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Black people. --- Black persons --- Blacks --- Negroes --- Ethnology

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This work offers an important contribution to the construction of education policies that meet the ethnic and racial plurality of this country. From the discussion on childhood conceptions, the author comes to a critical ethnography of school practice in elementary school, in which, in a didactic way and based on the Afro-Brazilian cultural framework, she presents the founding principles of Afro-descendant childhood.

Blacks --- Basic education --- Fundamental education --- Education (Elementary) --- Negroes --- Ethnology --- Black persons --- Black people --- EDUCATION

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In Listening for Africa David F. Garcia explores how a diverse group of musicians, dancers, academics, and activists engaged with the idea of black music and dance’s African origins between the 1930s and 1950s. Garcia examines the work of figures ranging from Melville J. Herskovits, Katherine Dunham, and Asadata Dafora to Duke Ellington, Dámaso Pérez Prado, and others who believed that linking black music and dance with Africa and nature would help realize modernity’s promises of freedom in the face of fascism and racism in Europe and the Americas, colonialism in Africa, and the nuclear threat at the start of the Cold War. In analyzing their work, Garcia traces how such attempts to link black music and dance to Africa unintentionally reinforced the binary relationships between the West and Africa, white and black, the modern and the primitive, science and magic, and rural and urban. It was, Garcia demonstrates, modernity’s determinations of unraced, heteronormative, and productive bodies, and of scientific truth that helped defer the realization of individual and political freedom in the world.

African Americans --- Blacks --- Dance music --- Music --- Negroes --- Ethnology --- History and criticism. --- Black persons --- Black people

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In Negro Soy Yo Marc D. Perry explores Cuba’s hip hop movement as a window into the racial complexities of the island’s ongoing transition from revolutionary socialism toward free-market capitalism. Centring on the music and lives of black-identified raperos (rappers), Perry examines the ways these young artists craft notions of black Cuban identity and racial citizenship, along with calls for racial justice, at the fraught confluence of growing Afro-Cuban marginalization and long held perceptions of Cuba as a non-racial nation. Situating hip hop within a long history of Cuban racial politics, Perry discusses the artistic and cultural exchanges between raperos and North American rappers and activists, and their relationships with older Afro-Cuban intellectuals and African American political exiles. He also examines critiques of Cuban patriarchy by female raperos, the competing rise of reggaetón, as well as state efforts to incorporate hip hop into its cultural institutions. At this pivotal moment of Cuban-U.S. relations, Perry's analysis illuminates the evolving dynamics of race, agency, and neoliberal transformation amid a Cuba in historic flux.

Hip-hop --- Blacks --- Political aspects --- Social conditions. --- Cuba --- Race relations. --- Negroes --- Ethnology --- Hip-hop culture --- Hiphop --- African American arts --- Popular culture --- Black persons --- Black people --- social conditions --- music --- political aspects --- hip-hop --- blacks --- anthropology --- cuba

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"Teklife, Ghettoville, Eski' argues that Black electronic dance music produces sonic ecologies of Blackness that expose and reorder the contemporary racialization of the urban ecologies that can never be reduced simply to their geographical and racial context. Dhanveer Singh Brar makes the case for Black electronic dance music as the cutting-edge aesthetic project of the diaspora, which due to the music's class character makes it possible to reorganize life within the contemporary city. Closely analysing the Footwork scene in South and West Chicago, the Grime scene in East London, and the output of the South London producer Actress, Brar pays attention to the way each of these critically acclaimed musical projects experiments with aesthetic form through an experimentation of the social. Through explicitly theoretical means, Brar foregrounds the sonic specificity of 12" records, EPs, albums, radio broadcasts, and recorded performances to make the case that Footwork, Grime, and Actress dissolve racialized spatial constraints that are thought to surround Black social life. Pushing the critical debates concerning the phonic materiality of Blackness, undercommons, and aesthetic sociality in new directions, Brar rethinks these concepts through concrete examples of contemporary Black electronic dance music production that allows for a theorization of the way Footwork, Grime, and Actress have--through their experiments in Blackness--generated genuine alternatives to the functioning of the city under financialized racial capitalism."--

Black people --- Music and race. --- Race and music --- Race --- Blacks --- Negro music --- Negro songs --- Topical songs (Negro) --- Topical songs (Negroes)