Praça Onze e Congo Square: territórios musicais abandonados e cobiçados

• Ano de defesa: 2018
• Autor(a) principal: Lima, Viviani Fernandes de
• Orientador(a): Barata, Denise
• Banca de defesa: Aragão, Pedro de Moura , Cunha, Neiva Vieira da , Silva, Salomão Jovino da , Lichuge, Eduardo
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade do Estado do Rio de Janeiro
• Programa de Pós-Graduação: Programa de Pós-Graduação em Políticas Públicas e Formação Humana
• Departamento: Centro de Educação e Humanidades
• País: BR
• Palavras-chave em Português: Ancestralidade; Racismo; Música; Praça Onze (Rio de Janeiro, RJ); Congo Square (Nova Orleans)
• Palavras-chave em Inglês: Congo Square; Music; Samba; Jazz; Blues; Ancestry; Racism
• Área do conhecimento CNPq: CNPQ::CIENCIAS HUMANAS::CIENCIA POLITICA::POLITICAS PUBLICAS
• Link de acesso: http://www.bdtd.uerj.br/handle/1/14858

Praça Onze in Rio de Janeiro and Congo Square in New Orleans since their creations were venues for black population who gathered there for rituals performed with music and dance. The square in Rio has become a reference in the history of samba; the Neworlenian square is the same reference in jazz. As the cities grew, the squares suffered interventions by the state. In the 1940s, Praça Onze was totally destroyed to give way to Presidente Vargas Avenue; from 1956 to 1973, the surroundings of Congo Square were demolished, bringing down residences of nine blocks. According to government officials, the buildings were necessary for the modernization of cities. The research, in a comparative way, seeks to know if these decisions were motivated by racial prejudices, in order to alienate the black population from central areas of the cities. Through comparisons between the stories of the cities and their cartographies, news from newspapers and phonographic recordings, it was possible to confirm that the squares were "digested" by the urban centers; there was racial prejudice in relation to the people who lived around the squares and their cultures; and, despite the demolitions and racism, the music increased its reach and even with modifications guided by the music industry was able to keep records of the sounds of the squares