This position statement elaborates on academic southernness, arguing its endemic quarantined position in Western and Northern academia. Drawing from the author’s personal experiences, this piece creates a critical dialogue with bell hook’s “choosing the margin as a space of radical openness” (2000), building the notion of academic southernness. Academic southernness is conceived summing Bhan’s notion of southern urban practice (2019) and Hutta’s affective boldness (2019), and is based on prioritizing action (against reflection), embeddedness (contrary to distance), and solidarity (in opposition to critique). Academic southernness is a permanent engaged and grounded perspective and attitude when facing (endemic) urban crisis, summarized by an extreme pragmatism, commonly unfamiliar for those from the “north” and explained by the anthem “act first, theorize later.” Academic southernness is foregrounded in contexts of crisis, such as the current pandemic, by affectively engaging in practices and with practitioners throughout territories of precarity, demonstrating engagement, embeddedness, and bold solidarities.
Resumo No Largo da Batata em São Paulo, a ação comunitária abriu espaço para o fortalecimento de oportunidades colaborativas dentro do cenário de ampliação da infraestrutura urbana e da produção do espaço público, no contexto de intervenções da Operação Urbana Consorciada Faria Lima. O impacto das intervenções e remoções colaborou para um esvaziamento de significado do local. O presente artigo analisa a emergência de um novo capital social, que ocorreu por meio de diferentes ações promovidas por coletivos e associativismos. A pesquisa adota o método exploratório, que, organizado além das fronteiras geográficas, confrontou materialidades, convívios pessoais e diferentes atores. A discussão demostra que o caso abriu espaço para o fortalecimento de novas redes colaborativas dentro do processo de produção urbana.
This paper presents design research on Moatize rural-urban area, located in the Zambezi river basin, Mozambique. The design research intended to find measures of conserving available resources, supporting reforestation and taking advantage of the riverscape to enlarge the landscape capacity. Starting with a vision of creating resilience through landscape design, the project worked within dualities of extremes: wet versus dry; rural versus urban; endogenous versus exogenous processes. This area is in a fast transformation process, mostly driven by foreign companies that negatively impact the environment and socio-economical dynamics. From an interdisciplinary analysis, problems related to water were identified as key issues to reduce community vulnerability and therefore, community’s reliance on outside interference. The design research proposes a water capture and distribution system, with small scale elements and a scattered management. As a result, the system can be better integrated with the landscape occupation, facilitating efficient community maintenance. The design process was a result of learning from local knowledge and applying it to infrastructural solutions, a soft-engineering project that can be built integrated to natural cycles. Since the project follows the principles of community driven development, it is not a final result, but the starting point of a discussion.
Choro is an instrumental Brazilian music genre that emerged in Rio de Janeiro in the nineteenth century. It can adopt various forms with a basis of guitar, flute and cavaquinho – the latter, a small guitar of Portuguese origin. Musical arrangements are normally elaborate, although in Brazil the players gather in usually informal and open settings, in indoors or outdoors formations called rodas (‘circles’). Following the customs of many Brazilian genres, players sit in a circle facing each other, the audience stands around and, occasionally, skilled couples dance to it. A roda de choro is not a concert, yet it is not just a rehearsal, but also a musical experience based on spontaneity. This article, drawing upon an observation exercise in the Brussels (Belgium) choro scene, intends to explore the multitude of meanings of choro as a practice in which Brazilians in diaspora, other migrants and locals engage and share experiences with each other, focusing on the social geographies of choro and the social networks derived from this musical practice. The observation of this music-making process in Brussels raises additional questions of Brazilian (musical) identity in diaspora and its relation to the notions of longing (saudades), authenticity, affinity, transcendence and joy.
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