A Dance of Resistance from Recife, Brazil: Carnivalesque Improvisation in Frevo

Spanos, Kathleen A.

doi:10.1017/s0149767719000305

Cited by 6 publications

(3 citation statements)

References 19 publications

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“…Dance, for its performative nature, is a "seductive way of embodying national or regional identities" (Neveu Kringelbach 2013, 10). Many dance studies have revealed that, when dance concerns one's or others' identities, it is a particularly salient vehicle to politically demonstrate such identities (Neveu Kringelbach and Skinner 2012;Royce 2002;Wulff 2008;Weir 2017;Spanos 2019). North American native communities, for instance, revive the traditional dance rituals to mark their distinct identities (Aplin 2009;Kelley 2012) or to protest for political rights (Harkin 1997;Weir 2017).…”

Section: Cultural Renaissance and The New Generation Of Kahiko Dancersmentioning

confidence: 99%

Colonial Rupture and Native Continuity in Indigenous Cultural Representations: Through Hawaiian Ancient Dance Kahiko

Misaki¹

2021

Dance Res. J.

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This article discusses the role of colonial oppression in creating conflicting perspectives in the reproduction of dance as Indigenous cultural heritage. The debate on kahiko, the ancient Hawaiian dance, of which practice was severely controlled and then revived through the cultural renaissance, demonstrates that the radical deprivation of the practice has created multiple understandings of the dance among different practitioners. Of primary importance in these respects is the intergenerational divide within the dance community, manifest in the critical perspective of the post-renaissance variant of kahiko, which highlights the “continuity” of the practice through the colonial rupture.

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Section: Cultural Renaissance and The New Generation Of Kahiko Dancersmentioning

confidence: 99%

Colonial Rupture and Native Continuity in Indigenous Cultural Representations: Through Hawaiian Ancient Dance Kahiko

Misaki¹

2021

Dance Res. J.

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“…The city is characterized by deep social inequalities: while it has the 13 th GDP of Brazil (Borba, 2022), more than 50% of its population is considered low-income (Santana, Medeiros, & Monken, 2022). On the other side, Recife is a cradle of a popular culture of nationally established rhythms, such as Frevo (Spanos, 2019) and Manguebeat (Mendonça, 2019). Most music videos belonging to this genre, which derive from the outskirts of the aforementioned city, present favelas both in their settings and lyrics (Bento, 2021a;Gericó, Souza, & Pereira, 2020).…”

Section: Introductionmentioning

confidence: 99%

Favela won! - Resistance conveyed in bregafunk music videos

SOUZA-LEÃO,

LOPES

2023

Cad. EBAPE.BR

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Music production accounts for spreading ideologies since music genres are intrinsically linked to political discourses. bregafunk is a music genre that fulfills this role in the music scene of Recife, Brazil. The genre’s video production portrays the city’s favelas as places of sociability and affection, as well as of ambition for better social and economic conditions. Based on the Foucauldian theory, favelas are an emblematic example of resistance. Thus, this study is guided by the following research question: how does the production of bregafunk music videos evidence favelas’ resistance? Foucauldian discourse analysis was applied to 777 bregafunk music videos posted on Youtube between September 2012 and September 2020. Results have evidenced a discursive formation showing higher favela representativeness in society. This discursive formation is characterized by the appreciation of favelas and their citizens’ efforts to empower minorities. These findings have evidenced favelas’ resistance by representing political identities inserted in this social space. This process reveals a specific and alternative ethos challenging the status quo by supporting political discourses with acts against those considered socially normal.

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“…A cidade é caracterizada por profundas desigualdades sociais: embora tenha o 13º PIB do Brasil (Borba, 2022), mais de 50% de sua população é considerada de baixa renda (Santana et al, 2022). Do outro lado, Recife é berço de uma cultura popular de ritmos consagrados nacionalmente, como o Frevo (Spanos, 2019) e o Manguebeat (Mendonça, 2019). A maioria dos videoclipes desse gênero, oriundos da periferia da referida cidade, apresenta favelas tanto em seus cenários quanto em suas letras (Bento, 2021a;Gericó et al, 2020).…”

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Favela venceu! - Resistência veiculada em videoclipes de bregafunk

SOUZA-LEÃO,

LOPES

2023

Cad. EBAPE.BR

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Resumo A produção musical é responsável pela veiculação de ideologias, uma vez que gêneros se encontram intrinsicamente atrelados a discursos políticos. Na cena musical recifense, o bregafunk cumpre esse papel, retratando, em sua produção de videoclipes, a periferia como um espaço de sociabilidades e afetividades, bem como de ambição por melhores condições sociais e econômicas. Com base na teoria foucaultiana, consideramos a favela um exemplo emblemático de resistência. Com base nisso, a presente investigação se orienta pela seguinte questão de pesquisa: como a produção de videoclipes de bregafunk evidencia uma resistência da favela? Para tal, realizamos uma Análise de Discurso Foucaultiana de 777 videoclipes de bregafunk postados no Youtube entre setembro de 2012 e setembro de 2020. Os resultados evidenciam uma formação discursiva que alude a uma maior representação da favela na sociedade. Por um lado, essa formação discursiva é caracterizada pela busca de empoderamento de minorias e pelo próprio cidadão da periferia; e, por outro, pela valorização da favela. Esses achados evidenciam uma resistência da favela por meio da representação de identidades políticas circunscritas nesse espaço social. Esse processo revela um ethos particular, que, ao ser alternativo e resistente ao status quo, revela uma sublevação, ao sustentar discursos políticos a partir de atos de contra conduta ao que costuma ser considerado socialmente normal.

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A Dance of Resistance from Recife, Brazil: Carnivalesque Improvisation in Frevo

Cited by 6 publications

References 19 publications

Colonial Rupture and Native Continuity in Indigenous Cultural Representations: Through Hawaiian Ancient Dance Kahiko

Colonial Rupture and Native Continuity in Indigenous Cultural Representations: Through Hawaiian Ancient Dance Kahiko

Favela won! - Resistance conveyed in bregafunk music videos

Favela venceu! - Resistência veiculada em videoclipes de bregafunk

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