Summary
Hip hop is the Society through its messages, and it is through those involved and those inserted in this culture, that we can reflect it, in its policies. His history was marked by eminent social problems that from the beginning allowed debates about local realities. He walked a path marked by inequalities, in which the abandonment of public management allowed the development of the social movement that talks with the past, through the African tradition and, with the present, highlighting in rap the political potential and influencer in the way of acting and thinking of young Guineans. In this context, its protagonists sought the opportunity to create and develop elements of artistic and political expression, fostering with this, the social organization of the less favored in Guinea-Bissau.
Keywords: Identity; Rap; Activism; Griot; New
Introduction
Rap emerged in the mid-twentieth century as an expressive form of art, but carrying compelling elements of social representation in scenarios of poverty, political conflicts. Intervention music became a true vocal weapon as a reaction to the processes of political inertia in post colonialism; giving voice to all whose invisibility took away their quality of power in the social and cultural environment. The body is an instrument of vision and construction of contemporary social logic and can contribute to culture through aesthetic elements generating new hegemonies and ideological discussions. It is in this context that through rap and its art young Guineans have been forming true social movements through a policy of public sphere allowing Africans to understand their identity. There five centuries of Portuguese presence in Guinea Bissau, eleven years of armed liberation struggle and forty-six years of unstable and corrupt governments, which reinforces the need for local systems of movements of religious, cultural and social values. Exposing what they think, he made the young Guinean the manifestation of strength and representativeness, of the younger and traditional societies, under the ideals of Amílcar Cabral, for a new phase of African transition.
CONTEXTUALIZING RAP IN BISSAU
The Construction of Social Identities in Guinea Bissau through Rap (Rhythm and Poetry), is established in two complexities and at the same time challenges inserted in the research that we propose to deepen, which is, to understand the Cultural Movement of Hip Hop, as activism, in which, in this direction, a theme is presented that sharpens new perspectives in academia, in which, inside in new debates about marginal culture, treated by society and the media, when it refers to young people from the periphery and, who are involved in this movement loaded by aesthetics and language of social contestation, above all, containing a very strong political content. The other complexity lies in the perspective of perceiving the ways of building Civil Society in Guinea-Bissau, through rap, enabling the formation of social identities, in the context of survival, as in the mode of youth organization.
In a troubled political construction, the socioeconomic history of many countries on the African continent, especially due to the process of colonization and the struggles for political, economic and ideological liberation, enabled the birth of the rapper as a conduit of ideas in the process and cultural context and activist to overthrow the corrupt manifestations of power. Places such as Cape Verde, Bissau, Angola, Mozambique, saw the composition of struggle to achieve fundamental objectives for local survival and to highlight the ideological role of young people from the perspective of political work and the purpose of inserting themselves into it.
Rap music is not marginal and is based on each movement as intervention music in a construct of a new reality, in order to bring its agenda to the public space in the rescue of colonial memory, generating new identities from the characteristics, also from the new forms of organization of social movements. Linked to detail, rap has been incorporating narratives of local problems and has been structured from these realities. The strong and forceful lyrics, sung in Creole, bring a social and political reality when it represents the magnifying glass vision for those who prefer to pretend that everything is fine and walk with conformity. The rap tends to be a connecting wire with what you hear and what you see.
And in this way the rappers seek to employ the "ideology of the word" as an expression of power and territorial claims so that they can achieve structural and structural changes of a political nature, legitimized by the exercise of citizenship. We can analyze, that rap, along with hip hop culture, advanced borders and created ramifications, however, in addition to a culture in the mainstream style, established a strong connection between contestation and social intervention.
CULTURAL STRUCTURE OF RAP IN BISSAU
But there are realities as in Guinea-Bissau, whose social patterns are surrounded by political, economic, very strong, original elements of post colonialism that established the simple, poor way of life and with direct dependence on its natural resources for survival. Nevertheless, the cultural and historical structure allowed Guineans and other West African countries to evolve and maintain at the center of groups and family members the maintenance of the African tradition, as mentioned above, as a result of the presence of griot. The Djidius Mandingas, for example, arrived in Guinea-Bissau at the end of the 19th century, composing the representativeness of the griot's families. In his Djali language; Djali Braima Djebaté, known as Bundunka, brought to the region their wives and children, seeking to find the balafon – an instrument of wooden keys and gourd resonator boxes played by two drumsticks – which he listened to in dream (Hofs, 2016 apud Djabaté, 2010, p.256). His descendants not only settled on the land today, located in West Africa, but also formed reference for other djilius families.
For many family years and these descendants not only studied the art of balafon and djaliá,[1]but also structured the cultural element of survival and became the backbone of the West African way of life. Until the end of the 1970s, those who were living there lived in art exclusively, valued the word, music, parties, because it was through them that families, regardless of age group, met to exchange experiences, to resolve conflicts, to teach, simply; and in this case, the relationship of the older ones with the younger ones was very close. After this period, with economic precariousness and given the country's situation, many families found themselves shrouded in the mode of subsistence and, at most, entering the process of rural exodus or international migration. In this way, many young Guineans, among other Africans, migrated to North America or Europe, especially, aspiring to gain academic knowledge and extend the pan-African struggle begun on continental soil.
Didjiundadi or djaliá completed the way of life of the craftsmanship of words and sounds, which founded mandinga culture, along with other aspects of social, community and sociocultural organization, this reproduction by trunk-linguistic groups shared what today affects 1.3 million people in The Gambia, Senegal and Guinea-Bissau. Therefore, a didjiu is the people whose skills not only maintain the African tradition but also determine geographical spaces, build relations between religion and politics and configure as thought and culture of society (Hofs, 2016, p.257).
The African diaspora established hip hop in America, but in Africa, through the maintenance of the network of kinship and social relations in lineages and classes, directed economic activities, enabling transformations of vital energy, the nyama. The practices absorbed from classes specialized in professions and crafts, through heredity, allowed the African to migrate to Europe or America and expand their professional qualities, structuring Africanism into a new sociocultural reality.
In the same way that didjiundadi characterizes a mode of structural organization between lines of the same family, characterizing a complex of the craftsmanship of words and sounds (Hofs, p.257), Nyamakala represents the energy, strength, attitude that drives the principle of action and attitudes that lead the interlocutor to the level of cosmology and the worldview of the society it represents. With the ability to articulate and concentrate energies in discourses, narratives promote the success of ideas, of the public image of this "leader", because what is present is initially the people themselves (Hofs apud Ebron, 2002, p. 258).
African tradition has become a link, a bridge of connection between the African and its representativeness, in other parts of the world. In the case character of the Mandinga tradition, at first, the individual, in his didjiundadi, constituted his nyama, in agricultural spaces, in the tabankas and was expanding to the urban area, in Bissau, also configured his voice as the main characteristic in the political actions of groups. These practices brought experiences of young people in projects of actions in associativism for cooperation with youth society and Guinean societies in general.
Rap has become an element incorporated into learning in hereditary characteristics, through the balafon itself, the choir and other cultural instruments, whose representation identifies the Africanism developed. What I argue here is about cultural restructuring creating the extent between local African knowledge, embedded in what was thought to be global knowledge, identified as hip hop.
The use of rap as a political and negotiation tool configures the materialization of the use of public space to the detriment of traditional rhythms such as Gambé[2], which raised debates on issues of loss or rupture of references (Barros and Lima, 2016). Guinean rap eventually built new forms of belonging, in the identity collective, as a process of collective mobilization. It is worth remembering that, Guinea-Bissau, as well as any other country in the process of international communication, although, precariously, it has dimensioned rap in different styles, therefore, we highlight in this text the configuration of contestation music as a tool of struggle, voice and direction, to the detriment of social actions that damage the way of organization of groups, whose role of young people was fundamental.
Figure 1
Source: D.W.com[3]
As noted in the poster, the young man claims social and political positioning as the characteristic of group belonging, moving manifestation of desire to participate in government decisions.
HIP HOP IN THE U.S. AND GUINEA-BISSAU
The history of rap and hip hop gained international records, highlighting its origin in the United States through the greatest motivation that was the struggle for the Civil rights, marked the striking stance of leaders such as Malcon X, Marther Luther King, Payne and others, whose leading role demonstrated the extreme indignation for the racial, social and economic inequality that Bronx [4] societies were living. The dissemination and expansion of this culture gave Americans the title of pioneers of the movement, but its roots are in fact tied to the role and importance of African ancestry, whose influence, allowed African Americans to build reasons to fight for their citizenship, to get out of invisibility and within the political and social context to gain recognition of freedom.
The economic differences of many societies characterize a form of contemporary slavery whose dependence on work has shaped social struggles in different sectors and situations, promoted different geographically urban spaces configured in the context of production and in the attempt at development. They have therefore formatted a certain social behavior, especially those whose exclusion stood out due to the lack of opportunity, which allowed, the Social Sciences to seek epistemological answers to understand the complexities of the many factors that contributed to the history of capitalism, in parallel with the struggles for racial and social equality. Among these, we highlight hip hop itself as a source of investigative interest. In Mbembe's words:
The first engine of capitalism is the double instinct of unlimited violation of all forms of interdict and the abolition of any distinction between means and ends. In its dark splendor, the black slave is the product of boundless violence and boundless precariousness. Predatory power, authoritarian power and polarizing power, capitalism always needed racial subsidies to exploit the planet's resources[5]
Urbanization of the Black American population has transformed its character and increased confidence to challenge racism by associating with unions and other black leadership organizations whose representation was previously nonexistent. Against of structural change with possibilities of having the purchasing power, when there was some work, the African-American realized that it could change the course of this history of inequality, but the steps are very slow. Without a fight, without "screaming", it wouldn't do any good. The experiences and transformations from the conquests of Africans, who fought in every way to detach themselves from the title of colonizes, characterized the legacy linked to the African diaspora, in the aspect directed to the objective to achieve the independence of an exploitation imposed on them and that at that time remained configured in social exclusion.
We understand that the directions that point out the mode of resistance in the structure of hip hop are based on these movements whose roots are connected and position themselves in the African continent itself, also, materializing the different movements and struggles. As Amilcar Cabral (1974:25) spoke:
In relation to Africa, we are for fraternal collaboration between the African peoples, against narrow nationalisms that do not serve the true interests of the people. A geographical, historical and even ethnic analysis of Africa allows us to admit that new forms of economic, political and social existence are developing on the continent. Through contradictions and even conflicts, these new forms, still embryonic, will be progressively defined in their structure and perhaps in their originality.
Amílcar Cabral makes references not only to the liberation struggles that constituted the movements in Guinea-Bissau and Cape Verde in times of the war, but also characterizes the importance of the sense of organization and national culture for the groups involved. The social revolution is on the agenda to which it belongs in the case of African sociological thought. Fighting against dominant tendencies is a factor that has underpinned the mode of resistance of both African societies and African-American societies. Preparing the armed struggle (or not) and paying the economic, social and emotional price of the facts and consequences is at least a challenging factor, as occurred in Guinea-Bissau.
By reaching a parallel between black Africans and African Americans when it comes to civil rights movements, we can point out that African inspiration and influence has been present, from the 1970s [6] to the present day. The absence of representativeness in the power, in any of these countries, placed activism in some political segments, in which hip hop was structured as a social movement.
Just as ethnicity was built on the cultural sphere in Africa, culture as a deterministic state or as an instrument to serve the economic interests of the State, using, if necessary, the manipulation of the consciences of the indigenous, established activist and revolutionary actions by not allowing Guinean Africans the possibility of enjoying economic decisions whose consequence is the intensification of poverty and financial dependence. In America the process was no different and the transformation of society and technically explored was characterized by political surveillance and attempt at economic control. By the mode of organization seen as a field of conflict and negotiation in the context of collective actions, status, role and participation of the individual actor in the collective organizational dynamics (Kamdem, 2005:193), many of these groups structured their own mode of protest and contestation through rap.
For this reason hip hop was drawing fundamental elements that characterizes it as Culture by the way of organization and identity structure among those who constitute it, but also, it is recognized as a movement due to the activist process that permeates the messages declared in an environment of contestation.
HIP HOP'S GLOBAL STRUCTURE
The trajectory and format of hip hop was gaining space, innovation until it expanded to the world and for this the knowledge of other pioneers of this movement was fundamental. This knowledge, which took hip hop from the Underground and made it popular, took it out of the Mainstream. We cannot fail to direct ideology as a primary factor for such transformations of hip hop, as a directional factor to the behavioral aspects of societies that began to use this cultural, musical genre as a social identity alternative, especially with regard to poor communities in large metropolises.
In this context, we can call of the structure's production element, the set of spatial achievements derived from the social process of reproduction of the means of production and the object of work (Castells, 2000; p.201). Which means that the recording industry has discovered rap as a monetary and profitable source in the United States.. The works were being composed within the commercial base under the purpose of financial capital, subsidizing in urban culture, financial, structural and legal [7] developments through cultural policy and even public policies, which some governments used and used as a tool in the formation of citizens. In Arnett, 2002, p.778, we can see that:
As local cultures change in response to globalization, most people are able to adapt to change and develop a bicultural or hybrid identity that provides the basis for living in their local culture and participating in global culture. However, for some people, adapting to the rapid changes that occur in their cultures is more difficult. The images, values, and opportunities they perceive as part of global culture undermine their belief in the value of local cultural practices. At the same time, the paths of global culture seem out of reach for them, very foreign to everything they know of their direct experience. Instead of becoming bicultural, they can experience themselves as excluded from both their local culture and global culture, truly belonging to neither.
Of course, this experience was experienced by many rap and hip hop artists, when they stopped commending forceful lyrics of protests regarding local problems and highlighted the new practice to profit financially by writing and singing lyrics aimed at their ambitions in the American way of life.
Among many, perhaps this is one of the biggest battles of those who live in the periphery, as it is in Brazil, in the social neighborhoods, in Portugal, in the clusters in Africa, specifically, in Bissau and even, in the North American ghettos, with regard to survive with minimal or zero resources, in the eminence of some proposal to record records, music, commercial, where there is a rupture with the essence of the rap of contestation, original of the Hip Hop movement. Coexist with, hunger, violence, and physical and emotional neediness, will provide individuals, especially the youngest, the need to occupy the mind and at the same time, guarantee a job, make money and, move away from the possibility of becoming another statistical number in violence, in prison or in high rates of death.
Rap has conquered different strands towards global interests, in the sense of formatting other manifestations linked to wealth and power. The voices brought in the battles between MC's, in the phonographic world, were determining grounded paths and the ostentation of territorial dominance, often dominated by drugs, as occurred in the United States, by singers involved in the confrontation between the Lest Coast and west coast, establishing the "gangster rap" as a global model.
Graph 1
Source: The Atlantic, politics, January 7, 2014.
The development by individual and no longer collective interests, in many cases, allowed the origin of different formats in the composition of rap and the beats that accompanies it, fundamentally, by the content of the lyrics and the objectives inserted in them. In the entertainment follow-up, this rhythm priories the "beat and flow" of music, without having to focus on transmitting messages of social impact, in favor of communities in vulnerable situations[8]. Hip Hop gained, in a way, visibility in its aspects, categorizing the genre, not only with the intention of gaining the largest number of followers, but also to generate profit and wealth, as already mentioned. Among the many aspects, we can highlight:
- Gospel rap: deals with religious themes and are sung by young people in different churches, as well as meetings and events related to the connection with God. In this regard, the beats are, in analogy, compared to the beats of the heart; leading exciting letters that speak of salvation, in the redemption of sinners. They are compositions that establish the connection with something greater, showing suffering as a privilege of the one who will have his reward for the lack of resources, with the promise of one day living in heaven. By obviousness, music attracts the younger population and in a way, distances them from problems such as, involvement with drug trafficking, unprotected sex, involvement with drinking and everything else that can put them at risk. In general, letters tend to work on self-esteem, highlighting how important they are and have their value as a person, how blessed they are to seek in Christ a different way of living. Likewise, it is still a profitable market, generating the appearance of sumptuous Churches and opponents, religious leaders in social prominence.
- Romantic rap: which has as its theme love, telling love stories or making romantic statements, in fact, had this version around the 2008, because, the compositions literate, until the 2000s and another decade, the relationship of the man and the woman only by sexual means. For the most part, there were no relationships. They described the woman as a sexual object; insinuating and this for a long time caused conflicts and confrontations between male and female rappers, but sold a lot of disco. The letters loaded with misogynous offenses and intentions, showed a woman of no value and no female identity. It is worth pointing out here, that the "boom" of sales of records and images of rap and hip hop, were generated on this occasion[9], associating the image of ostentation, cars, women, in the view of the rapper, prostitutes, and the aesthetic figure of the singer himself, with baggy pants, a cap or hat on his head, large and wide gold chains, rings, in the same proportion. All this caused the stereotype of the artist stripped, depraved, and misaligned, to the "normal" standards of society.
- The engaged rap: marked history because, from it, everything changed in terms of freedom to compose, sing and express, gave an absolute twist in hip hop culture, in relation to the aesthetics that spread throughout the world, as has been said earlier. Engagement materialized pre-existing social movements that were masked by an elitist bureaucratic social order; considering, in this way, since its expansion, from the streets to radios, television programs and shows, the language has changed in poems and lyrics composed seeking different trends, either from the Afrocentric point of view, in which, there was the exchange of ostentatious accessories by African ornaments, rescue to the ideals of Africanism. They began again to exercise the conscience of black pride.
Also to this movement, at this stage, they became more democratic by accepting different types of sounds, wore different clothes. In addition to love, the lyrics also dealt with family and political correctness. This type of rap brought the female figure as a protagonist in hip hop giving the opportunity to female artists; they created inclusive rap, with openness to use excerpts from other songs. It allowed young black people to gain prominence, to be more listened to, diminishing the stereotypical image of gangster. They develop the universal style but remain the traditional basis of representing an ideal, with which all young people identified themselves. All this process and changes developed, thanks to the visionary dynamics that elevated hip hop from the streets to stardom (street dreams), investing in heavy equipment in mixtape politics[10].
Even containing strands that use identity and cultural elements originating from the local organization, American rap was gaining notoriety from the media and standing out as a way of life and a means of survival, so it was, and still is, the dream and investment of many young people, especially the most needy. The following figure highlights the distribution of rap in various regions in New York, birthplace of the hip hop model, which has spread through the world.
Figure 2
Source: The Rap Map: New York City edition by Jay Ebz
American hip-hop became an element of identity, socio-political-cultural in nature and in its trajectory stood out, in the 1990s for media visibility, in movies and TV serials, characterizing the aesthetic figure of the rapper, generally linked to banditry and marginalization, as had already been mentioned in this part of the article.
With structure composed per four elements: rap (in the figure of the MC), breaking dance, graffiti and DJ, structuring, of course, the bases of music, dance, arts-plastic and disco. This set gave this culture, at first, considered marginal, a structure of social movement. In Jamaica came what, perhaps, is the most important element of hip-hop, the DJ, short for Disc Jockey. "Disc" in Portuguese is disco and "Jockey", the one that manipulates the disc, creating effects and sounds on the basis of the main music. So, specifying, the DJ is the one who controls the records masterfully, in differentiated beats, motivating and inspiring urban singers or poets to create rhymes and phrases of effect on the reality experienced in poor daily life, needy and misfit at the social and economic level, in some cases[11]. But the MC or Master of Ceremonies gained prominence for its creative performance in harmonizing words and rhythm of music. He represents the "voice", the society, through his messages about daily life. As a Jamaican heritage, like the screams and their responsibility to transfer ideas to the younger ones. Those were embryonic in this context.
Therefore, thinking all this process associated with politics, as a democratic tool and social organizer, means observing the sociological dynamics involved, because the formatting of the groups that are structured, from each cultural achievement, in different societies and different spaces, constitute the set of functions of these groups. We understand that in this journey a new expression of aesthetics demonstrates the multidisciplinary meaning of Cultural Policies, in which fundamental elements of Social Sciences and Communication are structured, but above all, they are guided by the bureaucratic processes of power and politics to have access in fact[12].
Culture, be it structured by financial incentives through this policy model, fosters the autonomous condition of rappers to guarantee the meaning of the message they want to convey, in relation to what the business market demands. In Eagleton's contribution (2005, p.11), he suggests the following idea[13]:
If the word "culture" holds in itself the remnants of a historical transition of great importance, it also codifies several fundamental philosophical questions. In this single term, issues of freedom and determinism, the doing and suffering, change and identity, the data and the created, come into focus. If culture means cultivation, a caring, that is active, of what grows naturally, the term suggests dialectic between the artificial and the natural, between what we do to the world and what the world does to us. It is a "realistic" notion, in the epistemological sense, since it implies the existence of a nature or raw material beyond us: but it also has a "constructivist" dimension, since this raw material needs to be elaborated in a humanly significant form...
Among many, perhaps this is one of the biggest battles of those who live in the social and geographical periphery, not the capitalist context, and survives with minimal or zero resources. Societies that need to go beyond the natural capacities of exhaustion, to live minimally with hunger, violence, physical neediness, also, emotional. They are individuals, especially, the youngest who need to occupy the mind in order not to become another statistical number within the rates of poverty and misery, culminating in violence, imprisonment or even death. Considering the author’s argument, we can analyze this situation from the perspective that, if we look at the interests of evolution and development, hip hop has become global and established a cultural model that has reached countless groups, from all parts of the world, regardless of social class.
In hip hop culture, rap maintained the oral practices of street poetry but from a multiculturalism promoted the contradiction between the affirmation of a specific culture and a massive diffusion on a global scale, adopting strategies aimed at promoting social movements, in some particular and individual situations and movements, in this case, abandoning, in a certain way, the figure of actors (rappers) of public life. It is not a contradiction but evidence of some of the consequences of such strands that have expanded rap, hip hop to the world on a numerical scale whose identity and sense of engagement or Nyamakala, as they would say in Africa, was lost.
FINAL CONSIDERATIONS
By drawing a more careful look at the characteristics of rap and hip hop, specifically in Guinea Bissau, we can understand that the dynamics exerted on the ground, maintained what can be called original rap, whose desire for identity affirmation allowed a social movement focused on the manifestations of young Guineans, in favor of a more active policy among them.
Many sub genres emerged from the African diaspora, such as Trap, Gangster, Boom bap, Crunk, Underground, Golden era, Old School,[14] according to research, there are more than 80 subgenres of rap. These genres were structured to respond to the American rapper's desires and prospects in dominating the phonographic market, media, and gain notoriety as an artist. In this sense, social movements were constituted based on external elements, structuring the beats and rhythms in the experience of musical consumption from a phenomenon of fad imposed by the globalized cultural industry, incorporating the process of naturalization of these beats to the geographical and social area, that is, combining such beats and rhythms to the current social situation.
The African rapper gains his dimension, much more as an activist than an artist, commits him and is complete with a sense of responsibility and commitment to traditional and ancestral cultural forms. It developed in the more ethnic setting than aesthetics, when hip hop arrived on the African continent in the 1980s. More ethnic than aesthetic.
From the, most of the rappers who became in the 1990s were located in West Africa. The African hip hop has become a form of reinstatement and social protest, to first portray through art the harsh living condition of young people in urban environments; secondly, to denounce the social and political problems that continue to plague African countries after more than 50 years of independence, in the case of Guinea-Bissau, 46 years of struggle, post "independence".
The practices of appropriation of rap create among young people a feeling of re-connection with the black continent itself with the cultural forms derived from the black diasporas, which will constitute the sense of identity and affirmation of the values that transcend the local sphere, between the different ethnic groups that live, especially in the city of Bissau. This has allowed rap to play a key role in political engagement to the national construction project.
Guinean rap, among many other African countries, has become an art committed politically and socially, steeped in African traditions, respecting all ethnic differences. The use of the Kriol or Creole dialect brings these different groups closer together, which strengthens the transmission of the message. There are groups of rappers who prefer to include in their lyrics the social history, without losing sight of the urgency of the social problems present, such as lack of infrastructure and precarious means of survival, for example.
They are not under judged to an ideological or commercial order, but like the Griots (ancestors), they use the microphone and their voice as a means of being the bearers of a more direct social representation. It is a social agent that contributes with its poetry to raise awareness of societies in order to format interest groups, as is the case of those who manage to make sense of the so-called Civil Society; and from it, to assert its value as a society, to transform and conquer means to help others, as a social group they represent.
By rap, Guinean youth gained strength and social representation, reaching integration through associations structured as trade unions, NGOs, groups of environmental solidarity, neighborhoods, secondary schools, representatives of cultural and sports groups, gender and federative groups, CNJ (National Youth Council),which was born from government structures and the RENAJ (National Network of Youth Associations), its origin was from civil society.
All had and, still has, great importance for support and development in active participation in the civic and citizenship processes of the country. Thus, the difference between American rap and Bissau's rap is in the realities of these young people who, before representing fragmented subjects, they sustain social and cultural identity through diasporic manifestation, but with a purely loyal experience to associations and everything they represent for societies. More than anything the values acquired through didjuandadi and nyamakala have provided the faithful expression of the African who has his feet trapped in culture, symbolically; untouched in the balafon, the kora and other local instruments that highlights the pure ethnicity.
References
[1] Designation to the art of music and the arts of the word was known as Djaliá, New Year (in mandinga) or Didjiundadi (in Creole).
[2] Guinea-Bissau musical style
[3] https://www.dw.com/pt-002/guin%C3%A9-bissau-novo-primeiro-ministro-nomeado-pelo-povo-entra-em-fun%C3%A7%C3%B5es-na-quinta-feira/a-48837609
[4] Popular neighborhood, of social formation represented among blacks, Latinos and Asians. Most were black and Latino. Living in precarious spaces, of extreme poverty and need. This was one of the first scenarios to birthplace of hip hop culture.
[5] Mbembe, Achille (Lança, Marta (trad) (2017) 2nd. Critique of Black Reason: Antigone. Lisbon, p. 299.
[6] Period of foundation and expansion of hip hop in New York
[7] Understand the Legality as the process of associativism sin NGOs. Within Public Policy
[8] This context demonstrates the changes by which rap compositions and styles have come to have.
[9] Between the years 1980 and 1990 this type of rap expanded throughout the world.
[10] By this strategy, rapper, composers left their demos in the hands of the best Dj's and these played on the radio, even though they were unknown, until this moment, because once, presented the music, the mix, by a famous Dj, the doors opened, the opportunities with famous music producers were realized.
[11] If we go looking for the origin of the rap, it was this, its social structure in mass movements, that is, to promote activism, intervention, and protest about everyday situations, whose mismatch in relation to local economic and political development stood out.
[12]See a wide discussion about the economy in Hunt, E. K.; Lautzenheiser, M., History of Economic Thought – A critical perspective, p. 103-104.
[13] Eagleton, Terry (2005); White, C. Sandra (trad.); Mortari, Cezar (review). The Idea of Culture. Unesp Publishing House
[14] Read about rap subgenres in www.zonasuurbana.com.br/rap-a-primeira-batida-80-sugeneros-do-rap-como-identifica-los/
As Manjuandades/ Manjuandadis são grupos de atuação na arte principalmente, s&
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