Participação Política Juvenil Em Contextos De “Suspensão”democrática: A Música Rap Na Guiné-Bissau

Barros, Miguel de

doi:10.21669/tomo.v0i21.900

Cited by 4 publications

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“…"Young" Nuno Ala Tambá, an artist born in 1991, who presided over the works on the murals, concluded that they are meant to "help young Guineans learn about the image and heritage left by the national heroes" 7 . Young Nuno pointed out that what persuaded him to take part in the initiative was his work with Cazé on Cabral's mural, as well as the support of the Guinean sociologist and social activist Miguel de Barros, who deals with the relationships between art (including street art) and political movements in Luso-Africa (Barros 2012;Barros, Lima 2013;Barros, Lima & Martins 2015). This form of artistic expression, vividly outlined in the public space, has several functions and roles.…”

Section: Symbolic Postcolonial Landscape In Bissau -Not Only Monumentsmentioning

confidence: 99%

Dismantling colonial monuments in African cities - the example of Bissau. Is an empty plinth still a monument?

Górny¹,

Górna²

2022

PiSG

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This article examines the fate of colonial monuments in Africa during the post-colonial period, especially the monuments that the Portuguese erected in Bissau in West Africa. The discussion is preceded by a detailed analysis of the sources that describe the iconoclasm of colonial monuments in selected African cities and a thorough description of the field studies conducted by the authors in Guinea-Bissau in 2020. As new African states replaced former colonies, the removal of European monuments in their capitals became a widely discussed topic. Some expressly political colonial monuments were removed at the time of formal decolonization, others have fallen down over the years, and yet others still stand. What distinguishes Bissau from every other postcolonial capital in Africa is that, while all its colonial monuments were dismantled after 1973, most of the plinths on which they stood have remained. These empty plinths are a symbol of decolonization – sui generis monuments of dismantled monuments. They speak volumes about the nature of the transformations that have taken place in recent decades. The new way of commemorating people and events in the symbolic and political landscape of Bissau, viz. murals created on the grassroots initiatives of young Bissau-Guineans, is also examined.

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Section: Symbolic Postcolonial Landscape In Bissau -Not Only Monumentsmentioning

confidence: 99%

Dismantling colonial monuments in African cities - the example of Bissau. Is an empty plinth still a monument?

Górny¹,

Górna²

2022

PiSG

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“…While the trade is thus seen as an unethical political practice, it looks somewhat different when seen from within. As the lyrics quoted above convey, there is a general dissatisfaction with the way that Guinea-Bissau has developed (Barros and Gomes 2014). Yet from the perspective of the disenfranchised youth I work with, the trade is also pragmatically evaluated in terms of the obligations it may enable them to fulfil and the social worth this may bestow.…”

Section: Situationally Attunedmentioning

confidence: 99%

“… 10 Torres Gémeos, ‘Culpadus’ (‘The culpable’), ‘registo sonoro’, Bissau, 2008 (quoted in Barros and Gomes 2014), my translation. …”

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confidence: 99%

Caring through crime: ethical ambivalence and the cocaine trade in Bissau

Vigh¹

2017

Africa

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This article examines the way young men in Bissau, the capital of Guinea-Bissau, make sense of and engage in the transnational cocaine trade, which has established itself on the Upper Guinea coast. It describes Guinea-Bissau's emergence as a regional centre for the trafficking of cocaine from Latin America to Europe, and shows how the illegality and volatility of the commerce are socially assessed and valued. The drug connection impacts on the lives of the young men in the city in a variety of ways. While it is seen to have brought with it a range of political and societal insecurities and uncertainties, it is also perceived to offer potential livelihoods and prospects. On the one hand, cocaine is positioned as an ethically dubious commodity; on the other, its revenue and concomitant social effects are seen as morally reasonable and required. The article therefore centres on the ethical dimensions of the trade, as seen from the perspective of the youth in question, and argues that it needs to be understood in terms of situational obligations rather than abstract ideals. It approaches ethics from a relational point of view and shows how the moral evaluation and ascription of the cocaine trade are defined inter-subjectively and understood in relation to social responsibility, care and accountability.

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“…1 "Pouco a pouco as pessoas estão a esquecer / estás paulatinamente a morrer na memória do nosso povo / a geração mais nova duvida da tua história / a tua imagem já não se encontra nos livros da escolaridade básica / tiraram-te do dinheiro / [...] foste e deixaste poemas para as nossas crianças que são as flores da revolução e de esperança / mas mesmo assim não se sente a tua presença / crianças nascem e não conhecem a história dos seus heróis / alguém que deu a sua vida para a libertação do seu povo se foi / trocaram-no por heróis virtuais / homem-aranha, super-homem" (ABEL DJASSI, 2010, tradução de Barros;Lima, 2012, p. 101 Mas como é que esse passado é recordado e evocado hoje nos países que fizeram parte do império colonial português? Hoje em dia, a música constitui um dos bens culturais que mais circula entre os países de língua oficial portuguesa (VANSPAUWEN, 2013).…”

Section: Introductionunclassified

Luso(A)fonias. Memórias cruzadas sobre o colonialismo português

Cabecinhas

2019

Estud. Ibero-Am. (Online)

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Neste artigo revisitamos um conjunto de estudos sobre as representações sociais da história nacional realizados junto de jovens em Angola, Brasil, Cabo Verde, Guiné-Bissau, Moçambique, Portugal e Timor-Leste. Em cada um desses países foram recolhidos dados com vista a examinar as representações sociais da história nacional e as emoções associadas aos acontecimentos considerados mais marcantes, entre os quais se destacaram os referentes ao processo de colonização e as guerras de libertação. Os resultados apontam para ambiguidades, ambivalências e contradições nas representações sociais da história que “liga” os países de língua oficial portuguesa. De um modo geral, observa-se um “desencontro” das memórias sobre o passado colonial. Esse desencontro das memórias sobre o “passado comum” é particularmente evidente quando comparamos as memórias históricas de jovens angolanos e de jovens portugueses: enquanto os participantes portugueses destacam os descobrimentos os participantes angolanos destacam a escravatura, o tráfico de escravos e os massacres. Tomando de empréstimo a expressão de Mia Couto (2009), globalmente os resultados espelham Luso(A)fonias e demonstram o quão desafiante é a escuta ativa de outras fonias.

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Participação Política Juvenil Em Contextos De “Suspensão”democrática: A Música Rap Na Guiné-Bissau

Cited by 4 publications

References 0 publications

Dismantling colonial monuments in African cities - the example of Bissau. Is an empty plinth still a monument?

Dismantling colonial monuments in African cities - the example of Bissau. Is an empty plinth still a monument?

Caring through crime: ethical ambivalence and the cocaine trade in Bissau

Luso(A)fonias. Memórias cruzadas sobre o colonialismo português

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