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Publication
"Ladrões fora, corruptos fora, assassinos fora" : o RAP de protesto em Moçambique pós-colonial
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Abstract(s)
A investigação desenvolvida explora experiências sobre a forma como o RAP de protesto, constitui um espaço em que os músicos e o público, exercem os seus direitos cívicos e de cidadania em Moçambique pós-colonial. Portanto, a análise centrou-se na forma como é discursivamente construída em narrativas musicais, a representação social da exclusão dos grupos sociais mais pobres e como se constroem identidades político-partidárias entre os músicos. Paralelamente, questionámo-nos sobre a relevância das plataformas digitais utilizadas pelos músicos, para o engajamento cívico e de cidadania. Dentro desse contexto, o estudo sugere que o desafio de se pensar o exercício dos direitos cívicos e de cidadania em Moçambique, através da música, devem ser pensados a partir de dois pontos modais. Primeiro, por onde a luta política passa discursivamente, através das narrativas musicais, onde são negociadas e construídas identidades, com a proliferação de diferentes revindicações como forma de exercício do direito à liberdade de expressão, constitucionalmente instituído. O segundo desafio está relacionado com a própria noção de "povo" e como ela legitima a elite governante. Quando o "povo" se mobiliza e apresenta suas aspirações e demandas, como uma coletividade excluída dos processos políticos e de governação, eles estão, de fato, também dando legitimidade à elite governante. Pois estas aspirações e demandas são apresentadas à elite governante, para que possam ser tratadas. O ciberespaço neste contexto, oferece a interconetividade entre saberes locais e globais, porque torna-se um espaço alternativo de engajamento coletivo, ao instituído e controlado pelo poder político, para o exercício dos direitos cívicos e de cidadania. No quadro da pesquisa, desenvolvemos uma abordagem qualitativa com recurso a entrevistas e conversas informais. Não menos importante foi nesse processo, a recolha e análise de narrativas musicais RAP.
The undertaken research explores the experience about how protest RAP music makes up a space in which musicians and the public exercise their civil rights and citizenship in postcolonial Mozambique. So, the analysis focused on how the social representation of poorer social groups’ exclusion is discursively built up in musical narratives, and how political identities are shaped among musicians; as the virtual world or the cyberspace, through its digital platforms, opens up a range of possibilities for shaping multiple relations, leading/concurring to different configurations of civic engagement and citizenship. In this context, the study suggests that the challenge of thinking about the exercise of civil rights and citizenship in Mozambique, through music, should be faced from two modal points; First, from where the political fight goes by discursively, through musical narratives in which identities are negotiated and shaped, with the proliferation of different claims as a way of exercising the right to freedom of expression, constitutionally instituted. The second challenge is related to the very notion of “people” and how it legitimates the ruling elite. When the “people” mobilize themselves by and to present their aspirations and demands as an excluded collectivity from governance and political processes, they are in fact also legitimating the ruling elite. For these aspirations and demands are presented to the ruling elite so that they can be addressed. The cyberspace, in this context, offers the interconnectivity among local and global knowledge on becoming an alternative space for collective engagement into the established and controlled by the political power for the exercise of civil rights and citizenship. For data gathering, in this research, we have used a qualitative approach which consisted on interviews and informal conversations, not to mention the collection and analysis of RAP musical narratives.
The undertaken research explores the experience about how protest RAP music makes up a space in which musicians and the public exercise their civil rights and citizenship in postcolonial Mozambique. So, the analysis focused on how the social representation of poorer social groups’ exclusion is discursively built up in musical narratives, and how political identities are shaped among musicians; as the virtual world or the cyberspace, through its digital platforms, opens up a range of possibilities for shaping multiple relations, leading/concurring to different configurations of civic engagement and citizenship. In this context, the study suggests that the challenge of thinking about the exercise of civil rights and citizenship in Mozambique, through music, should be faced from two modal points; First, from where the political fight goes by discursively, through musical narratives in which identities are negotiated and shaped, with the proliferation of different claims as a way of exercising the right to freedom of expression, constitutionally instituted. The second challenge is related to the very notion of “people” and how it legitimates the ruling elite. When the “people” mobilize themselves by and to present their aspirations and demands as an excluded collectivity from governance and political processes, they are in fact also legitimating the ruling elite. For these aspirations and demands are presented to the ruling elite so that they can be addressed. The cyberspace, in this context, offers the interconnectivity among local and global knowledge on becoming an alternative space for collective engagement into the established and controlled by the political power for the exercise of civil rights and citizenship. For data gathering, in this research, we have used a qualitative approach which consisted on interviews and informal conversations, not to mention the collection and analysis of RAP musical narratives.
Description
Keywords
RAP Música Músicos Direitos cívicos Cidadania Narrativas Moçambique
Citation
Sitoe, Tirso Hilário - "Ladrões fora, corruptos fora, assassinos fora" [Em linha]: o RAP de protesto em Moçambique pós-colonial. [S.l.]: [s.n.], 2017. 98 p.