scholarly journals DO LINDY HOP AO FUNK CARIOCA: REPRESENTAÇÕES DO PÂNICO MORAL NA CONSTRUÇÃO MIDIÁTICA DA JUVENTUDE

2019 ◽  
Author(s):  
DIANA VAISMAN
Keyword(s):  
Lindy Hop ◽  
Funk Carioca

scholarly journals Funk, samba e a produção do comum: diálogos, sons, interações

E-Compós ◽  
2008 ◽  
Vol 8 ◽  
Author(s):  
Ecio P. De Salles
Keyword(s):  
Funk Carioca

Este artigo aborda o diálogo problemático entre formas de expressão – o chamado samba de raiz e o funk carioca – a que se atribui uma mesma origem: a favela. Apesar das muitas diferenças – especialmente no que diz respeito à sua dimensão plástica e material –, sugiro haver mais pontos em comum entre o samba e o funk que apenas o seu “lugar de origem”. E que esses pontos constituem formas importantes de produção de subjetividade no ambiente da cidade, especialmente caso se dê atenção ao seu aspecto performativo. A preocupação nesse contexto é buscar uma abordagem que privilegie uma forma de produção musical que, de um lado, representa uma forma de resistência aos modos opressivos de gestão da cidade; de outro, dão ensejo a experiências e relações sociais capazes de influir em uma nova sensibilidade cultural.

scholarly journals Review of "American Allegory: Lindy Hop and the Racial Imagination"

2017 ◽  
Author(s):  
Lisa Wade
Keyword(s):  
Cultural Change ◽  
Black Youth ◽  
Black Culture ◽  
White Americans ◽  
White People ◽  
Social Dance ◽  
Black And White ◽  
Lindy Hop ◽  
The Relationship ◽  
Insight Into

American Allegory uses lindy hop—a social dance invented in the 1920s by black youth in Harlem and now practiced mostly by white dancers—to gain insight into the relationship between black and white Americans and their cultural forms. It aims to contribute to theory about how superordinate groups manipulate culture to maintain power, while also accounting for cultural change and exchange. On page 204 Hancock begins to ask sophisticated theoretical questions but, by then, it is far too late to answer them. While Hancock’s central premise is one to which I am sympathetic—that the community of primarily white people who dance lindy hop today are participating in an appropriation of black culture—he’s never able to move past his premise to a useful contribution.

scholarly journals QUANTITATIVE ASSESSMENT OF DANCE THERAPY INFULENCE ON THE PARKINSON’S DISEASE PATIENTS’ LOWER LIMB BIOMECHANICS / ŠOKIŲ ĮTAKA APATINIŲ GALŪNIŲ BIOMECHANIKAI SERGANT PARKINSONO LIGA

2017 ◽  
Vol 8 (6) ◽  
pp. 583-586
Author(s):  
Donatas Lukšys ◽  
Julius Griškevičius
Keyword(s):  
Parkinson’S Disease ◽  
Parkinson's Disease ◽  
Lower Extremity ◽  
Lower Limb ◽  
Dance Therapy ◽  
Inertial Sensors ◽  
Dance Music ◽  
Lindy Hop ◽  
Spatio Temporal

Parkinson’s disease – progressive neurologic disorder that damages a variety of motor function and reduces the quality of life. Patients with PD are subject to various physical therapy exercises, but recently is applied more often the dance – music therapy. This study aims assessing the therapeutic effect of the modified Lindy Hop dance therapy on lower extremity biomechanics. The experimental study was performed using inertial sensors that registered lower extremity biomechanical parameters during gait. Several spatio-temporal parameters of lower limb were calculated and were found statistically significant between groups, which allows quantifying the influence of dance therapy. Parkinsono liga (PL) – progresuojantis neurologinis sutrikimas, kuris pažeidžia įvairias motorines funkcijas ir sumažina gyvenimo kokybę. Sergant PL, taikomos įvairios fizinių pratimų terapijos, bet paskutiniu metu dažniau taikoma šokių – muzikos – terapija. Eksperimentinio tyrimo metu buvo naudojami inerciniai jutikliai, siekiant registruoti apatinių galūnių biomechaninius parametrus eisenos metu. Šio straipsnio tikslas – įvertinti modifikuotos lindihopo šokių terapijos įtaką apatinių galūnių biomechanikai. Buvo apskaičiuoti apatinių galūnių kinematiniai parametrai ir surasti statistiškai reikšmingi skirtumai tarp grupių ir grupių viduje, kurie leidžia kiekybiškai įvertinti šokių įtaką.

scholarly journals A favela tem nome próprio: a (re)significação do local na linguagem do funk carioca

2009 ◽  
Vol 9 (2) ◽  
pp. 369-390 ◽  
Author(s):  
Adriana Carvalho Lopes
Keyword(s):  
Rio De Janeiro ◽  
Funk Carioca

O funk é uma prática musical produzida e consumida, principalmente, pela juventude das favelas do Rio de Janeiro. Além de diversão e trabalho, o funk é uma forma de identidade para essa juventude. Neste artigo, conjugo a análise linguística com a prática etnográfica para demonstrar que tal identidade possui uma linguagem específica, por meio da qual os artistas do funk significam as suas próprias experiências e, assim, constroem uma nova cartografia para a cidade do Rio de Janeiro. Nessa linguagem, a favela deixa de ser o espaço genérico da barbárie e se transforma em território com nome próprio e no local da habitação e de hábitos cotidianos de inúmeros jovens favelados.

Blackface Transformations II

2019 ◽  
pp. 102-117
Author(s):  
Christopher J. Smith
Keyword(s):  
African American ◽  
Film Studies ◽  
African American Community ◽  
Malcolm X ◽  
Spike Lee ◽  
Lindy Hop ◽  
White Gaze

This chapter draws upon iconography, film studies, and semiotics in two examples of electronically mediated masking that intentionally subvert the voyeuristic white gaze. It investigates the descriptions of Lindy Hop in The Autobiography of Malcolm X (1966) and the blackface in Spike Lee’s Bamboozled (2000), which intentionally juxtapose explicitly racist caricature and performative virtuosity, reading those passages for their cultural/political subtextual discussions. It argues that Malcolm X and Spike Lee--as cultural commentators from within the African American community--use dance as a means to problematize the paradox of black creativity’s virtuosity as it has flourished “behind the minstrel mask.”

Harlem Nightclubs

2018 ◽  
Author(s):  
Melissa Templeton
Keyword(s):  
New York ◽  
African American ◽  
York City ◽  
Black Identity ◽  
Big Band ◽  
Artistic Creation ◽  
Black Artists ◽  
Lindy Hop ◽  
Tap Dance ◽  
Social Dances

In the 1920s and 1930s, Harlem became a major hub of New York City nightlife and a prolific space for African American artistic creation. It was in Harlem’s nightclubs (also known as cabarets) that big band jazz became a sensation and where theatrical dance forms like tap dance, and social dances like the lindy hop and the Charleston, gained widespread popularity. These artistic developments contributed to an emerging modern black identity among the intellectuals and artists of the Harlem Renaissance. While the artists in these nightclubs tended to be African American, the more elaborate and expensive clubs catered almost exclusively to white patrons; black artists were often faced with the challenge of catering to white expectations while creatively developing their own art. The music and dance that emerged in these nightclubs also became the inspiration of many black modernist authors.

Darktown Follies (Lafayette Theatre, Harlem, 1913)

2018 ◽  
Author(s):  
Melissa Templeton
Keyword(s):  
New York ◽  
Large Scale ◽  
Large Group ◽  
Lindy Hop ◽  
Black Characters ◽  
New Material ◽  
Black Modernism ◽  
Minstrel Shows

One of the earliest large-scale musical revues to be created and performed by an all-Black cast, Darktown Follies premiered in 1913 at the Lafayette Theatre in Harlem. Darktown Follies exhibited qualities common to minstrel shows of the period with its episodic musical numbers and large group finale. The plot, however, focussed on a romantic storyline between two Black characters, which was rarely seen in minstrel performances. Darktown Follies introduced dances, like Ballin’ the Jack (which would eventually become a popular dance on Broadway) and the Texas Tommy (a predecessor of the lindy hop) to the New York stage. Darktown Follies helped launch a trend of White artists traveling to Harlem in search of new material for their own productions. The show foreshadowed the development Black musicals like Shuffle Along (1921) and was an important precursor to the artistic renaissance that would define Black modernism in Harlem of the 1920s and 1930s.

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