Periferia com o poder da palavra: a poética dos rappers brasileiros

Abstract

The thesis put forward here is that the rap in Brazil characterized itself as a kind of critical awareness of the periphery and for the periphery. The composers and, in a sense, its public, worked to formulate a symbolic field, while at the same time practical, in which the voice and music production synthesized reflection on aspects of the contemporary world. In this process, the rappers have emerged as legitimate voices in approach and production of social reading, assuming, in their own way, the role of interpreters / storytellers of their time, whose source is the immediate history. The argument involves many movements. It involves the practice that establishedthe idea of the power of the words as a fundamental value among the supporters of this culture, within which the rappers acted as historians of the present time and as carrier leaders of certain \"truths\", built on their concrete experiences within the tangle of contradictions that is the social life. By reflecting on society itself and its history, they have shaped cutting specific narratives and compelling, something that had little or nothing in common to other speeches. Through it, MCs allowa glimpse of the development of the complex notions of identity and territorial belonging. Beside this, the thesis analyzes the undigested feelings that emerged in the rap universe. In this step, it shows in detail why the belief of developments in the power of the word are usually not seen with good eyes, especially when the role of speech involves sensitive matters such as the aggressive questioning of the status quo and accountability of individuals or groups for the social illness, thrusts a certain revenge (of class, in particular). The thesis also is appealing to different representations of the female shown in rap lyrics and explores macho attitudes, sexist and sometimes misogynistic installed between rappers. Simultaneously detects some cracks in the maledominated field, with women who have broken, even if partially, with the domination to which they are submitted and with the speech and hegemonic values. Finally, the thesis aims to show how the dissonant voices of rappers are part of a community sense and are at the center of an intricate network of communication and sharing of ideas that has, in the music,its main platform. It is time to point out how the voice of a rapper dialogue with the production of others (directly or indirectly), because such voices are not isolated and therefore often pack a collective work that goes beyond boundaries of time and space.