Citizen creativity

Brazilian Technobrega &

Funk Carioca

Marlei.Pozzebon@hec.ca 2011 Summer School

Citizen creativity

Remix

creative commons

peripheries

Introduction

• Civic creativity : – Arts and culture are not peripheral to

development, but are at the core of human expression and development.

• Citizen creativity (criatividade cidadã) :– Peripheries are building their own view of art,

culture and development (post-colonial view)

People in “developing” need to fight everyday for survival and for creating a sense of citizenship.

Surprising initiatives emerge then, born from the lack of resources and the lack of an institutional frame that guarantee the citizen rights.

It is often a subversive, marginal, sometimes violent, but lively creative

Marginal

Subversive

“Débrouillarde”

go-getter

Peripheries citizen creativity

EmergentCollective

A citizen creativity with

hungry

We do not want just foodWe want food, entertainement and

art!

We cannot talk about « civic creativities » without talking about culture, content, history.

My concept of citizen creativity is therefore entirely colored by Brazilian culture.

Brazil, a country of REMIX

Darcy Ribeiro

Manifesto antropofagico & REMIX

RIP: A Remix Manifesto

Manifesto antropofagico

Art modern week – 1922 - SP

A citizen creativity “antrophofagous”

« We will take in and swallow up all of the different influences. Our bodies absorb that which delights us and best suits our needs. Rather than denying the impact of other cultures, we claim them and paint them green and yellow “abrasileirando-as” (we Brazilianize them).

« Abaporu » du tupi-guarani, ABA et PORU, « l’homme qui mange », Tarsila

do Amaral, 1928

Brazil, a country of REMIX

Brazil is well known as a country of « metissage », of assimilation, of appropriation, of remix. The movement creative commons found a strong synergy with the Brazilian culture.

RIP: A Remix Manifesto

©Total Control v. No control

All Rights Reserved No Rights Protected

©Some Rights

Reserved

Balance

« Creation doesn’t happen in isolation. No one creates in a vacuum. Everything comes of something else. It’s a chain reaction: music, literature, cinema … »

14

Sharing is the nature of creation

Gilberto Gil, Minister of Culture 2003-2008

RIP: A Remix Manifesto

Introducing technobrega

Good Copy Bad Copy

The « technobrega »

• Among the social transformations triggered by CC and the remix culture, one of the most amazing is a movement of a periphery known as BREGA.

• One of its streams is the TECHNO-BREGA, in the Amazonia region of Belem do Para, a city that combines the traditional and modern.

Technobrega, a mix of influences: lyrics, rhythms and dance

• Appeared in the 60s, integrating initially several influences from the radio.

• The rhythm is a mix of several like calypso, merengue and cumbia, in addition to influences from rock and roll, twist and yé-yé.

• The dance is a mix of Caribean dances and Amazonian tribus dances.

Belém do Pará, a land of technobrega

• Belém is the entrance door of the Brazilian Amazonian region, with 1,5 million inhabitants.

• It is a city known by a huge “metissage” among Portuguese and Brazilian native people (indians) TUPINAMBA.

The traditional business model

Editor

Artists, groups

Producer

Retail

Fabricant

Distributor

Consumers

Professional studios

Financing almost all the processP$$$$$$$$$$$

$A « selected » minority

$$

Remix & creative commons

disrupting traditional (center-

based) business models

The open business model

Editor

Artists, groups, DJs

Productor

Retail

Fabricant

Distributor

Consumers

Professional studios In-house studios

“Camelots”, street vendors

Party salons Equipment

Entrepreneurs

P

P

P

P Stores

Huge acess to a lot of people

$$$$

$$

$$$

$$

Compilations(“piracy”)

The open business model

Editor

Artists, groups, DJs

Productor

Retail

Fabricant

Distributor

Consumers

Professional studios In-house studios

“Camelots”, street vendors

Party salons Equipment

Entrepreneurs

P

P

P

P Stores

Huge acess to a lot of people

$$$$

$$

$$$

$$

Compilations(“piracy”)

A new business model

Good Copy Bad Copy

The market $$$ of technobrega

• Year 2006 (Belém):– Jobs: 6 500 positions• 1 639 groups/artists• 4 052 equipments• 860 trade + Tickets vendors, beer

vendors, security, cleaning

• It is a market of more than 400 new CD and more than 100 new DVDs per year, produced in the periphery, totally independent from the dominant editors (centers)

The market $$$ of technobrega

• Year 2006 (Belém):– Average 4 300 shows per

month – In each show, an average of

77 CDs and 53 DVDs are sold.

• Income :– Groups : 3 millions $ /

month

• It is a market of more than 700 « aparelhagens » (equipment owners) in a city of the size of Montreal.

Tecno brega

Pisadinha

The open business model is emerging in all the country

Funk mineiro

Forro eletronico

Funkcarioca

Lambadaocuiabano

The « funk carioca »• Is a locally adapted variety of

Funk or Miami Bass, mixed with different Brazilian music styles, with macumba and candomble (music played during Afro-Brazilian rituals) and samba.

• Dance, performance, choreographies.

• Violence and sexual explicitness: social identity of favelas .

Other global pheripheries

Grind and Dupstep

(England)

Hip-hop(Baltimore,

Texas)Miami Bass

Kuduro(Angola)

Bublin(Suriname)

Coupé decalé(Côte d’Ivoire,

France)

Kwaito(South Africa)

Villeras(Mexico)

Sources

-RIP: A Remix Manifesto – BRETT GAYLOR-Good Copy Bad Copy - ANDREAS JOHNSEN; RALF CHRISTENSEN; HENRIK MOLTKE --Belém: uma Amazônia de atraçoes – la Mairie de la ville du Belém du Para

Videos -http://www.youtube.com/watch?v=hJ78j-JKS_4&feature=related-http://www.youtube.com/watch?v=zIgsL1LbNFI&feature=related

Citizen creativity

Marlei.Pozzebon@hec.ca 2011 Summer School

Remix

creative commons

peripheries