See you in “AmarElo”: re-signified occupation of territories.

Abstract

In February 1922, at São Paulo Municipal Theater premises, the first collective public manifestation in Brazilian cultural history in favor of a new and modern spirit, in opposition to culture and art with a conservative content. Ninety-seven years later, at the same stage, representative artistic elite of São Paulo, suffers a re-signified occupation. In a unique historical night, unusual dialogues between high art and popular art, between the elite space and the peripheral population were established. Through a comparative analysis, we establish approximations and distances between these two forms of territory appropriation. One made by the modernists and another by the rapper Emicida releasing his album “AmarElo”. In this same space, we witness the materialization from a normally excluding São Paulo, represented by people representing diversity, producing and consuming a hybrid national art. To support our considerations, we use the following concepts: hybridism, based on Canclini’s (1990, 1997) reflections; anthropophagy pursuant to Oswald de Andrade’s (1924, 1928) eyes, and recycling, in compliance with Klucinskas’ and Moser’s (2017) studies.