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Take Me Brown Girl!: A Study of the ...

Humphrey, Ashley Renee.

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Take Me Brown Girl!: A Study of the Subjugation and Liberation of Black Women in Capoeira Song.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Take Me Brown Girl!: A Study of the Subjugation and Liberation of Black Women in Capoeira Song./
Author:	Humphrey, Ashley Renee.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	177 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-06, Section: A.
Contained By:	Dissertations Abstracts International82-06A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27834269
ISBN:	9798678118301

Take Me Brown Girl!: A Study of the Subjugation and Liberation of Black Women in Capoeira Song.
Humphrey, Ashley Renee.

Take Me Brown Girl!: A Study of the Subjugation and Liberation of Black Women in Capoeira Song. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 177 p.

Source: Dissertations Abstracts International, Volume: 82-06, Section: A.

Thesis (Ph.D.)--University of Pittsburgh, 2020.

This item must not be sold to any third party vendors.

Capoeira, the Afro-Brazilian musical martial art of dance-fighting took the world by storm between the twentieth and twenty-first centuries. Characterized by improvised partnered acrobatics, the art of Capoeira has seen immense popularity reflected by the diverse population of practitioners globally. Practitioners of capoeira, known as capoeiristas, in the United States proportionately reflect the society of non-Black or non-Brazilian. My research deciphers the implications of underrepresentation of Black people in this specific Afro-diasporic artform. The representation begs the question where is the Afro-ness in an Afro-Brazilian martial art? Data suggests that classroom participation in Brazilian and American capoeira institutions continues to be split between men and women capoeiristas. Women still fail to be represented in leadership roles to the same capacity of their male counterparts. This study problematizes these polarities: Why are there so few Black women representing capoeira in leadership roles? Enslaved populations of Black men and women were equally present during the development and institutionalization of capoeira in colonial Brazil so what happened to make Black women less visible in modern globalized renditions of capoeira? My study analyzes the history of the representation of Black women in capoeira's visual and musical history to discern systemic mechanisms enacted by Brazilian Nationalism and sexist practices. Through my re-historicizing of Black women's history within capoeira, I assert that capoeira has effectively erased the voices of half of the practitioners that developed the art in its infancy. Furthermore, my study turns to the tools that Black women in Brazil and the United States use to raise awareness for themselves and their causes. These tools include social media, educational institutions, and the comradery of identity politics to consolidate power lost through misogyny and colonialism. My study amplifies the voices of the marginalized who self-advocate for equitable representation and autonomy by mobilizing diasporic memory between Afro-Brazilian women masters, or Mestras, and Afro-identified students living in the United States. The strategic use of diasporic memory, technology, and colonial institutions (education and cultural tourism) are the modern tools Black women use to demonstrate their presence and power in twenty-first century capoeira.

ISBN: 9798678118301Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Activism

Take Me Brown Girl!: A Study of the Subjugation and Liberation of Black Women in Capoeira Song.
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520 $a Capoeira, the Afro-Brazilian musical martial art of dance-fighting took the world by storm between the twentieth and twenty-first centuries. Characterized by improvised partnered acrobatics, the art of Capoeira has seen immense popularity reflected by the diverse population of practitioners globally. Practitioners of capoeira, known as capoeiristas, in the United States proportionately reflect the society of non-Black or non-Brazilian. My research deciphers the implications of underrepresentation of Black people in this specific Afro-diasporic artform. The representation begs the question where is the Afro-ness in an Afro-Brazilian martial art? Data suggests that classroom participation in Brazilian and American capoeira institutions continues to be split between men and women capoeiristas. Women still fail to be represented in leadership roles to the same capacity of their male counterparts. This study problematizes these polarities: Why are there so few Black women representing capoeira in leadership roles? Enslaved populations of Black men and women were equally present during the development and institutionalization of capoeira in colonial Brazil so what happened to make Black women less visible in modern globalized renditions of capoeira? My study analyzes the history of the representation of Black women in capoeira's visual and musical history to discern systemic mechanisms enacted by Brazilian Nationalism and sexist practices. Through my re-historicizing of Black women's history within capoeira, I assert that capoeira has effectively erased the voices of half of the practitioners that developed the art in its infancy. Furthermore, my study turns to the tools that Black women in Brazil and the United States use to raise awareness for themselves and their causes. These tools include social media, educational institutions, and the comradery of identity politics to consolidate power lost through misogyny and colonialism. My study amplifies the voices of the marginalized who self-advocate for equitable representation and autonomy by mobilizing diasporic memory between Afro-Brazilian women masters, or Mestras, and Afro-identified students living in the United States. The strategic use of diasporic memory, technology, and colonial institutions (education and cultural tourism) are the modern tools Black women use to demonstrate their presence and power in twenty-first century capoeira.
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