By Derek Pardue (auth.)
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Extra resources for Ideologies of Marginality in Brazilian Hip Hop
11 The concept of consciência in Brazilian hip hop is similar to what Kitwana classifies as “conscious rap” in that the lyrical content “is either Black conscious and/or politically conscious . . the emphasis is more on the collective rather than the individual” (Kitwana 1994, 32). Humility is recognizing the local histories of migration glossed in the term nordestino, which officially refers to a person from the northeast of Brazil but pragmatically indexes a host of social markers, all of which conjure “tradition,” “informality,” lack of education and taste (sem cultura and brega, respectively), and “dark” racial categories (escuro).
It thus becomes “fact” that a James Brown horn sample speaks for itself; it is blackness and hip hop, and we (Brazilian hip hoppers) are part of this community (nation) and historical formation (negritude). Part of the task at hand is to demonstrate how Brazilian hip hoppers make these “facts” speak for themselves and what forms of representation (sound, image) do they use to achieve this discursive feat. Hip hop’s status as an ideology is complex, because its power of persuasion depends on the belief and representation of hip hop performance (the practicing of its “elements”) as a radical break from a dominant logic, that is, o sistema.
At the forefront of this movement are the “evangelical” hip hoppers who highlight the “unlimited frontiers” of religious universalism as a viable answer (resposta) to the persistent hardships of periferia marginality. Brazilian hip hoppers differ on how to articulate an ideology of reality, marginality, and change. In terms of production and performance, virtually all Brazilian hip hoppers agree on a methodology of “do-it-yourself” independence. Hip hoppers consistently claim a status of “underground” as a way of indexing individual creativity, entrepreneurship, and difference.
Ideologies of Marginality in Brazilian Hip Hop by Derek Pardue (auth.)