynamic articulation of technical possibilities and new experiences, or ethical-aesthetic expressions related to black music in Brasilia between the seventies, eighties and nineties of the twentieth century. The aim is thus to construct a narrative process in which are articulated the speech of different speakers, authors and of the researcher in a effort to comprehend some of the processes that transformed the metropolitan area of Distrito Federal, in one of the main markets, at the national level, of production and consumption of black aesthetics, such as rap and funk.

The purpose of this study is to explore the ways Black women and queer artists and their audiences employ country music as a way to facilitate a reclamation and complication of (Black) Americanness. The data for this study emerges from a qualitative content analysis of six music videos by Black artists released on YouTube between January 2016 and December 2022 and their associated comment sections. The years between 2016 and 2022 have seen the United States contend with what has been considered a "racial reckoning." This study recognizes these six music videos as sites for personal and communal reflection and re-evaluation on how this moment of race-based national conversation brings into question the ways we typify American identity and citizenship. The foundational literature for this study focuses on the production of culture perspective, disidentification, quare studies, and musical construction of identity. / Master of Science / This project explores how Black women and queer artists and their audiences use country music to facilitate reclaim and complicate Black Americanness. The data for this study emerges from a qualitative content analysis of six music videos by Black artists released on YouTube between January 2016 and December 2022 and their associated comment sections. The years between 2016 and 2022 have seen the United States contend with what has been considered a "racial reckoning." This study recognizes these six music videos as sites for personal and communal reflection and re-evaluation on how this moment of race-based national conversation brings into question the ways we typify American identity and citizenship.

This thesis aims to investigate the black church and black community in James Baldwin¡¦s first novel, Go Tell It on the Mountain. Particularly, it probes how and why the religion, namely Christianity, casts a loaded shadow for African Americans. I argue that Baldwin, on the one hand, vigorously illustrates a bodily pious black community by bombarding us with heaps of biblical texts and church songs; on the other hand, he serenely indicts a spiritually hollow black church by narrating a blues-like comically sad tone. I discuss Baldwin¡¦s relentless wrestle with God in Chapter One. I suggest reading Go Tell It on the Mountain together with Baldwin¡¦s essay, The Fire Next Time, to flesh out the weighty issue of religion in the text. Since black community and black church generally symbolizes each other in the early history of Africa American lives, I make a detour to explore the emergence and development of the Black Church in Chapter Two. It is also an attempt to explain how the white God in the U.S.A. becomes black and how and why black community eventually accepts the then indifferent God to be their own. In Chapter Three, I look into the importance (and impotence) of the epitome of black community¡XHarlem¡Xin terms of its geographical location, position, and structure within the capitalist metropolis, New York. This chapter travels with John Grimes, the protagonist, to see the white man¡¦s world and to investigate the impossibility and oxymoron of ¡§black flâneur.¡¨ Then I discuss in Chapter Four the performing arts of the Black Church, as well as the secular music outside of the Black Church. Baldwin intelligently borrows God¡¦s spear and shield¡Xthe language in the Bible and the music played inside (and later outside) the Black Church¡Xas his writing tool to tell a gospel-like parable. At last, I would conclude that GTIM serves as a parable of the secular world for Baldwin has sung a blues gospel to the world.

. A presente dissertação tem por objetivo observar a influência da black music norte-americana na formação da identidade dos jovens negros que frequentam as festas da cena black paulistana. Para isso, procura-se debruçar sobre os fatores históricos, sociais, culturais e políticos que propiciam essa dinâmica. A motivação para a realização do trabalho nasce da participação em eventos nos dois países em diferentes momentos, onde se fez perceptível certa semelhança no comportamento dos jovens, o que despertou o desejo de investigar quão profundos seriam esses laços entre grupos tão distintos. A partir da perspectiva dos Estudos Culturais intenta-se mostrar como há mais de quatro décadas a black music atua como um elo entre povos da diáspora africana. O embasamento teórico e as entrevistas realizadas permitem contextualizar o fenômeno e trilhar um percurso que demonstra como a partir da escravidão e da forma como o pensamento racial se estruturou, a sociedade brasileira foi gerada de forma excludente deixando o negro sem referenciais positivos para formar sua identidade, o que faz com que as manifestações afro-americanas sirvam de inspiração, ainda que existam diferenças nas relações raciais nos dois países. Essa aproximação se dá principalmente no campo cultural, em especial por meio da música, que se manifesta na diáspora como um memorial à ancestralidade africana. Essa dinâmica tem início ainda na década de 1970 com os grandes bailes blacks, se transforma na década de 1980 com o surgimento do movimento hip hop em São Paulo e chega ao século 21, em uma nova fase de baladas blacks que podem ser vistas como um forte exemplo das mudanças ocorridas no novo milênio a partir do advento da globalização. Utilizo como metodologia a pesquisa bibliográfica, por meio de livros, vídeos e websites além de observações realizadas a partir de experiências pessoais e entrevistas, o que permite uma maior compreensão do fenômeno. / This dissertation aims to observe the influence of American black music in the identity formation of the black youth who attend the black party scene in Sao Paulo city. We look into the historical, social, cultural and political factors that favor this dynamic. The motivation is participation in events in both countries at different moments, which aroused the desire to investigate these deep ties between such distinct groups. From the Cultural Studies perspective we show how American black music has played a role in the link between diaspora people. The theoretical basement and the interviews allows us to contextualize this phenomenon and to view a path showing how from slavery the way racial thought was structured in Brazilian society has generated exclusionary ideas which didnt give positive influences for the black identity. That makes the African American manifestations serve as inspirations even if there are differences in the racial relations in both countries. This approximation occurs mainly in the cultural field. Especially through the music, which manifests in the diaspora as a memorial to the African inheritance. This dynamic started in the 1970s at huge black balls and underwent a transformation in the 1980s with creation of the hip hop movement in Sao Paulo and arrives to the 21st century in a new phase of black clubs which can be observed as a strong example of the changes that globalization has brought. As methodology I used bibliographical research through books, videos, sites and also observations through personal experiences and interviews which allow better comprehension of the phenomenon.

. A presente dissertação tem por objetivo observar a influência da black music norte-americana na formação da identidade dos jovens negros que frequentam as festas da cena black paulistana. Para isso, procura-se debruçar sobre os fatores históricos, sociais, culturais e políticos que propiciam essa dinâmica. A motivação para a realização do trabalho nasce da participação em eventos nos dois países em diferentes momentos, onde se fez perceptível certa semelhança no comportamento dos jovens, o que despertou o desejo de investigar quão profundos seriam esses laços entre grupos tão distintos. A partir da perspectiva dos Estudos Culturais intenta-se mostrar como há mais de quatro décadas a black music atua como um elo entre povos da diáspora africana. O embasamento teórico e as entrevistas realizadas permitem contextualizar o fenômeno e trilhar um percurso que demonstra como a partir da escravidão e da forma como o pensamento racial se estruturou, a sociedade brasileira foi gerada de forma excludente deixando o negro sem referenciais positivos para formar sua identidade, o que faz com que as manifestações afro-americanas sirvam de inspiração, ainda que existam diferenças nas relações raciais nos dois países. Essa aproximação se dá principalmente no campo cultural, em especial por meio da música, que se manifesta na diáspora como um memorial à ancestralidade africana. Essa dinâmica tem início ainda na década de 1970 com os grandes bailes blacks, se transforma na década de 1980 com o surgimento do movimento hip hop em São Paulo e chega ao século 21, em uma nova fase de baladas blacks que podem ser vistas como um forte exemplo das mudanças ocorridas no novo milênio a partir do advento da globalização. Utilizo como metodologia a pesquisa bibliográfica, por meio de livros, vídeos e websites além de observações realizadas a partir de experiências pessoais e entrevistas, o que permite uma maior compreensão do fenômeno. / This dissertation aims to observe the influence of American black music in the identity formation of the black youth who attend the black party scene in Sao Paulo city. We look into the historical, social, cultural and political factors that favor this dynamic. The motivation is participation in events in both countries at different moments, which aroused the desire to investigate these deep ties between such distinct groups. From the Cultural Studies perspective we show how American black music has played a role in the link between diaspora people. The theoretical basement and the interviews allows us to contextualize this phenomenon and to view a path showing how from slavery the way racial thought was structured in Brazilian society has generated exclusionary ideas which didnt give positive influences for the black identity. That makes the African American manifestations serve as inspirations even if there are differences in the racial relations in both countries. This approximation occurs mainly in the cultural field. Especially through the music, which manifests in the diaspora as a memorial to the African inheritance. This dynamic started in the 1970s at huge black balls and underwent a transformation in the 1980s with creation of the hip hop movement in Sao Paulo and arrives to the 21st century in a new phase of black clubs which can be observed as a strong example of the changes that globalization has brought. As methodology I used bibliographical research through books, videos, sites and also observations through personal experiences and interviews which allow better comprehension of the phenomenon.

Submitted by William Justo Figueiro (williamjf) on 2015-07-28T21:35:30Z No. of bitstreams: 1 32d.pdf: 9001390 bytes, checksum: 4e8bf37bc184d7c5662ca039f8675791 (MD5) / Made available in DSpace on 2015-07-28T21:35:30Z (GMT). No. of bitstreams: 1 32d.pdf: 9001390 bytes, checksum: 4e8bf37bc184d7c5662ca039f8675791 (MD5) Previous issue date: 2014-04-04 / Nenhuma / Este trabalho investiga a construção do pertencimento afro pela experiência em festas de Black music. Defende-se a tese que as interações sociais da comunidade negra, realizadas em torno do consumo coletivo de música, que se organizavam tradicionalmente pela estrutura de rodas sagradas ou profanas, foram afetadas pelo midiático. Essa afetação fez com que os elementos constitutivos do pertencimento, desterritorializados pelos movimentos de diásporas e antes compartilhados somente pela interação pessoal nas rodas, sejam difundidos também pelas mídias sonoras. Com isso, o consumo coletivo de músicas gravadas possibilita novas formas de interação, a experiência comunicacional. A partir da articulação dos conceitos de experiência e apropriação, relacionando-os com elementos da cultura viajante do Atlântico Negro e tendo a roda, presente em diferentes manifestações culturais africanas e da diáspora, como elemento síntese, propõe-se um circuito teórico-metodológico que apreende as dinâmicas espaciais, culturais e midiáticas envolvidas no processo. A construção de uma ambiência afro-midiática, pela relação dos corpos em performance, com a música gravada e os equipamentos de som e iluminação, possibilita que diferentes territorialidades e temporalidade concorram, levando, mediado pela memória coletiva, à presentificação do afro. A festa Negra Noite foi o lugar de observação, através uma pesquisa de inspiração etnográfica. A música gravada insere a festa no circuito de consumo cultural de Black music, enquanto a mediação pela memória coletiva liga a festa à tradição recente dos bailes Black Porto e à tradição de longa duração do Atlântico Negro. / The present paper investigates the structure of the Afro identity through the experience in Black music parties. The thesis supports that the social interactions of the black community, held around collective consumption of music, which were traditionally arranged by the structure of sacred or profane circles have been affected by the media. Such fuss caused the constituent elements of identity, deterritorialized by the movements of diasporas and previously shared only by personal interaction in the circles to be spread by the sound media as well. Thus, the collective consumption of music recorded enables new forms of interaction, the communication experience. From the articulation of experience and ownership concepts, relating them to the elements of traveller culture of the Black Atlantic and being the circle, present in different African and diaspora cultural events, such as synthesis elements, a theoretical and methodological study is proposed, which seizes the spatial, cultural and media dynamics involved in the process. The structure of an African-media ambiance, through the relation of the bodies in performance, with the recorded music and sound and lighting equipment enables different territoriality and temporality to compete, taking, mediated by the collective memory, to the presentification of the Afro. The party Negra Noite was the place of observation, through an ethnographic research. The music recorded enters the party in the circuit of cultural consumption of black music, while the mediation of the collective memory connects the party to the recent tradition of Black Porto dances and to the long lasting tradition of the Black Atlantic.

Originality is an important social and cultural value. In pop music its influence is comprehensive: it shapes the economics of an industry through copyright law, and the temperament of musical culture through its place as keystone of the prevailing Romantic tradition. The concept extends beyond issues of artistic and technical innovation: a point of origin is fundamental to the stories we tell about pop. What these stories tell us about ourselves and the way we use music, though, may be more complex than the orthodoxy allows; while the moderns from Eliot and Frye through Barthes and Foucault have sliced and diced originality in text, its interrogation in popular music is overdue. This study seeks to address the social and cultural context, the implications for individual identity and the issues of creative intention, status, popularity and profitability that come into play at those moments when the cultural honours of “originality” are conferred. Working from archival and textual resources, the research explores the entry of “black music” into pop culture with the Fisk University Jubilee Singers, who can be seen both as the source of several cultural streams which remain influential in popular music, and as the source of a popular mythology which has become detached from historical fact. It then proceeds to three case studies. The problem of what it means to start something new is developed in the story of Elvis Presley and the foundation myth of rock & roll. The professional use of originality is interrogated in the work of the Beatles, a foursome with a strong claim to be the greatest plagiarists, if not the greatest originators in pop. And the artistic idea of originality and its contingencies are addressed through the case of Lou Reed and the changing status of his album Metal Machine Music. A final chapter assesses the conclusions which can be made from these explorations, and the implications for future research.

Why is it that "Steal Away" is better known than "Jesus on the Waterside?" This question can only be answered by examining the history of how Spirituals were brought to the attention of audiences beyond the plantation. Negro Spirituals began as a folk music tradition and were later developed into concert music for performance. Along the way, this genre was described, notated, catalogued, studied, and arranged by individuals from various ideological perspectives, which led to the following questions and debates: 1. Can African Americans produce beautiful music? 2. Why do African Americans sing? 3. Are African Americans content to await freedom in Heaven? 4. Are the Spirituals original compositions or imitations of European music? 5. Are the Spirituals a source of dignity or shame? 6. What can contemporary society learn from the message of the Spirituals? 7. How should the Spirituals be performed? The debates that most directly affected the canon of Spirituals are the final three questions, which originated among African Americans after emancipation and were especially influential at freedmen schools in the South, where the tradition of singing Spirituals as concert music was established.

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The purpose of this dissertation was to elucidate my lived experiences as an HBCU band director as I navigated through tensions within HBCU culture, between HBCU culture and the dominant culture, and issues of inequality, and access. I chronicle my early life and influences to bring clarity and meaning to the choices and decisions made as I transitioned to becoming an HBCU student and then band director at an early age. It was my intention to use autoethnographic self-examination and personal narrative to make transparent racial inequality as it: (a) impacts the academic and musical quality of HBCU band programs, (b) raises questions regarding access to resources, and (c) elicits larger and more complex questions related to race and culture. In addition to a thorough review of my personal recollections and historical artifacts, I also sought to interview as many people as possible that had impacted me, my life, and HBCU bands in order to check my memory and perspectives. As the word got out about my project, hundreds in the HBCU community reached out wanting to participate. Of the eighty-seven persons that agreed to an interview, I was able to interview fifty-two. I analyzed my story through the framework of "Double-Consciousness Theory" as articulated by W. E. B. Du Bois, specifically through the concepts of the veil, the color line, and twoness. The guiding question for my inquiry was: Why is the musicianship of HBCU bands praised by one culture and viewed in a mostly deficit view in another, and how did an HBCU band director navigate these tensions to lead two successful programs? The findings demonstrate that there are multiple and conflicting expectations and perceptions of HBCU band programs. By considering HBCU bands through my own experience of double-consciousness it was possible to amplify the voices of marginalized groups and provide more nuanced understandings to those who have a one-dimensional view of such band programs.