The poetics of social contestation of slam and rap in contemporary Brazilian literature
Autor(a) principal: | |
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Data de Publicação: | 2024 |
Outros Autores: | , |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Travessias (Cascavel. Online) |
Texto Completo: | https://e-revista.unioeste.br/index.php/travessias/article/view/32248 |
Resumo: | This article proposes reflections on the effects of hegemonic discourses in historiography and literary criticism that impact peripheral arts, relating their reception to literary and decolonial studies. What we observe is an overvaluation of classical and canonical arts, juxtaposed with an undervaluation of peripheral arts. Thus, the depreciation of arts such as slam and rap is associated with a prejudiced imaginary constructed socially and historically in the perception of poetry closed in on itself, without ethical connection to its production context. In this sense, the objective is to shed light on this cultural bias that permeates artistic conceptions, so that we consider rap and slam from a decolonial perspective. For this reason, we promote reflections based on the assertions of Abreu (2006), Candido (2006), Fish; Hoys-Andrade (2001), Lajolo (1993), Palermo (2018), and Shusterman (1998) and Zumthor (1997) according to whom the paths involved in the reception of artistic text will be exclusively expressive communication (and therefore art) if those who consume it also understand it. Therefore, the final purpose of this work is to provide enhanced contributions to the idea that both slam and rap are arts that can reach their audience regarding the fabulation process. To do this, the method through which we weave our reflections revisits some works belonging to the periphery, such as the slams compiled by Mel Duarte (2019), as well as the song "Capítulo 4, versículo 3" by the group Racionais Mc’s (2023), seeking to analyze them in light of the arguments put forth by the mentioned authors. |
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The poetics of social contestation of slam and rap in contemporary Brazilian literatureA poética de contestação social do slam e do rap na literatura brasileira contemporâneaArtes Periféricas; Cultura; Rap; Slam.Peripheral artscontestation poeticsslamrapThis article proposes reflections on the effects of hegemonic discourses in historiography and literary criticism that impact peripheral arts, relating their reception to literary and decolonial studies. What we observe is an overvaluation of classical and canonical arts, juxtaposed with an undervaluation of peripheral arts. Thus, the depreciation of arts such as slam and rap is associated with a prejudiced imaginary constructed socially and historically in the perception of poetry closed in on itself, without ethical connection to its production context. In this sense, the objective is to shed light on this cultural bias that permeates artistic conceptions, so that we consider rap and slam from a decolonial perspective. For this reason, we promote reflections based on the assertions of Abreu (2006), Candido (2006), Fish; Hoys-Andrade (2001), Lajolo (1993), Palermo (2018), and Shusterman (1998) and Zumthor (1997) according to whom the paths involved in the reception of artistic text will be exclusively expressive communication (and therefore art) if those who consume it also understand it. Therefore, the final purpose of this work is to provide enhanced contributions to the idea that both slam and rap are arts that can reach their audience regarding the fabulation process. To do this, the method through which we weave our reflections revisits some works belonging to the periphery, such as the slams compiled by Mel Duarte (2019), as well as the song "Capítulo 4, versículo 3" by the group Racionais Mc’s (2023), seeking to analyze them in light of the arguments put forth by the mentioned authors.Este artigo propõe reflexões acerca dos efeitos dos discursos hegemônicos da historiografia e crítica literária que incidem sobre as artes periféricas, relacionando sua recepção aos estudos literários e decoloniais. O que percebemos é uma supervalorização das artes clássicas e canônicas e, em contrapartida, uma subvalorização das artes periféricas. Assim, a depreciação de artes, como o slam e o rap associa-se a um imaginário preconceituoso erigido social e historicamente na percepção do poético fechado em si mesmo, sem relação ética com seu contexto de produção. Nesse sentido, o objetivo consiste em lançar luz a esse viés cultural que atravessa as concepções artísticas, para que contemplemos o slam e o rap sob uma ótica decolonial. Por essa razão que promovemos reflexões com base nas asseverações de Abreu (2006), Candido (2006), Fish; Hoys-Andrade (2001), Lajolo (1993), Palermo (2018), Shusterman (1998) e Zumthor (1997), segundo os quais os percursos envolvidos na recepção do texto artístico será, exclusivamente, comunicação expressiva (e, portanto, arte) se quem a consome também a compreende. Assim sendo, expectamos como propósito final deste trabalho contribuições potencializadas à ideia de que tanto o slam quanto o rap são artes que conseguem atingir seu público, no que diz respeito ao processo de fabulação. Para isso, o método por meio do qual tecemos nossas reflexões revisita algumas obras pertencentes ao universo da periferia, como os slams compilados por Mel Duarte (2019), bem como a música Capítulo 4, versículo 3 do grupo Racionais Mc’s (2023), procurando analisá-las à luz do que advogam os autores mencionados.Unioeste2024-01-27info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://e-revista.unioeste.br/index.php/travessias/article/view/3224810.48075/rt.v18i1.32248Travessias; Vol. 18 No. 1 (2024); e32248Travessias; Vol. 18 Núm. 1 (2024); e32248Travessias; v. 18 n. 1 (2024); e322481982-5935reponame:Travessias (Cascavel. Online)instname:Universidade Estadual do Oeste do Paraná (UNIOESTE)instacron:Unioesteporhttps://e-revista.unioeste.br/index.php/travessias/article/view/32248/22873Copyright (c) 2024 Autores mantêm os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob CC-BY-NC-SA 4.0 que permite o compartilhamento do trabalho com indicação da autoria e publicação inicial nesta revistahttps://creativecommons.org/licenses/by-nc-sa/4.0info:eu-repo/semantics/openAccessIladin, IsmaelSozza, FátimaOliveira, Valdeci Batista de Melo2024-05-03T12:29:08Zoai:ojs.e-revista.unioeste.br:article/32248Revistahttps://e-revista.unioeste.br/index.php/travessiasPUBhttps://e-revista.unioeste.br/index.php/travessias/oairevista.travessias@unioeste.br1982-59351982-5935opendoar:2024-05-03T12:29:08Travessias (Cascavel. Online) - Universidade Estadual do Oeste do Paraná (UNIOESTE)false |
dc.title.none.fl_str_mv |
The poetics of social contestation of slam and rap in contemporary Brazilian literature A poética de contestação social do slam e do rap na literatura brasileira contemporânea |
title |
The poetics of social contestation of slam and rap in contemporary Brazilian literature |
spellingShingle |
The poetics of social contestation of slam and rap in contemporary Brazilian literature Iladin, Ismael Artes Periféricas; Cultura; Rap; Slam. Peripheral arts contestation poetics slam rap |
title_short |
The poetics of social contestation of slam and rap in contemporary Brazilian literature |
title_full |
The poetics of social contestation of slam and rap in contemporary Brazilian literature |
title_fullStr |
The poetics of social contestation of slam and rap in contemporary Brazilian literature |
title_full_unstemmed |
The poetics of social contestation of slam and rap in contemporary Brazilian literature |
title_sort |
The poetics of social contestation of slam and rap in contemporary Brazilian literature |
author |
Iladin, Ismael |
author_facet |
Iladin, Ismael Sozza, Fátima Oliveira, Valdeci Batista de Melo |
author_role |
author |
author2 |
Sozza, Fátima Oliveira, Valdeci Batista de Melo |
author2_role |
author author |
dc.contributor.author.fl_str_mv |
Iladin, Ismael Sozza, Fátima Oliveira, Valdeci Batista de Melo |
dc.subject.por.fl_str_mv |
Artes Periféricas; Cultura; Rap; Slam. Peripheral arts contestation poetics slam rap |
topic |
Artes Periféricas; Cultura; Rap; Slam. Peripheral arts contestation poetics slam rap |
description |
This article proposes reflections on the effects of hegemonic discourses in historiography and literary criticism that impact peripheral arts, relating their reception to literary and decolonial studies. What we observe is an overvaluation of classical and canonical arts, juxtaposed with an undervaluation of peripheral arts. Thus, the depreciation of arts such as slam and rap is associated with a prejudiced imaginary constructed socially and historically in the perception of poetry closed in on itself, without ethical connection to its production context. In this sense, the objective is to shed light on this cultural bias that permeates artistic conceptions, so that we consider rap and slam from a decolonial perspective. For this reason, we promote reflections based on the assertions of Abreu (2006), Candido (2006), Fish; Hoys-Andrade (2001), Lajolo (1993), Palermo (2018), and Shusterman (1998) and Zumthor (1997) according to whom the paths involved in the reception of artistic text will be exclusively expressive communication (and therefore art) if those who consume it also understand it. Therefore, the final purpose of this work is to provide enhanced contributions to the idea that both slam and rap are arts that can reach their audience regarding the fabulation process. To do this, the method through which we weave our reflections revisits some works belonging to the periphery, such as the slams compiled by Mel Duarte (2019), as well as the song "Capítulo 4, versículo 3" by the group Racionais Mc’s (2023), seeking to analyze them in light of the arguments put forth by the mentioned authors. |
publishDate |
2024 |
dc.date.none.fl_str_mv |
2024-01-27 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://e-revista.unioeste.br/index.php/travessias/article/view/32248 10.48075/rt.v18i1.32248 |
url |
https://e-revista.unioeste.br/index.php/travessias/article/view/32248 |
identifier_str_mv |
10.48075/rt.v18i1.32248 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://e-revista.unioeste.br/index.php/travessias/article/view/32248/22873 |
dc.rights.driver.fl_str_mv |
https://creativecommons.org/licenses/by-nc-sa/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
https://creativecommons.org/licenses/by-nc-sa/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Unioeste |
publisher.none.fl_str_mv |
Unioeste |
dc.source.none.fl_str_mv |
Travessias; Vol. 18 No. 1 (2024); e32248 Travessias; Vol. 18 Núm. 1 (2024); e32248 Travessias; v. 18 n. 1 (2024); e32248 1982-5935 reponame:Travessias (Cascavel. Online) instname:Universidade Estadual do Oeste do Paraná (UNIOESTE) instacron:Unioeste |
instname_str |
Universidade Estadual do Oeste do Paraná (UNIOESTE) |
instacron_str |
Unioeste |
institution |
Unioeste |
reponame_str |
Travessias (Cascavel. Online) |
collection |
Travessias (Cascavel. Online) |
repository.name.fl_str_mv |
Travessias (Cascavel. Online) - Universidade Estadual do Oeste do Paraná (UNIOESTE) |
repository.mail.fl_str_mv |
revista.travessias@unioeste.br |
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