Processes of continuities and discards in black artistic manifestations in diaspora some theoretical approaches

Abstract

in recent decades, the concept of afrodiasporic music has been used as a set of sounds that particularize the black experience in diaspora. In this article, I start from the use of the concepts of diaspora, black diaspora, Africanisms and afrodiasporic music, in the light of Anthropology and Ethnomusicology, in order to constitute a conceptual repertoire to understand the processes of mutation, continuities and discards that influenced the development of artistic practices in specific places, such as funk carioca in Rio de Janeiro. Thus, I present the Assimilation Theory by Kazadi wa Mukuna and the categories of creation and innovation by Kazadi wa Mukuna and Tiago de Oliveira Pinto (1998), which have been used to analyze cultural interaction processes. At first, I will use the bibliographic survey with literature review to deal with the historical elaboration of the concept of diaspora and the characterization of a black diaspora. In a second moment, I delve deeper into the dimension of exchanges within this diaspora, that is, the processes according to which Tiago de Oliveira Pinto (2001, p. 89) calls “African continuity”, Burnim & Maultsby (2015) attribute to an African musical dimension and Paul Gilroy (2001) synthesizes it as a metaphor in Black Atlantic.