| spelling |
Adriano Roberto Afonso do Nascimentohttp://lattes.cnpq.br/3464434450289459Márcia StengelJaileila de Araújo Menezeshttp://lattes.cnpq.br/6046844159203677Luciana Célia da Silva Costa2022-11-01T15:58:55Z2022-11-01T15:58:55Z2016-08-30http://hdl.handle.net/1843/46812O presente trabalho busca compreender a Identidade Social de mulheres MC‟s da Região Metropolitana de Belo Horizonte. As MC‟s são compositoras do rap e estão inseridas no hip hop, que é composto por cinco elementos: MC, DJ, grafite, break e conhecimento. Através de todas as suas manifestações artísticas, políticas e sociais as juventudes inseridas no hip hop denunciam a violência e a exclusão social vivenciadas nas periferias brasileiras. O movimento é um espaço, também, de valorização das juventudes negras, por meio da denúncia e recusa de estigmas de criminalidade e marginalidade associadas a esses grupos. As mulheres são uma minoria numérica no hip hop e sofrem com os preconceitos presentes no movimento, o que dificulta a suas inserções e permanências. Para compreender a Identidade Social das mulheres compositoras do rap, com base na Teoria de Identidade Social, a presente pesquisa pretende responder algumas perguntas, como: o que é ser compositora para as MC‟s? Como ser uma MC influencia nas dinâmicas das relações com as pessoas dentro e fora do hip hop? Quais são as implicações em suas vidas e carreiras, do fato de elas serem mulheres compositoras? Para tanto, realizamos sete entrevistas semiestruturadas com mulheres MC‟s da Região Metropolitana de Belo Horizonte. As entrevistas foram gravadas e transcritas pela própria pesquisadora. Para a análise do material, foi utilizada a técnica da Análise de Conteúdo, com o auxílio do software Nvivo, onde foi possível fazer uma grade com os temas mais relevantes trazidos por elas. Essa grade foi o guia para a construção das narrativas que são apresentadas nos resultados. Dessa maneira, foi possível apresentar algumas experiências compartilhadas pelas entrevistadas, contando a trajetória de cada uma. Para as entrevistadas, ser uma compositora não é algo determinado e fixo, pois é possível ver que elas estão em constante mudança. Ser uma MC influencia nas suas relações, tanto dentro quanto fora do hip hop, e nem sempre elas encontram o apoio necessário. O contexto do hip hop em que as mulheres compositoras do rap estão inseridas ainda é muito machista, dificultando, assim, a participação e a continuidade das suas carreiras. As mulheres MC‟s que estão na cena estão persistindo contra várias situações que dizem, nas entrelinhas, que aquele ali não é um lugar onde elas deveriam estar. Entretanto, todas as vezes em que as MC‟s sobem no palco para cantar as suas músicas ou batalhar, elas estão reafirmando que ali também é um lugar que pertence a elas.This study aims to understand the Social Identity of women MC‟s from the greater Belo Horizonte. MC‟s are RAP songwriters and they are part of the hip-hop movement, which is composed of five elements: the MC, the DJ, graffiti, breakdance and knowledge. Youths in the hip hop movement denounce violence and social exclusion experienced in Brazilian peripheries through artistic, political and social manifestations. This movement is also a space for recovery of black youths, through denunciation and refusal of crime and marginality stigmas associated with these groups. Women represent a numerical minority in the hip-hop and they suffer prejudice against in such context, which makes it difficult for them to be part of it. In order to understand the Social Identities of the women composers in the RAP context, this research aims to answer the following questions based on the Theory of Social Identity: what is it to be an MC composer? How does the fact of being an MC influence the relationship with people in and out of hip-hop? What are the implications in their lives and careers brought up by the fact that they are women songwriters? Therefore, we conducted semi structured interviews with seven women MC‟s in the greater Belo Horizonte. The interviews were recorded and transcribed by the researcher. Moreover, we used the technique called Content Analysis and the NVivo software to examine the data collection, which made it possible to create a grid with the most relevant issues they brought up. This grid worked as a guide for the construction of narratives presented in the outcomes. Hence, it was possible to present common experiences of the interviewees, telling their trajectories. According to the interviewees, being a songwriter is not something given and inalterable because they are constantly changing. Being an MC influences their relationships both in and out of the hip-hop context, and not always they find necessary support. The hip-hop context in which the RAP women songwriters are inserted is still very sexist, which makes it difficult for them to be part of it and develop their careers in the movement. The women MC‟s who are part of the movement have been persisting and battling against many issues, which, between the lines, state that this is not where they should be. However, every time that MC's go up on the stage to sing their songs or battle, they are reaffirming that it is also a place that belongs to them.porUniversidade Federal de Minas GeraisPrograma de Pós-Graduação em PsicologiaUFMGBrasilFAF - DEPARTAMENTO DE PSICOLOGIAPsicologia - TesesIdentidade social - TesesCompositoras - TesesMúsica popular - TesesMulheres - TesesRap (Música) - TesesIdentidade socialHipHopCompositorasMC‟s"A gente chega e invade as quebradas" : identidade social de mulheres MC’Sinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisinfo:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFMGinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGLICENSElicense.txtlicense.txttext/plain; charset=utf-82118https://repositorio.ufmg.br/bitstream/1843/46812/2/license.txtcda590c95a0b51b4d15f60c9642ca272MD52ORIGINALDissertação Luciana capa dura.pdfDissertação Luciana capa dura.pdfapplication/pdf2378700https://repositorio.ufmg.br/bitstream/1843/46812/1/Disserta%c3%a7%c3%a3o%20Luciana%20%20capa%20dura.pdf08b46495f0414cae7ada7ee4ce5a0d12MD511843/468122022-11-01 12:58:55.843oai:repositorio.ufmg.br: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ório InstitucionalPUBhttps://repositorio.ufmg.br/oaiopendoar:2022-11-01T15:58:55Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG)false
|