Riscando Fósforo: Decolonialidade e Hip Hop na produção artística de Djonga

• Autor(a) principal: ROGERIO LEAO FERREIRA
• Data de Publicação: 2021
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UFMS
• Texto Completo: https://repositorio.ufms.br/handle/123456789/3803
• topic: Estudos Culturais. Decolinialidade. Hip Hop. Djonga.

This final paper is the result of a bibliographical research of descriptive textual qualitative approach, whose object of study is the Hip Hop culture as a black movement of resistance and the contribution and engagement of rapper Djonga in his cultural practices and artistics for the legitimation of affirmation and formation of identity that are present in rap lyrics with their respective representations and symbolic meanings through their musical cultural work. The interest in making this discourse an object of scientific investigation is due to the fact that there are innumerable discussions about what rap is and what is its cultural role for contemporary society, thus interpreting its actions in the urban scenario, potentially marked by what it is heterogeneous. As for the theoretical basis of the dissertation, in order to contextualize the Hip Hop cultural movement, its origin and seek its artistic characteristics authors such as Zulu Nation (2017), Herschmann (2000), Teperman (2015), Zeni (2004) and Souza (2003) were collated. As for the analysis of the structure and construction of Djonga's work through the musical genre Rap and its symbolic expressions as in the cover images of albums and video clips, it was founded under the magnifying glass and Cultural and decolonial studies being carried out in this sense, a literature review that brings the socio-cultural trajectory of the Hip Hop movement closer to the context of this theoretical field, welcoming concepts, meanings and reflections from its authors to foster this research as Rámon Grosfoguel (2007); Joaze Bernardino Costa (2019); Nelson Maldonado Torres (2019); Aníbal Quijano (2005) Frantz Fanon (1968; 2008); Nestor Garcia Canclini (2015).With this, it hopes to make explicit, through the epistemological field of decolonial studies, the significant relevance of the Hip Hop genre as a black culture of resistance having Rap as a modus operandi to interpret and execute the objective of the enunciator research subject (Rapper).