Multiple Ways Of Moving Bodies Politically In Rap Music: a cartography of the choreopolitical regimes in rap music from Brazil and USA
rap; politics; body; pop music; aesthetics.
This thesis’ proposition is, in a first moment, to identify a scenario of crisis in political or conscious rap in the context of a rise in neoliberal fascist practices, and, in face of this crisis, to assume a position against the consensus in theories about politics in rap music, sustained in what is being called conscience paradigm. Afterwards, this work engages in a cartography of the history of rap in Brazil and in the USA, or a choreopolitical history. In this history, it is considered that embracing the indeterminacy of aesthetics and considering the gestural and subjective aspects of performance as crucial for politics allow this work to unveil the multiplicity of ways to perform political practices in rap. Subsequently, this thesis elaborates the concepts of choreographic regimes and choreopolitical regimes, and, after, delineates three choreopolitical regimes in rap in the countries involved: the hardcore regime, the party regime, and the chill-out regime. Each of these regimes has different ways of “doing politics” in gestural, subjective, and stylistic terms, as well as distinct contradictions. In order to make explicit the potentials and ambivalences of each regime, as well as the mixtures between them, this thesis summons several scenes from rap history, as well as scenes from other musical genres connected to rap and to the history of the bodies that perform it.