Sex, Drugs And Feminism Female Funk Singers, The Personal Is Political

Sex, Drugs And Feminism Female Funk Singers, The Personal Is Political

At first glance there’s no feminist element to Carioca funk. Which is the electronic funk dance music that is a product Rio de Janeiro’s petty favelas. Most of the songs performed by women are sexually explicit, and sometimes violent funk type and are not empowering.

That’s what I was thinking when I began my postdoctoral study into the genre in the year 2008. From a white middle-class viewpoint, the savage lyrics were a symbol of machismo. That was a result by Brazil’s patriarchal culture. I saw this kind of music, as well as the performers provocative fashions and costumes as a form. Of sexism against women who were further subjugate to the male machismo.

I could not be more wrong. Since they sing openly about sex and life out in public Rio’s female funk performers bring the harsh. Reality of Rio’s most difficult neighborhoods to the mainstream and inspiring an upcoming generation of female performers.

Favela Funk

I was at my first participant-observation session, attending a favela dance party. When I spotted the samba school rehearsal yard full of sound equipment. A woman’s voice was booming through my ears.

This was the band Gaiola das Popozudas, and the singer who was leading the group. Valesca, was wailing to the rhythm of an electronic drum Come on love. Beat my case and put your dick on my face.

I thought: it’s probably not an accident it’s the very first thing I’ve heard in my the first field day. I’ve got something learned from the women. There are certain personal beliefs I have to dissect.

A result from Brazil’s African diaspora, the funk genre (which has little in common with the more well-known George Clinton variety) began to pop up within Rio de Janeiro in the beginning of the 1990s, and with original lyrics composed in Portuguese. In the last 10 years musicians have been remixing songs from abroad with new lyrics rather than translating original songs.

In the wake of contests to write songs at funk events youngsters became MCs, writing songs that referred to the slums they’d grew up and expressed their enthusiasm of partying as well as other leisure activities that were available to black youths living in Rio de Janeiro.

At the time there were hardly any women performing on stage. If they did perform, female performers, like the MC Cacau of the 1990s, who was a popular idol frequently performed songs about love.

Alternative One Notable Exception Funk

A notable alternative one notable exception was MC Dandara, a black street woman who had a breakthrough success with her highly politicised Rap de Benedita. The rap was based around Benedita da Silva an African-American favela dweller and elected Congress as an official of the Workers’ Party and was then discriminated against by the mainstream media.

Even her stage name was deeply political. Dandara was a warrior-woman who was among Brazil’s leaders. Quilombo dos Palmares runaway slave settlement, which during the 18th century developed into an abolitionist organization.

In the early 21st century the dominance of males of funk was threatened as more female MCs entered the scene. The pioneering rapper Deize Tigrona, who hailed from Rio’s most well-known as well as most unsafe favelas City of God, was an employee in a household when she began her career by singing funk.

Her songs are sexually edgy but fun. One of Deize’s early songs was Injecao where the shot she receives at the doctor’s office is an absurd reference to the concept of sexual intimacy (the line: It hurts but I’m able to take it).

In the beginning of 2000 Another City of God resident found fame singing about pleasure and sex from the perspective of a woman. Tati Quebra Barraco, whose skin color was black, just like Deize and she was a skeptic of the current Brazilian beauty standards with her song”I’m ugly, but I’m stylish/I could afford a hotel room for an attractive man.

Funk Goes Feminist

In a bid to prove fame, money in addition to power Tati was one of the top females in the funk. Together Tati and Deize create what was later refer to as feminist funk. It influenced an entire generation of female musicians in the favelas.

The artist Valesca Popozuda was the first artist from the funk scene to declare herself as a feminist. Valesca who is white, has chosen to go by the name of Popozuda which means women with a large behind (a physical attribute that is admire by Brazilians). Brazil).

After quitting her group, Gaiola das Popozudas, to pursue her own solo professional career Valesca is now known as a singer-songwriter with her explicit lyrics that describe her prefer activities in bed, and not just with guys as well.

With her songs, which show love for LGBTQ people, in addition to other communities that are marginalis and her stance on female freedom is evidently political. In Sou Gay (I’m Gay), Valesca sings, I sweated, I kissed, I enjoyed, I came/I’m bi, I’m free, I’m tri, I’m gay.

Symbol Of Feminism

Valesca has become a symbol of feminism on the grassroots for being vocal about prejudices of all sorts. In other songs, Valesca has highlighted matters that matter to working-class and women of low income from Rio de Janeiro.

Larguei Meu Marido, for instance, tells the story of an actress who has left her abusive husband only to discover. That he’s now begging to get her back, now that she’s infidelity with him (as she did to her in the past). On stage, as Valesca declares herself an slut, women in the audience go crazy.

Following the example the pioneering musicians nowadays, female funk artists are singing about an ever-growing array of subjects. There are still gender discrimination, even though. Women have made it in the stage however, they’re rare as funk DJs producers, and entrepreneurs. Men manage the in the background.

This will change also. It’s not impossible for those Brazilian females who after being suck up in a patriarchal and sexy society. With traditional Christian values discovered the power to shout out at the universe. My body is mine and translate in the language of Funk, the fundamental feminist slogan: My body is my own.

Art Heal And Galvanise The Youth Of Timor Leste

Art Heal And Galvanise The Youth Of Timor Leste

Quirky is one way of describing this art space is the opinion of Lonely Planet about Arte Moris. However, Arte Moris (or Living Art) is more than just an art gallery or a fine art academy.

In 2003, the center provides a space for children Timorese to create art, as well as helping them connect and promote positive views about their nation. Famous freedom fighters’ posters that are popular with young people like the ones that depict Che Guevara as well as Bob Marley, surround teenagers who want to master the art of creating including murals, sculptures, prints on canvas and more.

It was initially a concept of Swiss artist Luca Gansser and his wife, Gabriela Gansser, with the help of a group of youngsters, Arte Moris has slowly transformed into a well-known and even the sole art gallery that is in Switzerland. Since the centre’s inception, Arte Moris was award the UN Human Rights prize for its advocacy for free expression.

However, Arte Moris’ aim is not just to support the arts. It hopes to assist East Timorese people rebuild their lives following the bloody conflict for independence of one of the newest nations, founded on the 20th of May 2002.

Violence In Timor Leste Art

The Southeast Asian island was first colonized by the Portuguese in 1515. The country gained its the independence it had from Portugal in the month of November 1975, through the Revolutionary Front of an Independent East Timor (Fretilin). It only lasted for only nine days until it was attack by Indonesian military.

The country was still under occupation until August 30 , 1999, in which an independence referendum was held that saw 78.5 percent of East Timorese people vote for independence from Indonesia. The result was a flurry of violence from pro-Indonesian groups, which needed intervention by UN peacekeepers.

The result was the establishment of a UN Transitional Administration in East Timor (UNTAET) from 1999 until 2002, after which Timor Leste restored full independence.

The bloody fight against Indonesian occupation has brought all the East Timorese together. However, a conflict between the military and the political began in 2006 after some army members were fire.

The conflict escalated into series of fighting between soldiers, the army, police soldiers, urban youth and soldiers, which resulted in the deaths of more than 100 in 2006 and more than 150,000 people forced to flee. The crisis exposed a deep tension between the elderly and the younger generation within the state.

Youth In Crisis Art

Timor Leste has one of the largest populations of young people around the globe. The country’s rapid population growth has brought attention to the state of affairs and situation of the young in the country.

According to an article from 2007 in the World Bank report titled Timor Leste’s Youth in Crisis: Situational Analysis and Policy Options The involvement of young people in violence across the country was among the most prominent aspects of the current crisis. Generation gap has become a major aspect of the current political discourse within Timor Leste.

Two generations were part of the long battle to gain independence. The first one is known as the Generation of ’99 or Geracao Foun born during the period of Indonesian occupation. There were a few were elect as leaders of the nation in the 1990s and 1980s. They differ from Generation of 75 who are older Portuguese-speaking leaders who most of them dominate the government.

The various groups are at odds over certain issues. However, their relationships are vital to the transfer of values of culture and the nation’s social cohesion.

Timor Leste’s youth are suffering from the lack of employment opportunities and the rate of poverty ) is still high at 41.8 percent. The prospects of an independent country seem to be far off as fundamental rights like education, job opportunities and the right to vote are not yet fully realize.

Murals To Promote Peace

The population in Timor Leste has been so affect by the events of recent times. That they have taken up the practice of venting on the walls. Some parts of the capital city of the nation Dili appear. To be an art gallery that is open to the public.

In 2006, after recognizing that graffiti and murals were among. The most inclusive methods of communication in the country Nobel prize-winning. Jose Ramos-Horta, the former president, and other NGOs hired artists to paint wall of the nation. To transmit messages of unity in the nation and peace.

Graffiti and murals have become a prominent in the cityscape. Arts allow young people to protest against the authority of the law and politics in the country.

A lot of the artists are of the Generation from 99 and were exile. Following the declaration of independence in 2002. They are seeking to affirm their participation in the struggle against Indonesia as well as to remind. The younger generation of their past while participating in debates about post-independence identities.

Gembel Art Collective

Collective Gembel Art Collective is another initiative of this kind, which found in 2003 just like Arte Moris. Gembel Art offers free arts classes, and is also planning the possibility of having music, theatre along with traditional performance. Similar to Arte Moris, its classes and spaces are available to everyone.

Artists, such as those affiliate in Arte Moris or Gembel Art Collective are also involve in human rights concerns. This includes fighting for the right to land as well as finding children disappeared during the Indonesian occupation. It is estimate that 4000 children were secretly transport to Indonesia between 1975 and 1999.

The artists express their discontent and discontent with government policies like the absence of jobs for youth. They also may support initiatives, like for instance, the Hands Off Timor Oil initiative in conjunction together with the government. With the help of the arts they inspire people to look at the problems that impact their country.

Taylor Swift v Damon Albarn Idea Of The Lone Songwriter Is Outdated

Taylor Swift v Damon Albarn Idea Of The Lone Songwriter Is Outdated

Damon Albarn, the lead singer of Blur and Gorillaz was recently attack for his outdated views of modern songwriting. When he spoke to LA Times, Albarn explained that US Taylor Swift’s co-writing. Approach was at contrast to Albarn’s traditionalist view of writing songs. Albarn went on to explain co-writing doesn’t count as songwriting.

The practice of blaming fellow musicians for not creating their own songs is not a good idea for musicians especially. Since the concept that a songwriter can write has become more fluid with time. And is heavily influence by the music genre. Music for pop is usually compose in collaboration and the teams that compose it are growing larger. In fact, an analysis conducted of Music Week magazine suggests. That it is now taking the average of four and a quarter writers to make a hit song.

The process of making songs has been integrate with and fought against the industrialisation that is the industry of music. And it has evolved alongside technological advances as well in manufacture and distribution

Authorship is at the center of the debates surrounding songwriting partially due to the concept of the creative author. Where the songwriter thought of as the main creator of the band or the artist. The majority of artists’ revenue from music comes from the royalties. They earn from songwriting and sharing authorship is one method of rewarding musicians who are instrumental in the success of a song.

The Artist-Singer Outdated

The idea of the singer-songwriter in the traditionalist manner that we have in the present. Think Joni Mitchell, Neil Young, Paul Simon, Dolly Parton was born in the 1960s and the into the 1970s. Folk music was a popular genre that was incorporate into the evolution in rock and roll music. This was follow by the notion of authenticity.

This was a test for Tin Pan Alley writing that involved musicians working with the songwriters. To produce music hits for artists who recorded and performed. Another conveyor belt system which built tracks by transferring them from studio to according. To which studio had the best-suit session players performed was also consider an alternative to.

This technique was employed by labels such as Motown across the US that transferred tracks. Recorded across Detroit as well as those on the West Coast, building on them in between the two cities. This can be a disempowering experience for musicians, as they often didn’t have an understanding of the song they contributed to and were only able to hear the final version of the track after they released it.

This notion of authenticity became crucial to musicians from both sides of the spectrum. Chuck Berry was regarded as real, for instance and also Bob Dylan, whereas a majority of the music thought to be pop wasn’t. The most authentic band in the UK at the time was The Beatles.

Although they initially started by doing covers, they quickly established a style that was distinctive outdated while paying tribute to their predecessors. Songs often dealt with their personal thoughts or circumstances. This kind of songwriting is popular in DIY and indie communities of today.

Complex Collaborations

Modern songwriting has advanced even more, with musicians working with studio technology at the beginning of their process. A song could be constructed using beats. The beatmaker is believe to be a part of the composition team which could also comprise arrangers, producers, as well as chorus experts. Kanye West, as an instance has credited 21 musicians on his track from 2015, All Day. It’s a stark contrast from what we think of as traditional music traditional way of writing music.

In my book about audio engineering and production every writer on these intricate studio tracks is an expert in their area. They not only have the technical expertise, but are also aware about the most recent underground sounds which is why, in this manner they have a lot of things in the same way as Motown writers and the Tin Pan Alley teams or the Motown writers.

If we describe songwriting as the making of songs when before there were no outdated concepts, then everyone who is involve in the process of creating the song is a song songwriter. It doesn’t matter if they’re written by a team working on an assembly line or by an individual artist, they’re still incredibly creative combinations of rhythms, music and words.

Taylor Swift began her professional life as a country music singer and to achieve any respect in that competitive music scene it was essential for her be able to compose a song and then carry it as an artist. Most likely, Damon Albarn knows this. His skills as a songwriter have expanded to include a variety of techniques and musical influences. Both are superb songwriters no matter their personal styles of working.