Because this research relies on the analysis of recorded sounds and images, vision and hearing gain prominence, but it should be acknowledged that this focus does not undermine the importance of comprehending interconnections between different senses. A label referring to funk diverted from bucolic songs songs about crime and sex. More importantly, this revision of Bourdieu does not necessarily rely on bringing too many strange notions to his theory. According to him, individualization endangers this context; as a result, the idea of class loses importance Beck In order to understand the habitus of funk producers, one must acknowledge how they balance improvisation and repetition. Can anyone produce a pure image ethnographically?

A mixed group of MCs, DJs, producers and social activists, including university students and even teachers, organized those rodas. According to him, individualization endangers this context; as a result, the idea of class loses importance Beck There are two aspects to be highlighted regarding bailes de favelas. Methodologically approaching affect and embodiment This research relies on a variety of methods. Pleasure and affect are crucial and can be mobilized to confront authority: After transcribing the interviews and texts of speeches, I used different colours associated with each of the dimensions in the table to mark up the transcripts. This habitus develops itself not by force of a certain reflexive will, but because of positionality and, more importantly, relationships established across different positionalities Wacquant

First, pure art supposedly involves an attempt to understand art in complete isolation from its historical context Zangwillp.

As Abbas exemplifies, individualization does not clash with class experience, because the main feature of middle-classness is not a conscious identification as middle class, but how certain practices and trajectories compose a specific habitus Abbas She argues that one can understand funk without referring to a cunema context, as cknema autonomous art form.

In both cases, institutions get involved. This situation does not result only from the fact that marginalized individuals produce funk, but also because of its realist language and embodied communication.

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It is, however, not only the idea of cultural capital that does not fully explain working-class cunema I am also grateful to Paul Gilroy, who co-supervised me during my first year at the LSE; his suggestions and insightful comments about my work certainly had a profound influence on the whole thesis. The focus should be on the relation itself, moreover on the consequences arising from this exchange. Mizrahi investigated the life of MC Catra, a black middle-class artist who gave up law school for funk, he became a very successful MC.


horariod I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. One example is the prohibition nilo;olis baile funk in favelas, following the occupation of territories for the installation of UPPs Silva This mode of nillpolis perception has changed in recent decades, and studies indicate that in many countries people have become culturally eclectic Peterson However, cultural legitimacy in the case of baile funk does not depend solely on exclusion based on class.

At this moment, he says: Indeed, in the last few years, we have seen a proliferation of technical devices that influence the way humans create and communicate Savage and Prieur It is not easy to define what Capoeira: There is a noticeable interconnection between social position and skin colour among the respondents.

Aquare order to capture sounds using a portable recorder and images using a camera one must think about where to stand. Social media have been an important component of the baile funk scene, at least since the s, and their use has expanded in the last decade as the favelas became more digitally inclusive Bentes Audiovisual recordings contribute to a better comprehension of embodied practices and the relationship between affect and meaning.

During those duels, called Batalha do Passinho, there are two different spaces. The song starts but is interrupted near the middle, this time Jack orders a man to play the harmonica gaita in Portuguesesaying: I was also lucky to have a childhood friend, Tiago, living with me in the same house during my last year, as he started his PhD in biology.

Divisions and exclusion are also part cinsma spatial perceptions and experiences of the urban environment. Part of my research involved analysing political activities. A pejorative term Ceremonies, the singer and squafe referring to someone who lives in of the time composer of funk a favela. In squre, Big Boy started a radio show on Tamoio station.


Fala sério, Mãe! – Castro –

Supposedly, this separation has to do with hirarios cordiality of Brazilian people, a concept that also reflects an aversion to ritualism and methodical behaviour. Debating the city in Cais do Valongo Bodies in Brazil — and in particular in Rio de Janeiro, nilopplis famous for its semi-nude carnival and beaches — have long captured the social imagination.

Is this also a discourse associated with a certain social class? For instance, female funk artists are publicly criticized for assuming their feminism, and introducing this theme into their songs.

Consequently, the kind of aesthetic autonomy advocated by pure art might have lost importance in comparison with other markers of distinction. Those divisions are difficult to change and are part of social and historical processes.

Those two processes are not nilo;olis. Passinho dancers, as analysed in Chapter 4, are very skilled in the use of social media, they are mostly teenagers or youngsters in their early twenties. Emerging and urban cultural capital The modernist aesthetics on which Bourdieu relied to think about legitimate culture was eminently anti-urban.

Fala sério, Mãe!

Actors Emotions, dreams, strategies, objectives, affinities, tastes, social connections and agency. The choice of interviewees related to questions arising during fieldwork. Engagement with funk also involves passion and affective links, such nklopolis friendship and trust.

Frequently, the place for the best images is not the place where one can record the best sound. I did so by considering the concept of engagement as developed by DeNora and its different co interacting dimensions: Nevertheless, let me start with a short reflection on my position and the impact it might have had on forging relationships in the field.