Tupac Amaru Shakur e os Panteras Negras : a esfera pública da experiência musical e os tempos históricos no rap (1991-1996)

• Ano de defesa: 2021
• Autor(a) principal: Vinícius Novaes Ricardo
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; FAF - DEPARTAMENTO DE HISTÓRIA; Programa de Pós-Graduação em História; UFMG
• Palavras-chave em Português: Tupac Shakur; Partido Pantera Negra; Antirracismo; Rap
• Link de acesso: http://hdl.handle.net/1843/45024; https://orcid.org/0000-0002-9996-3901

The present thesis investigates the mechanisms used by the rapper Tupac Shakur to redefine in his musical production a set of ideological foundations defended by the Black Panther Party (1966-1982). In this sense, a study of the political, cultural and social environment of the United States in the mid and late twentieth century was carried out, revealing the continuities and ruptures in the system of oppression of black Americans throughout that period, as well as the historical events that paved on the North-American mentality a time bridge between the 1960s and 1990s. Based on a study of the career of the rapper (1991-1996) and a part of the political thought of the party, it is argued that Shakur was influenced by the radical tradition of black liberation promoted by the Panthers through the concept of revolutionary nationalism. As a result, through the artistic character 2Pac, he established a representation of the process of politicization of the sociocultural subject called street element, with the objective of “organizing the rage” evidenced during the L.A. riots (1992) and to "turn the 1990s upside down" making them similar to the 1960s - a moment of wide mobilization by the American black movement. Considering the aims of unveiling the historicity of this process, the reflections of Homi K. Bhabha (1998) on the concepts of “translation” and “third space” were mobilized to understand the effect of temporal displacement between the 1960s and 1990s on the content and mediation practices of the discourses conveyed.