The African diaspora through Portuguese Hip Hop music: a case study
Autor(a) principal: | |
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Data de Publicação: | 2016 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://doi.org/10.34624/fb.v0i13.5029 |
Resumo: | Hip-hop culture emerged in the 1970s in New York’s black neighborhoods, particularly in the Bronx. With roots in Kingston, Jamaica, it found a rich space for its development in the block parties where a DJ played samples and entertained the community. Being at first an aesthetic manifestation, it soon became a social and political tool for the new generation who found a different way to express itself through deejaying, emceeing, breakdancing, and graffiti art. These forms of political action laid the groundwork for what became a much wider, deeply conscious, and globally dispersed cultural movement.Portugal’s first contact with hip-hop culture dates from the decade of 1980 and it happened through breakdance. It is precisely in the decade of the 1980s that the migratory traffic of people coming from the PALOPs towards Lisbon intensifies. The African immigrants had to undergo a hurried integration that left aside all the cultural differences. Thus, they continued to suffer of a clandestine state of being and to hold on to the hope of going back home. Although at that time hip-hop had little space in the Portuguese media, through radio and television the residents of Lisbon’s peripheral areas were able to access the works of the North American rappers. They became aware of their similar conditions and experiences and this lead to the birth of rap. Hip-hop also aims at negotiating between the experiences of marginalization, oppression, and ethnic prejudice, through the constant exercise of meta-language that allows it to translate the feeling of injustice lived by the young afro-descendants and at the margins of society. In this perspective, we intend to observe how the perception and the memory of Africa and of the African diaspora is rebuilt by Valete, a Lisbon-based rapper, son of Santomean parents. |
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The African diaspora through Portuguese Hip Hop music: a case studyA diáspora africana através da música hip-hop portuguesa: um estudo de casoHip-hop culture emerged in the 1970s in New York’s black neighborhoods, particularly in the Bronx. With roots in Kingston, Jamaica, it found a rich space for its development in the block parties where a DJ played samples and entertained the community. Being at first an aesthetic manifestation, it soon became a social and political tool for the new generation who found a different way to express itself through deejaying, emceeing, breakdancing, and graffiti art. These forms of political action laid the groundwork for what became a much wider, deeply conscious, and globally dispersed cultural movement.Portugal’s first contact with hip-hop culture dates from the decade of 1980 and it happened through breakdance. It is precisely in the decade of the 1980s that the migratory traffic of people coming from the PALOPs towards Lisbon intensifies. The African immigrants had to undergo a hurried integration that left aside all the cultural differences. Thus, they continued to suffer of a clandestine state of being and to hold on to the hope of going back home. Although at that time hip-hop had little space in the Portuguese media, through radio and television the residents of Lisbon’s peripheral areas were able to access the works of the North American rappers. They became aware of their similar conditions and experiences and this lead to the birth of rap. Hip-hop also aims at negotiating between the experiences of marginalization, oppression, and ethnic prejudice, through the constant exercise of meta-language that allows it to translate the feeling of injustice lived by the young afro-descendants and at the margins of society. In this perspective, we intend to observe how the perception and the memory of Africa and of the African diaspora is rebuilt by Valete, a Lisbon-based rapper, son of Santomean parents.A cultura hip hop surgiu nos anos 70 nos bairros pobres das periferias de Nova York, em particular no Bronx. Tendo as suas raízes na Jamaica, encontrou um importante espaço de desenvolvimento nas festas de quarteirão onde um DJ tocava seleções de músicas para entreter a comunidade. Num primeiro momento tratou-se duma manifestação apenas estética; contudo, não demorou muito para que se transformasse numa ferramenta política para as novas gerações que encontraram formas diferentes de expressar-se nas artes do deejaing, mcing, breakdancing e do graffiti. Estas novas formas de ação política prepararam o terreno para o que se virou num movimento cultural muito mais amplo, profundamente consciente e globalmente espalhado.Em Portugal, o primeiro contacto com a cultura hip hop remonta à década de 1980, através da dança. É precisamente nesta década que o fluxo migratório dos PALOP para Lisboa se torna mais intenso. Contudo, os imigrantes africanos foram objeto de uma integração apressada que deixou de lado as suas diferenças culturais, continuando desta forma a viver na clandestinidade e a agarrar-se à esperança de voltar para a terra nativa. Embora naquela altura o hip hop não tivesse muita ressonância nos media portugueses, foi através da rádio e da televisão que os residentes das áreas periféricas de Lisboa tiveram acesso aos trabalhos dos rappers norte-americanos. Tomaram assim consciências das suas condições parecidas e das estratégias de resistência que a música lhes proporcionava: surgiu assim o rap em Portugal.Finalmente, a cultura hip hop visa negociar entre as experiências da marginalização, da opressão e do preconceito étnico através dum exercício constante de metalinguagem que lhe permite traduzir o sentimento de injustiça vivido pelos jovens afrodescendentes e nas margens da sociedade.No presente trabalho tencionamos aprofundar estas reflexões e observar como é reconstruída a perceção e a memória da África e da diáspora africana pelo rapper Valete, artista filho de santomenses mas a viver em Lisboa.UA Editora - Universidade de Aveiro2016-01-01info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.34624/fb.v0i13.5029https://doi.org/10.34624/fb.v0i13.5029Forma Breve; No 13 (2016): Exodus: conto e recontos; 679-689Forma Breve; n.º 13 (2016): Exodus: conto e recontos; 679-6892183-47091645-927Xreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttps://proa.ua.pt/index.php/formabreve/article/view/5029https://proa.ua.pt/index.php/formabreve/article/view/5029/3757Lupati, Federicainfo:eu-repo/semantics/openAccess2023-11-23T18:46:33Zoai:proa.ua.pt:article/5029Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T16:02:49.505506Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
The African diaspora through Portuguese Hip Hop music: a case study A diáspora africana através da música hip-hop portuguesa: um estudo de caso |
title |
The African diaspora through Portuguese Hip Hop music: a case study |
spellingShingle |
The African diaspora through Portuguese Hip Hop music: a case study Lupati, Federica |
title_short |
The African diaspora through Portuguese Hip Hop music: a case study |
title_full |
The African diaspora through Portuguese Hip Hop music: a case study |
title_fullStr |
The African diaspora through Portuguese Hip Hop music: a case study |
title_full_unstemmed |
The African diaspora through Portuguese Hip Hop music: a case study |
title_sort |
The African diaspora through Portuguese Hip Hop music: a case study |
author |
Lupati, Federica |
author_facet |
Lupati, Federica |
author_role |
author |
dc.contributor.author.fl_str_mv |
Lupati, Federica |
description |
Hip-hop culture emerged in the 1970s in New York’s black neighborhoods, particularly in the Bronx. With roots in Kingston, Jamaica, it found a rich space for its development in the block parties where a DJ played samples and entertained the community. Being at first an aesthetic manifestation, it soon became a social and political tool for the new generation who found a different way to express itself through deejaying, emceeing, breakdancing, and graffiti art. These forms of political action laid the groundwork for what became a much wider, deeply conscious, and globally dispersed cultural movement.Portugal’s first contact with hip-hop culture dates from the decade of 1980 and it happened through breakdance. It is precisely in the decade of the 1980s that the migratory traffic of people coming from the PALOPs towards Lisbon intensifies. The African immigrants had to undergo a hurried integration that left aside all the cultural differences. Thus, they continued to suffer of a clandestine state of being and to hold on to the hope of going back home. Although at that time hip-hop had little space in the Portuguese media, through radio and television the residents of Lisbon’s peripheral areas were able to access the works of the North American rappers. They became aware of their similar conditions and experiences and this lead to the birth of rap. Hip-hop also aims at negotiating between the experiences of marginalization, oppression, and ethnic prejudice, through the constant exercise of meta-language that allows it to translate the feeling of injustice lived by the young afro-descendants and at the margins of society. In this perspective, we intend to observe how the perception and the memory of Africa and of the African diaspora is rebuilt by Valete, a Lisbon-based rapper, son of Santomean parents. |
publishDate |
2016 |
dc.date.none.fl_str_mv |
2016-01-01 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://doi.org/10.34624/fb.v0i13.5029 https://doi.org/10.34624/fb.v0i13.5029 |
url |
https://doi.org/10.34624/fb.v0i13.5029 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
https://proa.ua.pt/index.php/formabreve/article/view/5029 https://proa.ua.pt/index.php/formabreve/article/view/5029/3757 |
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info:eu-repo/semantics/openAccess |
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openAccess |
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application/pdf |
dc.publisher.none.fl_str_mv |
UA Editora - Universidade de Aveiro |
publisher.none.fl_str_mv |
UA Editora - Universidade de Aveiro |
dc.source.none.fl_str_mv |
Forma Breve; No 13 (2016): Exodus: conto e recontos; 679-689 Forma Breve; n.º 13 (2016): Exodus: conto e recontos; 679-689 2183-4709 1645-927X reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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