Banca de QUALIFICAÇÃO: JOANE DOS SANTOS ARAÚJO

Uma banca de QUALIFICAÇÃO de DOUTORADO foi cadastrada pelo programa.
STUDENT : JOANE DOS SANTOS ARAÚJO
DATE: 09/03/2022
TIME: 10:00
LOCAL: Videoconferência (Google Meet)
TITLE:

The rapper as author: artistic production and class struggle in Eduardo Taddeo's musical chronicles – a cultural materialist analysis

KEY WORDS:

Rapper. Artistic-cultural production. Culture and politics. Everyday life. Cultural materialism. Sociology of culture.

PAGES: 55
BIG AREA: Ciências Humanas
AREA: Sociologia
SUBÁREA: Outras Sociologias Específicas
SUMMARY:

This research analyzes the solo albums and more recent discography of the rapper, writer and political activist, Carlos Eduardo Taddeo, former vocalist and single lyricist of the São Paulo rap group Facção Central. The fantastic factory of corpses (2014) and The morgue of the living (2020), both double CDs, bring compositions that, in verses and rhymes, show the articulation between culture, everyday life and politics expressed in an artistic-cultural production that is a product and practice of a specific time and context. In Culture and Society (p.145), Raymond Williams defines culture as “a social whole, an instrument of discovery, interpretation and social struggle. It is according to the Welsh Marxist critic that we study Eduardo's raps as an artistic-cultural production inspired by social life, in dramatic experiences that result from the filtering of reality through the rapper's representations and re-elaborations. The speech authority of the rapper-chronicler comes from the lived dimension, his raps are representations thought, produced and handled with the intention of communicating a shared (constructed) reality. The concrete dimension of the experiences brought in in the analyzed musical chronicles does not make them unquestionable truth, but they constitute important indications of a social process in permanent construction. Even from a globalized language, a trait of hip hop culture, Eduardo's speech is based on local foundations, highlighting everyday urban experiences, of course, from a process that both reads the real and recreates it. The songs that we analyzed transit through experiences of criminality and deaths, violence and conflicts, injustices and misery of all kinds, which make them unpalatable and difficult to enjoy. Assimilating these contents means diving into the contradictions and inequalities that plague Brazilian society. The morgue of the living (2020) and the fantastic cadaver factory (2014) are expressions of a heavy social collective experience, from the perspective of people perversely integrated into society. In these, the rapper transforms elements of everyday reality into music and produces a public discourse that circulates and is inserted in the problems of politics and culture. His musical chronicles express an understanding of the structural aspects of the reproduction of capitalist society, so that in the repertoire of his compositions there are no elements that refer to conformation with the modus operandi of capital. Their narratives repeatedly bring up a vocabulary of denunciations, class revenge and revolution. The theoretical-methodological foundation of our analysis is the perspective of Cultural Studies, more specifically, the cultural materialism of Raymond Williams (1979; 2011), since the analysis of our object starts from the understanding of the dialectical relationship between artistic work and historical situation - the art, as a superstructural phenomenon, is not a mere passive reflex, as it constantly reacts to the economic base and influences; it does not reproduce reality, but is actively and complexly related to it. Thus, every human process and, specifically, cultural production, is also social and material (WILLIAMS, 1979, p. 140), which overcomes the mechanistic proposition of a determining infrastructure and a determined superstructure and allows us to understand the totality of the process addressed. We mobilized the concept of structure of feelings for the analysis of Taddeo's raps because we understand them as a result of the formation of a practical social conscience, the result of actively lived experiences in real social relationships. This concept allows, through cultural analysis, to apprehend the meanings and values as they are actively lived and felt, as well as their relations with formal beliefs and institutions. The fantastic cadaver factory (2014) and The morgue of the living (2020) are productions whose core is never isolated personal experiences or superficial characteristics of society; they are, on the contrary, and in their authentic content, concrete social experiences.

BANKING MEMBERS:
Presidente - 1693229 - GILMAR SANTANA
Externa ao Programa - 1720819 - ILANA LEMOS DE PAIVA
Externa à Instituição - ADELIA MARIA MIGLIEVICH RIBEIRO