Epistemologia interseccional do barulho : conhecimento e autodefinição por corpos negros e genderizados a partir do hip-hop em Belo Horizonte - MG

• Ano de defesa: 2024
• Autor(a) principal: Steffane Pereira Santos
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; FAF - DEPARTAMENTO DE ANTROPOLOGIA E ARQUEOLOGIA; Programa de Pós-Graduação em Antropologia; UFMG
• Palavras-chave em Português: Conhecimento; Corpos negros e genderizados; Hip-hop; Interseccionalidade; Epistemologia; Antropologia - Teses; Epistemologia - Teses; Relações de gênero - Teses; Hip-hop (Cultura popular)
• Link de acesso: http://hdl.handle.net/1843/80888; https://doi.org/10.35699/2525-8036.2020.24506

This ethnographic dissertation discusses the production of knowledge by black and gendered bodies from hip-hop culture in the city of Belo Horizonte in Minas Gerais. It aims to explore the experience and self-definition (Collins, 2019) of five hip-hop artists from the capital of Minas Gerais: multi-artist DJ Akila, rapper Inza Princess, dancer and dance teacher Djessy, rapper Lua Zanella and graffiti artist Nica. They all produce knowledge and forms of epistemological validation, which this study calls intersectional epistemology of noise, based on experience and self-definition. This epistemology, in turn, challenges hegemonic epistemologies and the subjects who occupy them, produce and validate knowledge. The research carried out between 2023 and 2024 explored the aforementioned dynamics based on interviews and ethnographic transits by the author through the city of Belo Horizonte. This dissertation discusses the author's confluences as a young black anthropologist who experiences hip-hop culture as a listener and as a positioned anthropologist, as well as hip-hop as an epistemology and subject of academic studies. Based on her self-definition, she presents the uses of the space of hip-hop culture and its re-signification by the interlocutors, analyzing perspectives of this production, such as music and graffiti, as well as pointing out generational issues that permeate the transmission of knowledge produced by hip-hop. It also discusses materialities in an approximation with the ideals of Afro-future that permeate materialities and that intertwine Lua Zanella's work. It focuses on the presence of this Afrofuturism as a possibility for reinventing a world for existence. Thus, I argue that from the experience and self-definition lived by the interlocutors, the intersectional epistemology of noise is a way of validating the knowledge that comes from the core of hip-hop culture and extravasates it.