Pub Date : 2022-01-01DOI: 10.21747/21843805/tav5n1a2
Sandra Borges Gilotay, Olga Magano
The construction of identities is a complex and continuous process that includes individual and collective experiences. In this article, identity and cultural complexity of the residents of Gibraltar analysed through an exploratory and qualitative study. It is a unique territory in the European continent and with certain colonial links due to its past of conquests and border disputes between Spain and England. In addition to the evidence of distinct cultural and geographical origins, it was possible to perceive an intercultural dynamic among its inhabitants, in which plurality and crossbreeding of cultures play an important role in the constructive and identity process of its residents, allowing not only an integration in their social environment, but a reconfiguration of their belonging, awakening a common feeling of coexistence, in addition to the recognition of their own cultural limits
{"title":"Identidades, fronteiras e mestiçagens culturais. O caso dos residentes de Gibraltar","authors":"Sandra Borges Gilotay, Olga Magano","doi":"10.21747/21843805/tav5n1a2","DOIUrl":"https://doi.org/10.21747/21843805/tav5n1a2","url":null,"abstract":"The construction of identities is a complex and continuous process that includes individual and collective experiences. In this article, identity and cultural complexity of the residents of Gibraltar analysed through an exploratory and qualitative study. It is a unique territory in the European continent and with certain colonial links due to its past of conquests and border disputes between Spain and England. In addition to the evidence of distinct cultural and geographical origins, it was possible to perceive an intercultural dynamic among its inhabitants, in which plurality and crossbreeding of cultures play an important role in the constructive and identity process of its residents, allowing not only an integration in their social environment, but a reconfiguration of their belonging, awakening a common feeling of coexistence, in addition to the recognition of their own cultural limits","PeriodicalId":31523,"journal":{"name":"Escena Revista de las artes","volume":"279 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76565302","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.21747/21843805/tav5n1a3
Denise Osório Severo, Paula Guerra
The expansion of far-right movements constitutes a global phenomenon that has translated into the emergence and strengthening of numerous organizations, parties, and especially into the conquest of power in many countries in Europe, North America, and Latin America. In this article we will try to account for this phenomenon, first by presenting and reflecting on the different theoretical conceptions that have been held about it, namely the different related concepts used by academia, such as populism, fascism, extreme right or authoritarian neoliberalism. On a second level, we will focus our attention on Poland and Portugal. In the case of Poland, for its admittedly populist conjunctural character, ruled since2015 by the Law and Justice Party. In the case of Portugal, for its opposite character, under the management of the Socialist Party, recently reelected with 60% of the votes, but which also experiences the strengthening of extreme right-wing movements. Respecting the sociocultural and historical particularities of each, in both countries these movements are expressed both in civil society and in political society. These experiences reveal counterfaces that, despite their differences, signal approximations with the xeno-populist perspective and can shed light on the understanding of these processes. In the Polish scenario, the adoption of institutional policies and legislation against migrants, LGBTQIA+ and other minorities are notable, as well as growing manifestations of far-right movements, both based on hate speech. On the other hand, the Portuguese context, although governed by an opposite political spectrum, also experiences recent processes of strengthening of the far right. In fact, the far-right "Chega" party won third place in a recent election marked by tensions involving hate speech, xenophobia and nationalist perspectives
极右翼运动的扩张构成了一种全球现象，它已经转化为许多组织和政党的出现和加强，特别是在欧洲、北美和拉丁美洲的许多国家夺取了政权。在本文中，我们将试图解释这一现象，首先通过提出和反思关于这一现象的不同理论概念，即学术界使用的不同相关概念，如民粹主义、法西斯主义、极右翼或威权主义新自由主义。在第二个层面上，我们将把注意力集中在波兰和葡萄牙。以波兰为例，波兰自2015年以来一直由法律与正义党(Law and Justice Party)执政。以葡萄牙为例，由于其相反的特点，在社会党的管理下，最近以60%的选票再次当选，但也经历了极右翼运动的加强。由于尊重每个国家的社会文化和历史特点，这两个国家的这些运动都在公民社会和政治社会中表现出来。这些经验揭示了尽管存在差异，但与排外民粹主义观点相似的对立，并有助于对这些过程的理解。在波兰的情况下，针对移民、LGBTQIA+和其他少数群体的制度性政策和立法，以及基于仇恨言论的极右翼运动日益增长的表现，都是值得注意的。另一方面，葡萄牙虽然由相反的政治派别统治，但最近也经历了极右翼势力加强的过程。事实上，极右翼的“Chega”党在最近的选举中赢得了第三名，这次选举的紧张局势涉及仇恨言论、仇外心理和民族主义观点
{"title":"Extrema-direita, xeno-populismo e colonialidade: discursos de ódio e colonização do imaginário no presente","authors":"Denise Osório Severo, Paula Guerra","doi":"10.21747/21843805/tav5n1a3","DOIUrl":"https://doi.org/10.21747/21843805/tav5n1a3","url":null,"abstract":"The expansion of far-right movements constitutes a global phenomenon that has translated into the emergence and strengthening of numerous organizations, parties, and especially into the conquest of power in many countries in Europe, North America, and Latin America. In this article we will try to account for this phenomenon, first by presenting and reflecting on the different theoretical conceptions that have been held about it, namely the different related concepts used by academia, such as populism, fascism, extreme right or authoritarian neoliberalism. On a second level, we will focus our attention on Poland and Portugal. In the case of Poland, for its admittedly populist conjunctural character, ruled since2015 by the Law and Justice Party. In the case of Portugal, for its opposite character, under the management of the Socialist Party, recently reelected with 60% of the votes, but which also experiences the strengthening of extreme right-wing movements. Respecting the sociocultural and historical particularities of each, in both countries these movements are expressed both in civil society and in political society. These experiences reveal counterfaces that, despite their differences, signal approximations with the xeno-populist perspective and can shed light on the understanding of these processes. In the Polish scenario, the adoption of institutional policies and legislation against migrants, LGBTQIA+ and other minorities are notable, as well as growing manifestations of far-right movements, both based on hate speech. On the other hand, the Portuguese context, although governed by an opposite political spectrum, also experiences recent processes of strengthening of the far right. In fact, the far-right \"Chega\" party won third place in a recent election marked by tensions involving hate speech, xenophobia and nationalist perspectives","PeriodicalId":31523,"journal":{"name":"Escena Revista de las artes","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82893947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This is an essay-enchantment, a writing-prayer, walking through time-spaces, experimenting with meaning and thinking with an artist, researcher, and writer Walla Capelobo, starting from ancestral roots to speak, think, and write. To think with words and bodies and gestures, the livature of being the subject of the research, a body producing knowledge, against the colonial world. The rehearsal was done in group, with visible and invisible beings, non-human and humans, among Congonhas, Matias Barbosa, and Juiz Fora, cities of Minas Gerais. Our proposal puts our at stake because with our "macumbas" epistemologies, the world is thought, it is the body. So writing is movement and action. To review Walla's walk is to walk with Walla. Reviewing with Capelobo is talking with her body and with her words. With her, we pray for a great, historical, cosmic time, where thinking is (re)creating. We experience her mud, her land, her forest, her road, and her living. How? Together. Co-creating with Nossa Senhora do Rosário, Arturos, and other enchanted ways to cross the word creating "terreiros" of Knowledge and healing
{"title":"Novas pedras nos camynhos de Walla Capelobo","authors":"Carolina Cerqueira Correa, Malandro Vermelho, Walla Capelobo","doi":"10.21747/21843805/tav5n1a5","DOIUrl":"https://doi.org/10.21747/21843805/tav5n1a5","url":null,"abstract":"This is an essay-enchantment, a writing-prayer, walking through time-spaces, experimenting with meaning and thinking with an artist, researcher, and writer Walla Capelobo, starting from ancestral roots to speak, think, and write. To think with words and bodies and gestures, the livature of being the subject of the research, a body producing knowledge, against the colonial world. The rehearsal was done in group, with visible and invisible beings, non-human and humans, among Congonhas, Matias Barbosa, and Juiz Fora, cities of Minas Gerais. Our proposal puts our at stake because with our \"macumbas\" epistemologies, the world is thought, it is the body. So writing is movement and action. To review Walla's walk is to walk with Walla. Reviewing with Capelobo is talking with her body and with her words. With her, we pray for a great, historical, cosmic time, where thinking is (re)creating. We experience her mud, her land, her forest, her road, and her living. How? Together. Co-creating with Nossa Senhora do Rosário, Arturos, and other enchanted ways to cross the word creating \"terreiros\" of Knowledge and healing","PeriodicalId":31523,"journal":{"name":"Escena Revista de las artes","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86784688","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.21747/21843805/tav5n3ap
Paula Guerra, Ligia Dabul
{"title":"A arte junta, constrói e desdobra-se","authors":"Paula Guerra, Ligia Dabul","doi":"10.21747/21843805/tav5n3ap","DOIUrl":"https://doi.org/10.21747/21843805/tav5n3ap","url":null,"abstract":"","PeriodicalId":31523,"journal":{"name":"Escena Revista de las artes","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78634171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.21747/21843805/tav5n1r1
Deniz Ilbi
{"title":"Recension of the Marie Buscatto's Book, Women in Jazz: Musicality, Femininity, Marginalization","authors":"Deniz Ilbi","doi":"10.21747/21843805/tav5n1r1","DOIUrl":"https://doi.org/10.21747/21843805/tav5n1r1","url":null,"abstract":"","PeriodicalId":31523,"journal":{"name":"Escena Revista de las artes","volume":"62 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90698741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.21747/21843805/tav5n3a3
Frederico Dinis
This article departs from the definition for ambient electronic music, as an inductive element for the creation of a space to think, and presents a set of authors and sound works orientated towards a concern with space. These authors are contextualised according to the foundations of contemporary electronic music, from the mid-20th century and which are based on works that revolutionised the way in which electronic music came to be seen, up to the new expansion of electronic ambient music, with the appearance of new sonorities and new paths for this musical genre as from the 2000s, consolidating and stabilising it as a musical genre. But electronic ambient music as a genre should be seen as an overlapping of information, and not only as an interaction with an environment. Thus, we argue that the social connection of electronic ambient music to its own environment and context has changed throughout its evolution as a genre, just as this context has changed, reinforcing that the place today is a personal space, just like the listening experience associated with electronic ambient music. The present-day experience of electronic ambient music in the conception, amplification or discontinuity of places, expresses in itself the desire to exercise an internal agency or a mediation with its own surroundings, operating as a reflection of the 'I', recurring to sonorities that move the mind. An 'I' that includes the social world in which one is immersed and a representation of figurative places.
{"title":"A música eletrónica ambiental: da profundidade sonora aos imaginários da mente","authors":"Frederico Dinis","doi":"10.21747/21843805/tav5n3a3","DOIUrl":"https://doi.org/10.21747/21843805/tav5n3a3","url":null,"abstract":"This article departs from the definition for ambient electronic music, as an inductive element for the creation of a space to think, and presents a set of authors and sound works orientated towards a concern with space. These authors are contextualised according to the foundations of contemporary electronic music, from the mid-20th century and which are based on works that revolutionised the way in which electronic music came to be seen, up to the new expansion of electronic ambient music, with the appearance of new sonorities and new paths for this musical genre as from the 2000s, consolidating and stabilising it as a musical genre. But electronic ambient music as a genre should be seen as an overlapping of information, and not only as an interaction with an environment. Thus, we argue that the social connection of electronic ambient music to its own environment and context has changed throughout its evolution as a genre, just as this context has changed, reinforcing that the place today is a personal space, just like the listening experience associated with electronic ambient music. The present-day experience of electronic ambient music in the conception, amplification or discontinuity of places, expresses in itself the desire to exercise an internal agency or a mediation with its own surroundings, operating as a reflection of the 'I', recurring to sonorities that move the mind. An 'I' that includes the social world in which one is immersed and a representation of figurative places.","PeriodicalId":31523,"journal":{"name":"Escena Revista de las artes","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82175456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.21747/21843805/tav5n3a1
Clecius Campos Corrêa, Maria Lucia Bueno
In the early 1960s, one can register, internationally, a growth in the population of modern artists and an expansion of the limits of the art world, whose works were marked by the visual perception of everyday life and art objects aligned to universes little explored until then. In Brazil, a country in the process of modernization and expansion of the consumer society, some precariousness in the industry and in the market were responsible for an unprecedented role of artists in the implementation and modernization of new sectors, such as fashion and the press. Thisarticle examines the contribution of artists and intellectuals in the construction of these sectors in Rio de Janeiro. The carioca press played a prominent role in the dissemination and legitimation of the products and effects of these actions.
{"title":"Art et modernisation dans la presse carioca des années 1960: la mode dans les pages du Correio da Manhã et du Jornal do Brasil","authors":"Clecius Campos Corrêa, Maria Lucia Bueno","doi":"10.21747/21843805/tav5n3a1","DOIUrl":"https://doi.org/10.21747/21843805/tav5n3a1","url":null,"abstract":"In the early 1960s, one can register, internationally, a growth in the population of modern artists and an expansion of the limits of the art world, whose works were marked by the visual perception of everyday life and art objects aligned to universes little explored until then. In Brazil, a country in the process of modernization and expansion of the consumer society, some precariousness in the industry and in the market were responsible for an unprecedented role of artists in the implementation and modernization of new sectors, such as fashion and the press. Thisarticle examines the contribution of artists and intellectuals in the construction of these sectors in Rio de Janeiro. The carioca press played a prominent role in the dissemination and legitimation of the products and effects of these actions.","PeriodicalId":31523,"journal":{"name":"Escena Revista de las artes","volume":"16 5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78394298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.21747/21843805/tav5n1a6
Camila Alonso Milani
This article seeks to analyze how K-pop, (sub) musical genre born in South Korea, is able to portray reflexes of cultural hybridism in pop music and in South Korean identity. To this end, a survey of facts and historical data was carried out to demonstrate the cultural identity suppression suffered by the Korean people over the centuries, until its consolidation as an independent nation. Then, from the post-war context, an analysis is made of the North American influence on the country's trajectory in music and in the construction of its pop culture. Finally, the role of all these interferences in the solidification of the South Korean identity is investigated, as well as the role of globalization in the establishment of the K-popper subculture and the new position of the peninsular country in the world
{"title":"K-pop. Os reflexos do hibridismo cultural na identidade e na música popular coreana","authors":"Camila Alonso Milani","doi":"10.21747/21843805/tav5n1a6","DOIUrl":"https://doi.org/10.21747/21843805/tav5n1a6","url":null,"abstract":"This article seeks to analyze how K-pop, (sub) musical genre born in South Korea, is able to portray reflexes of cultural hybridism in pop music and in South Korean identity. To this end, a survey of facts and historical data was carried out to demonstrate the cultural identity suppression suffered by the Korean people over the centuries, until its consolidation as an independent nation. Then, from the post-war context, an analysis is made of the North American influence on the country's trajectory in music and in the construction of its pop culture. Finally, the role of all these interferences in the solidification of the South Korean identity is investigated, as well as the role of globalization in the establishment of the K-popper subculture and the new position of the peninsular country in the world","PeriodicalId":31523,"journal":{"name":"Escena Revista de las artes","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81013968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.21747/21843805/tav5n1a1
Michael MacDonald, J. Lima
This article explorescinematic research-creation, or what I call cine-worlding. Indeed, ccine-worlding has the potential to contribute to a research practice unique to popular music and youth studies, areas of cultural life characterised by their openness and innovation with new media. Being aware of these opportunities means taking advantage of the technologies currently available. But there is an obstacle. Cinematic production must come together with research. Traditional cinematic research methods, due to their costs, difficulties with peer review and lack of institutional support, have not been accepted by academia. It has been anthropology that has done the most to develop cinematic research through ethnographic film. New developments in the digital cinema ecosystem have been little explored so far. The digital cinema ecosystem, emerging since 2009, consists of relatively cheap digital cameras and smartphones, free professional-grade digital platforms, a worldwide network of film festivals and the transformation of most art-house cinemas into digital screenings. This means that digital cinema made on a laptop can be shown anywhere. We are at the best possible moment for academic filmmaking, but then why do academics do so little of it?
{"title":"Devemos apelidá-los de estudos cine-culturais? O cine-mundificar da música popular e dos estudos juvenis","authors":"Michael MacDonald, J. Lima","doi":"10.21747/21843805/tav5n1a1","DOIUrl":"https://doi.org/10.21747/21843805/tav5n1a1","url":null,"abstract":"This article explorescinematic research-creation, or what I call cine-worlding. Indeed, ccine-worlding has the potential to contribute to a research practice unique to popular music and youth studies, areas of cultural life characterised by their openness and innovation with new media. Being aware of these opportunities means taking advantage of the technologies currently available. But there is an obstacle. Cinematic production must come together with research. Traditional cinematic research methods, due to their costs, difficulties with peer review and lack of institutional support, have not been accepted by academia. It has been anthropology that has done the most to develop cinematic research through ethnographic film. New developments in the digital cinema ecosystem have been little explored so far. The digital cinema ecosystem, emerging since 2009, consists of relatively cheap digital cameras and smartphones, free professional-grade digital platforms, a worldwide network of film festivals and the transformation of most art-house cinemas into digital screenings. This means that digital cinema made on a laptop can be shown anywhere. We are at the best possible moment for academic filmmaking, but then why do academics do so little of it?","PeriodicalId":31523,"journal":{"name":"Escena Revista de las artes","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74300955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.21747/21843805/tav5n3a4
Yatan Alves
Seu Mateus -as he is respectfully called by many in Brazil -is one of the nicknames ofMateus Aleluia, a Bahian artist, singer, songwriter and musician of great importance in the current African[...] origins, started alongside his companions in the musical trio Os Tincoãs, between the 1960s and 1970s, and continued in a solo career from the 2010s to the present. This article, based on a qualitative methodology, seeks to focus on traces of the life and work of Mateus Aleluia, in order to allow theidentification of the hybridism present in the processes of identity related to the musicality created by this Brazilian artist and the importance of his work for understanding the diasporic cultural reconstruction in which this artist is inserted
Seu Mateus是许多巴西人对他的尊称，是Mateus Aleluia的昵称之一。Mateus Aleluia是巴西亚艺术家、歌手、词曲作者和音乐家，在当前的非洲[…]在20世纪60年代至70年代，他与音乐三重奏乐队Os tinco的伙伴们一起开始了他的音乐生涯，从2010年代到现在，他一直在独唱。本文基于定性方法，试图关注Mateus Aleluia生活和工作的痕迹，以便在与这位巴西艺术家创造的音乐性相关的身份过程中识别混杂主义，以及他的作品对于理解这位艺术家所处的流散文化重建的重要性
{"title":"Aleluia, Mateus Aleluia. Um recorte sobre a sua obra","authors":"Yatan Alves","doi":"10.21747/21843805/tav5n3a4","DOIUrl":"https://doi.org/10.21747/21843805/tav5n3a4","url":null,"abstract":"Seu Mateus -as he is respectfully called by many in Brazil -is one of the nicknames ofMateus Aleluia, a Bahian artist, singer, songwriter and musician of great importance in the current African[...] origins, started alongside his companions in the musical trio Os Tincoãs, between the 1960s and 1970s, and continued in a solo career from the 2010s to the present. This article, based on a qualitative methodology, seeks to focus on traces of the life and work of Mateus Aleluia, in order to allow theidentification of the hybridism present in the processes of identity related to the musicality created by this Brazilian artist and the importance of his work for understanding the diasporic cultural reconstruction in which this artist is inserted","PeriodicalId":31523,"journal":{"name":"Escena Revista de las artes","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73346542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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