18 pages, Digital agriculture has been developing rapidly over the past decade. However, studies have shown that the need for more ability to use these tools and the shortage of knowledge contribute to current farmer unease about digital technology. In response, this study investigated the influence of communication channels—mass media, social media, and interpersonal meetings—on farmers’ adoption, decision-making, and benefits obtained using technologies. The research uses data from 461 farmers in Brazil and 340 farmers in the United States, leaders in soybean production worldwide. The results show differences and similarities between these countries. LinkedIn has the highest positive association in Brazil between the communication channels and the digital agriculture technologies analyzed. In the United States, YouTube has the highest positive correlation. The overall influence of social media among Brazilian farmers is higher than among American farmers. The perceived benefits of using digital tools are more strongly associated with mass media communication in the United States than in Brazil. Regarding farm management decision-making, the study showed a higher relevance of interpersonal meetings in Brazil than in the United States. Findings can aid farmers, managers, academics and government decision makers to use communication channels more effectively in evaluating and adopting digital technologies.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
196 p., Explores how Quilombo recognition has significantly affected the everyday lives of those who experience the often-complicated political process. Questions of identity, race, and entitlement play out against a community’s struggle to prove its historical authenticity—and to gain the land and rights they need to survive.
Blacks; Women; Brazil; South America; Book reviews; PERRY, Keisha-Kkan Y; BLACK Women Against the Land Grab: The Fight for Racial Justice in Brazil (Book)
Analyzes current urban governance policies and the spatial politics of resistance embraced by communities under siege in Brazil. Space matters not only in terms of defining one's access to the polis, but also as a deadly tool through which police killings, economic marginalization, and mass incarceration produce the very geographies (here referred to as 'the black necropolis') that the state aims to counteract in its war against the black urban poor.
[Alberto Figueiredo Machado], who is on a working visit to Jamaica, told The Gleaner ahead of Thursday's signing of three other agreements, that Jamaica's tourist product also stands to benefit significantly from the pending non-visa arrangement. He said that Brazil was one of the first countries to have recognised Jamaica's attainment of Independence in 1962, with his compatriots remaining great admirers of Jamaica's athletes and musicians, among other things. Jamaica's Foreign Affairs and îbreign Trade Minister A. J. Nicholson said attention was paid to the greater role of cooperation in the field of energy, with particular emphasis on the role of biofuels as a key instrument of sustainable development, as well as the strengthening of and support to Jamaica's Sickle Cell Programme.
Combines ethnomusicology and symbolic boundary theory to explain musical boundary-work: the creation, interpretation, and use of music to reinforce, bridge, or reshape symbolic boundaries for social, political, spiritual, or other purposes. The multi-faith and multi-ethnic Afrogaucho religious community of metropolitan Porto Alegre, in southern Brazil, serves as the case study, because practitioners use musical liturgy to combine and segregate the Batuque, Umbanda, and Quimbanda religions and their denominations. This essay introduces the community, highlighting ethnoracial identity politics, and describes processes of musical boundary-work within the community, focusing on local concepts of crossing and purity.
Blanes,Ruy Llera (Editor) and Espirito Santo,Diana (Editor)
Format:
Book, Edited
Publication Date:
2014
Published:
Chicago: University of Chicago Press
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
305 p., By stripping symbolism from the way we think about the spirit world, the contributors of this book uncover a livelier, more diverse environment of entities--with their own histories, motivations, and social interactions--providing a new understanding of spirits not as symbols, but as agents.
"What strikes you, your racism or me?" one of the female demonstrators wrote on her chest during the protest timed to coincide with Rio Fashion Week. "If we are buying clothes, why can't we parade in the (fashion) shows," asked a 15-year-old model taking part in the protest. "Does that mean that only white women can sell and the rest of us can only buy?" "Claiming to showcase Brazilian fashion without the real Brazilians amounts to showing Brazilian fashion (only) with white models," said Jose Flores, a 25-yearold former model who now works in advertising.
Seeks to quantify how socioeconomic, health care, demographic, and geographic effects explain racial disparities in low birth weight (LBW) and preterm birth (PTB) rates in Brazil. Methods. Focused on disparities in LBW and PTB prevalence between infants of African ancestry alone or African mixed with other ancestries, and European ancestry alone. Differences in prenatal care use and geographic location were the most important contributors, followed by socioeconomic differences. The model explained the majority of the disparities for mixed African ancestry and part of the disparity for African ancestry alone.
A critical analysis of Henry Louis Gates, Jr.'s PBS documentary film series Black in Latin America. The author discusses Gates' exploration of the history of early race mixture, the contemporary valorization of Blackness, and racial inequality in Brazil.
321 p., Locates contemporary articulations of afrofeminismo in manifold modes of cultural production including literature, music, visual displays of the body, and digital media. Examines the development of afrofeminismo in relation to colonial sexual violence in sugar-based economies to explain how colonial dynamics inflect ideologies of blanqueamiento/embranquecimento (racial whitening) and pseudo-scientific racial determinism. In this context, the author addresses representations of the mujer negra (black woman) and the mulata (mulatto woman) in Caribbean and Brazilian cultural discourse.
Afro-Brazilian traditions in the city of Juazeiro do Norte, in the state of Ceará, evolved mostly in connection with the practice of Candomblé and related rituals. Similarly to what happened elsewhere in Brazil, transculturation and miscegenation became important features of these traditions, especially in the blending of African and Catholic religious practices. The song and dance associated with religious and secular Afro-Brazilian genres in Juazerio do Norte are examined.
Nellis,Eric Guest (Author) and Canadian Historical Association (Author)
Format:
Book, Whole
Publication Date:
2013
Published:
Projected Pub Date: 1307
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
About the origins, growth, and consolidation of African slavery in the Americas and race-based slavery's impact on the economic, social, and cultural development of the New World. While the book explores the idea of the African slave as a tool in the formation of new American societies, it also acknowledges the culture, humanity, and importance of the slave as a person and highlights the role of women in slave societies.
Crack addiction is out of control in Brazil. Alford laments the lack of political power for blacks in Brazil. “This nation tries to hide its Blackness ... Blacks are 52 percent of the population but, in a nation where voting is mandatory, Blacks have less than 10 percent of the elected officials. They have no economic base.” He suggests that drug dealing – which disproportionately victimizes black Brazilians – flourishes due to official corruption and complicity by the police and legal communities.
Brazil's 2009 National Household Survey provides information on a representative sample of 121,708 households and includes items that enable us to identify households that experience 'moderate' and 'severe' degrees of food insecurity. The findings support the hypothesis that, other things being equal, Afro-Brazilians experience higher rates of food insecurity compared to whites. The odds of moderate and severe food insecurity are, respectively, 31 percent and 45 percent higher among brown compared to white households. Among black households, the odds of moderate and severe food insecurity are 50 percent and 73 percent higher, respectively, compared to households headed by a person who declares themselves white.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
Throughout Brazil, Afro-Brazilians face widespread racial prejudice. Many turn to religion, with Afro-Brazilians disproportionately represented among Protestants, the fastest-growing religious group in the country. Officially, Brazilian Protestants do not involve themselves in racial politics. Behind the scenes, however, the community is deeply involved in the formation of different kinds of blackness—and its engagement in racial politics is rooted in the major new cultural movement of black music. In this account, the complex ideas about race, racism, and racial identity that have grown up among Afro-Brazilians in the black music scene are explored. The author immersed himself for nearly a year in the vibrant worlds of black gospel, gospel rap, and gospel samba in order to better understand racial identity and the social effects of music. Delving into the everyday music-making practices of these scenes, it is shows how the creative process itself shapes how Afro-Brazilian artists experience and understand their racial identities. The results challenge much of what some people thought they knew about Brazil's Protestants, provoking one to think in new ways about their role in their country's struggle to combat racism.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
Originally published in Portuguese in Campinas by Editora da Unicamp as A formação do Candomblé: História e ritual da nação jeje na Bahia, 2006., 398 p., Interweaving three centuries of transatlantic religious and social history with historical and present-day ethnography, Luis Nicolau Pares traces the formation of Candomble, one of the most influential African-derived religious forms in the African diaspora, with practitioners today centered in Brazil but also living in Europe and elsewhere in the Americas.
Examines in the transnational conversation on the place of Afro-descendants in the republican nation-state that occurred in New-World historical literature during the 19th century. Tracing the evolution of republican thought in the Americas from the classical liberalism of the independence period to the more democratic forms of government that took hold in the late 1800s, the pages that follow will chart the circulation of ideas regarding race and republican citizenship in the Atlantic World during the long nineteenth century, the changes that those ideas undergo as they circulate, and the racialized tensions that surface as they move between and among Europe and various locations throughout the Americas. Focusing on a diverse group of writers--including the anonymous Cuban author of Jicoténcal; the North Americans Thomas Jefferson, James Fenimore Cooper, and Mary Mann; the Argentines Domingo Faustino Sarmiento and Eduarda Mansilla de García; the Dominican Manuel de Jesús Galván; the Haitian Émile Nau; and the Brazilian Euclides da Cunha.
Investigates the interface between gender, color/race and public health in Brazil, focusing on the importance of reproductive health for the formation of a black feminism in the country, between the years 1975 to 1993.
Gledhill,John (Editor) and Schell,Patience A. (Editor)
Format:
Book, Edited
Publication Date:
2012
Published:
Durham: Duke University Press
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
398 p., Re-examines the concepts of resistance and the effect of neoliberalism from the 1980s to the present day comparing Brazil and Mexico, two of the largest countries in Latin America. Includes Marcus J. M. de Carvalho's "The 'commander of all forests' against the 'Jacobins' of Brazil : the Cabanada, 1832-1835," and Robert W. Slenes' "A 'great arch' descending : manumission rates, subaltern social mobility, and the identities of enslaved, freeborn, and freed Blacks in southeastern Brazil, 1791-1888.
Considers the role of music, both symbolic and material, in screen representations of Rio de Janeiro since the 1950s. The music of Rio's streets and hillsides has played more than a mere supporting role in the cinematic representations of the city across the last half-century. Embracing samba, bossa nova, MPB, soul, funk, funk carioca (a local variant of Miami bass), and rap, the heterogeneous voices of Rio's soundscape have arguably shaped audiences' understanding and imagination of its cultural geography and social dynamic as much as the films' visual narratives and dramas. The author discusses some key examples spanning the last 50 years, from Nelson Pereira dos Santos's Rio, Zona Norte (Rio, North Zone, 1957) and Marcel Camus's Orfeu negro (Black Orpheus, 1959), to Carlos Diegues's remake Orfeu (Orpheus, 1999) and Fernando Meirelles and Kátia Lund's Cidade de Deus (City of God, 2002). Taking as his point of departure the mythical narrative of Orpheus, he explores the representation of popular music as a force for social redemption, regeneration, and reconciliation. He interrogates the interplay of different musical styles and idioms, such as samba and bossa nova, on screen, and challenges one of the common assumptions about shifts in style and sound: the idea that the harder soundtracks of most recent films (centering on rap and funk carioca) correspond to a necessarily more realistic and truthful representation of the city, as opposed to the allegedly sentimentalized depictions associated with the bossa nova-influenced scores of Orfeu negro and Rio, Zona Norte. In cinematic representations of the city, Rio's musical identity continues to be performed in a dialogue between tradition and innovation, the local and the diasporic, with no song style being more real than any other.
233 p., Analyzes three contemporary novels by Black women authors to argue that their daughter-protagonists gain a sense of their own subjectivities as women of African descent through their imaginative and creative responses to their respective muted paternal histories and legacies. These responses motivate the creation of ritualistic art forms rooted in communal practices such as storytelling, sculpting, music, dance-drama, folk medicine, and traditional cuisine. Maps the centrality of family, community, rituals, and art to the development of female subjectivity as represented in Marilene Felinto's As mulheres de Tijucopapo / The Women of Tijucopapo , Edwidge Danticat's The Dew Breaker , and Gayl Jones's Corregidora.
Brazil's tourist-jammed cities are some of the most violent on the planet. A considerable number of the country's 43,000 annual murders occur on the streets of Sao Paulo, Recife, and Rio de Janeiro. And Brazilian cities are not alone in what might be called a bad neighborhood. The fact is that most major Latin American and Caribbean cities are today plagued by an epidemic of violence. With more than 20 murders per 100,000 people, the regional homicide rate is roughly three times the global average. Many of the larger urban centers -- from Caracas and Ciudad Juarez to Kingston and Port-of-Spain -- register the highest rates of lethal violence in the world.
Barbara Carpenter, Southern's dean of international affairs, said the university is also acting as a "host school for the international Science Without Borders initiative, which intends to groom the next generation of young minds in the global scientific community. "People think we are a racial democracy in Brazil," da [Silva] said. "It's because the elites want to portray that. How can a country that received at least five million enslaved Africans and had slavery for three and a half centuries be a racial democracy?"
Explores the neighborhood-based samba practices of working class Afro-Brazilians during the festas juninas (June festivals) in Bahia, Brazil. In contrast to Bahia's famous Carnival, a recognized site for activism, the festas juninas appear apolitical, seeming to lack overt resistance to color-based inequities that persist in Brazil despite national discourses of mestiçagem (mixing) and racial democracy. In recent years, however, June samba has (re-)emerged as a means for marginalized people to assert belonging in June events and festival narratives from which they have been excluded. Their activism draws on tactics used by Bahia's Afrocentric activist carnival organizations, but with important differences. Most notably, rather than placing Africa at the center of their interventions, June samba participants express new notions of Black Bahian subjectivity through the critically informed embrace of local Afro-diasporic traditions—especially a recently recognized UNESCO masterpiece known as samba de roda—and more cosmopolitan musical sensibilities.
There are 38.9 million blacks in the United States. According to the 2000 census there are 75.9 million citizens of Brazil who would be classified as African American in the U.S. Since there are only 91.3 million Brazilian whites, who dominate the country, one wonders why so many blacks are living in poverty in favelas (slums).
As Angola restructures following a long civil war and Brazil takes a leading role among the rapidly developing BRIC nations, new questions arise pertaining to the African heritage in Brazilian music and to Brazil's role in Angolan cultural initiatives and musical markets. Through examination of Brazilian discourse about such exchanges, combined with a comparative analysis of three versions of Angolan musician Teta Lando's 1974 song, Angolano segue em frente—the original, a recent Brazilian re-recording, and a Brazilian remix—new attention is given to the South-South dialogue that builds on historical connections yet also establishes new resonances in musical evocations of Atlantic affinities.
The Philadelphia region was the site of a rare, artistic treat when Balé Folclórico, Brazil's premiere professional folk dance company made a special Black History Month visit. Formed in 1988, the 33-member troupe of dancers, musicians, and singers perform a repertory based on various Bahian folkloric dances of African origin, including: capoeira (a form of martial arts), samba and other cultural traditions celebrated during Carnival. Hailing from Salvador, in the northeastern state of Bahia, Balé Folclòrico represents Bahia's most important cultural manifestations under a contemporary theatrical vision that reflects its popular origins.
Examines the meanings of the marvelous in the context of the Afro-Brazilian ritual called the Reinado de Nossa Senhora do Rosário, according to the way it is applied in the song lyrics and in participants’ verbal discourses. Analyses were based on participants’ perspectives about the origin and history of their religious tradition, which is based on their enslaved ancestors’ experiences of pain. Those facts and events still highlight the sense of belonging to this tradition nowadays and make their performative acts meaningful, significant, and thus wonderful., unedited non–English abstract received by RILM] Os significados da ‘maravilha’ no contexto do Reinado de Nossa Senhora do Rosário, tal como o termo é utilizado nos cantos e nas elaborações discursivas dos congadeiros, são aqui abordados a partir da perspectiva desses participantes sobre a origem e o percurso histórico de sua tradição religiosa, calcada na experiencia da dor de seus ancestrais escravizados. Tais fatos e eventos ainda motivam o pertencimento a essa tradição no presente e preenchem de sentido, de significância e, consequentemente, de maravilha as ações performáticas atuais.
The Web site will also feature facts on Afro-Brazilians; Brazilian events taking place in the United States and Brazil; updates on Brazilian politics; and the upcoming World Cup and the Olympic Games. Afro-Brazilian.com will also feature articles from noted Brazilian and African American reporters across the United States. According to MercoPress, an independent online news agency, Afro-Brazilians represent the largest ethnic group in Brazil, making up more than 49 percent of the population. Afro-Brazilians have a cultural influence on Brazil that spans from cuisine, literature, sports and art, among others. Some of the little known facts on Afro-Brazilians include: * African culture has been instrumental in the development of Brazilian cuisine. Feijoada, Brazil's staple dish, was developed by African slaves * Blacks and pardos have a low representation on Brazilian television. In 1996 Taís Araujo was the first and only Black actress to be featured as a protagonist in a telenovela
According to MercoPress, an independent online news agency, Afro-Brazilians represent the largest ethnic group in Brazil, making up more than 49 percent of the population.
Avelar,Idelber, (Ed.And Intro.) and Dunn,Christopher, (Ed.And Intro.)
Format:
Book, Whole
Publication Date:
2011
Published:
Durham, NC: Duke University Press
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
376 p, Covering more than one hundred years of history, this multidisciplinary collection of essays explores the vital connections between popular music and citizenship in Brazil. While popular music has served as an effective resource for communities to stake claims to political, social, and cultural rights in Brazil, it has also been appropriated by the state in its efforts to manage and control a socially, racially, and geographically diverse nation. The question of citizenship has also been a recurrent theme in the work of many of Brazil's most important musicians. These essays explore popular music in relation to national identity, social class, racial formations, community organizing, political protest, and emergent forms of distribution and consumption.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
45 p., Presents some of the key law enforcement and socioeconomic policy lessons from one type of response to urban slums controlled by non-state actors: namely, when the government resorts to physically retaking urban spaces that had been ruled by criminal or insurgent groups and where the state's presence had been inadequate or sometimes altogether nonexistent. Focuses specifically on Brazil, Mexico, Colombia, and Jamaica.
Through an examination of the recording Gargalhada (pega na chaleira), a chansonnette sung by Eduardo das Neves, the origin of the expression 'pegar na chaleira' (bootlicking) is traced, while some inconsistencies in the online catalogue of the Instituto Moreira Salles are revealed. Probably recorded in 1906, six years before the establishment of the Odeon plant in Rio, the piece was labeled a lundu, a paradigmatically Afro-Brazilian genre, in the 1915–26 catalogues. The music and laughter that Neves appropriates for himself were created by George Washington Johnson, the first black star of early sound recording, and reused in other Casa Edison (Brazilian Odeon) recordings on sale from 1913 to 1919. But while the former North American slave ridicules himself in accordance with white stereotypes, the self-designated Creole stages a satire on the behavior of upperclass men in Rio de Janeiro. In this process, the coon song turns into its antithesis., unedited non–English abstract received by RILM] Um exame do fonograma Gargalhada (pega na chaleira), cançoneta por Eduardo das Neves, expõe a origem da expressão “pegar na chaleira” e revela incongruências nos critérios de catalogação online do Instituto Moreira Salles. Provavelmente datada de 1906, a gravação aparece como um “lundu” em catálogos comerciais de 1915–1926, e as mesmas ideias musicais foram reaproveitadas em outros registros sonoros da Casa Edison comercializados entre 1913 e 1919. A música e o gargalhar que Neves reaproveita foram criados por George Washington Johnson, o primeiro astro negro da gravação mecânica. Mas enquanto o ex-escravo norte-americano se auto-ridiculariza de acordo com estereótipos brancos, o autodenominado “crioulo” encena uma sátira ao comportamento masculino das classes dominantes do Rio. Neste processo, a coon song transforma-se na antítese do gênero.
Afro-descendant civil society organizations in Latin America have pursued an important strand of advocacy on reforming national censuses. The aim has been to increase the visibility of Afro-descendant populations through disaggregated data and thus to improve recognition of their distinct identity. Brazil is leading the way on such data collection while other countries are taking first steps, like Argentina and Chile.
History shows close to two million enslaved Africans were taken to South America. A great number of them were taken to Bahia, Brazil, to work on the sugar cane plantations. [Dionisio] has hope for the future of Brazilian Blacks. "If America can elect a Black president, I know that our time will one day come when a Black Brazilian will look after the wellbeing of his or her people. But at the way things are in Brazil, it is only through education that we will one day be equal to the whites, if you know what I mean." At this point, it sounded as if Dionisio was engaged in a monologue. "But many children dream of one day being like Pele, our greatest football star," he continued as he gazed in the distance, his eyes resting on the humming bird doing battle with the sweet nectar. The mention of Pele changed the contour of his face and I could see the veins in his face clearly showing. "Most of our people have let us down. Most, like Pele, can be considered Black, but we have a saying here that 'You are a Black person with a white soul. We say that of Black leaders and football celebrities who do not support any Black agenda."
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
Examines a variation of samba called pagode baiano in several peripheral neighborhoods of the city of Salvador. Dance parties organized around this genre provide the context for the affirmation of a racial identity discourse as well as the reterritorialization of 'easy women', 'dishonest and lazy people', jobless people, homosexuals, and blacks. Pagode reintegrates aspects of traditional African manifestations found in Brazil, such as dance, call-and-response song, and the emphasis on polyrhythm. It embraces a sub-altern gender (feminine) and sexuality (homosexual) and undermines the hegemony of the macho. It exists as a musical experience whose feelings are particular and shared amongst certain subjects. Musicians and the public share a language and a way of speaking about themselves and others that reveal an emergent, imperfect citizenship.
Izquierdo,Alejandro (Author) and Talvi,Ernesto (Author)
Format:
Book, Whole
Publication Date:
2011
Published:
Washington, DC: Inter-American Development Bank
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
57 p., Conveys three key messages: first, in this new global economic environment, key structural characteristics of Latin American and Caribbean countries are defining two quite different regional clusters in terms of opportunities and challenges ahead. Second, substantial changes in trade and capital flow patterns, as well as in the international financial architecture, are already taking place and will impact the regional clusters in different ways. Third, economic policy design will have to accommodate these differences in order to ensure widespread and stable growth.
164 p., Explores four contemporary novels and a film that rely heavily on photographic and mass-media images to illuminate, articulate, and critique modern-day Black urban existence: Patrick Chamoiseau's Texaco (1997), Chris Abani's Graceland (2004), John Edgar Wideman's Fanon , Paulo Lins' Cidade de Deus (1997), and Fernando Meirelles' 2002 film adaptation of Lins' novel City of God . Chapters examine the ways in which photographic and/or mass-media images are used as narrative tropes or devices for representing the material conditions of an emerging slum existence. The author argues that each text reveals a preoccupation with the rise of global urbanism and visual culture as new types of discursive spaces--new kinds of "texts"-- that shape not only the real life of black people, but also the literary landscape of Black writing across the globe.
This essay examines the classic short documentary that introduced the quilombo to Brazilian Cinema. Aruanda (Linduarte Noronha, 1960) is about a rural community of descendants of escaped slaves. The film represents an anti-culturalist approach to the quilombo that was soon superseded by the culturalist appropriation of the quilombo by the Brazilian black movement, by filmmakers like Carlos Diegues, and later, by the Brazilian state. Aruanda locates the utopian element of the quilombo, not in a peculiarly African or Afro-Brazilian culture, but in the unalienated life-activity of its members.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
396 p, Contents: Foreigners : Sao Paulo, 1900-1925 -- Fraternity : Rio de Janeiro and São Paulo, 1925-1929 -- Nationals : Salvador da Bahia and São Paulo, 1930-1945 -- Democracy : São Paulo and Rio de Janeiro, 1945-1950 -- Difference : São Paulo, Rio de Janeiro, and Salvador da Bahia, 1950-1964 -- Decolonization : Rio de Janeiro, Salvador da Bahia, and São Paulo, 1964-1985 -- Epilogue : Brazil, 1985 to the new century.
Examines aspects related to the plural constitution of Afro-descendants informed by black discursiveness in Salvador, Bahia. This discursiveness is strongly marked by the role of black music and by the history of Afro-descendant Carnaval. This essay shows that these subjects are a product of modernization and operate in it, while giving it a specific configuration. Social agents as reflexive audience play a decisive role in the review and criticism of such modernity, pluralizing it and pushing the boundaries of democracy and of representation politics, in their demand for recognition and changes. Music, as discursive production and as sociability experience, plays a key part in this process.
