Estudo de caso sobre a prática e o processo de consolidação do Breakdance em Manaus de 1983 a 1993

Abstract

Breakdance is one of Hip Hop four elements, originated in the United States, under the form of alternative identity, as reaction to conflicts racial, political and of gender in the second half of the decade of 1970. In Brazil, it is diffusion began for the streets of the center of São Paulo, at the beginning of the decade of 1980, and it has spread for all of the states of the Federation, transmitted in commercials on TV, films and openings of soap operas and music that were spread in radios of almost the whole country. Starting from 1983, under the pulse of the North American cultural industry, a part of the youth from Manaus hugged that new form of corporal expression, apparatuses of cultural diffusion in the local media were also part of this process, personified in programs of foreign singers' dubbings and dance contests. The decade of 1980, also known by the redemocratization movements in Brazil, it also went here occasion to sensitive social changes in Manaus. Among these changes, it is noticed that a portion of youths of moved away downtown neighborhoods was if approximating in new ways of holding, of dressing and of using the body as vector of social transgression. This didn't happen without they suffered reprisals arrivals of all of the directions: of the family breast, of the work and even of other social groups that they enjoyed larger acceptance for the society. That fact is proven through the reports and iconographic material here collected gathered and organized. Through these sources, a representation of the social world can be had in which were inserted, such as; the local political panorama of the studied time, the social inequality, the economic crises, and even the situation of the protagonists' home in subject. For they live in atmosphere socially unstable and unfavorable economically, the called breakistas of the decade of 1980 and 1990 had an ambivalent relationship with the neighborhood of their neighborhoods, because hour they were rejected as unoccupied, hour they were received as artists to the if they present in community shows or programs of local TV, as the Club of the 4 and it Programs Beto of Paula. In spite of the faced problems, the breakistas got important popularization spaces, arriving even coming in the Teatro Amazonas, among the years of 1988 and 1992, helping to publish Breakdance for a public different from the usual, in the city of Manaus.