1. C i t i z e n c re a t i v i t y Brazilian Technobrega & Funk Carioca Marlei.Pozzebon@hec.ca 2011 Summer School

2. C i t i z e n c re a t i v i t y RemixRemix c r e a t i v e c o m m o n s peripheriesperipheries

3. Introduction Civic creativity : – Arts and culture are not peripheral to development, but are at the core of human expression and development. Citizen creativity (criatividade cidadã) : – Peripheries are building their own view of art, culture and development (post-colonial view)

4. People in “developing” need to fight everyday for survival and for creating a sense of citizenship. Surprising initiatives emerge then, born from the lack of resources and the lack of an institutional frame that guarantee the citizen rights. It is often a subversive, marginal, sometimes violent, but lively creative

5. A citizen creativity with hungry

6. We do not want just food We want food, entertainement and art!

7. We cannot talk about « civic creativities » without talking about culture, content, history. My concept of citizen creativity is therefore entirely colored by Brazilian culture.

8. Brazil, a country of REMIX Darcy Ribeiro

9. Manifesto antropofagico & REMIX RIP: A Remix Manifesto

10. Manifesto antropofagico Art modern week – 1922 - SP

11. A citizen creativity “antrophofagous” « We will take in and swallow up all of the different influences. Our bodies absorb that which delights us and best suits our needs. Rather than denying the impact of other cultures, we claim them and paint them green and yellow “abrasileirando-as” (we Brazilianize them). « Abaporu » du tupi-guarani, ABA et PORU, « l’homme qui mange », Tarsila do Amaral, 1928

12. Brazil, a country of REMIX Brazil is well known as a country of « metissage », of assimilation, of appropriation, of remix. The movement creative commons found a strong synergy with the Brazilian culture. RIP: A Remix Manifesto

13. © Total Controlv. No control All Rights Reserved No Rights Protected © Some Rights Reserved Balance

14. « Creation doesn’t happen in isolation. No one creates in a vacuum. Everything comes of something else. It’s a chain reaction: music, literature, cinema … » 14 Sharing is the nature of creation Gilberto Gil, Minister of Culture 2003-2008 RIP: A Remix Manifesto

15. Introducing technobrega Good Copy Bad Copy

16. The « technobrega » Among the social transformations triggered by CC and the remix culture, one of the most amazing is a movement of a periphery known as BREGA. One of its streams is the TECHNO- BREGA, in the Amazonia region of Belem do Para, a city that combines the traditional and modern.

17. Technobrega, a mix of influences: lyrics, rhythms and dance Appeared in the 60s, integrating initially several influences from the radio. The rhythm is a mix of several like calypso, merengue and cumbia, in addition to influences from rock and roll, twist and yé-yé. The dance is a mix of Caribean dances and Amazonian tribus dances.

18. Belém do Pará, a land of technobrega Belém is the entrance door of the Brazilian Amazonian region, with 1,5 million inhabitants. It is a city known by a huge “metissage” among Portuguese and Brazilian native people (indians) TUPINAMBA.

19. The traditional business model Editor Artists, groups Producer Retail Fabricant Distributor Consumers Professional studios Financing almost all the process P $$$$$$$$$$$ $ A « selected » minority $$

20. Remix & creative commons disrupting traditional (center-based) business models

21. The open business model Editor Artists, groups, DJs Productor Retail Fabricant Distributor Consumers Professional studios In-house studios “Camelots”, street vendors Party salonsEquipment Entrepreneurs P P P P Stores Huge acess to a lot of people $$$$ $$ $$$ $$ Compilations (“piracy”)

22. The open business model Editor Artists, groups, DJs Productor Retail Fabricant Distributor Consumers Professional studios In-house studios “Camelots”, street vendors Party salonsEquipment Entrepreneurs P P P P Stores Huge acess to a lot of people $$$$ $$ $$$ $$ Compilations (“piracy”)

23. A new business model Good Copy Bad Copy

24. The market $$$ of technobrega Year 2006 (Belém): – Jobs: 6 500 positions 1 639 groups/artists 4 052 equipments 860 trade +Tickets vendors, beer vendors, security, cleaning It is a market of more than 400 new CD and more than 100 new DVDs per year, produced in the periphery, totally independent from the dominant editors (centers)

25. The market $$$ of technobrega Year 2006 (Belém): – Average 4 300 shows per month – In each show, an average of 77 CDs and 53 DVDs are sold. Income : – Groups : 3 millions $ / month It is a market of more than 700 « aparelhagens » (equipment owners) in a city of the size of Montreal.

26. Tecno brega Pisadinha The open business model is emerging in all the country Funk mineiro Forro eletronico Funk carioca Lambadao cuiabano

27. The « funk carioca » Is a locally adapted variety of Funk or Miami Bass, mixed with different Brazilian music styles, with macumba and candomble (music played during Afro-Brazilian rituals) and samba. Dance, performance, choreographies. Violence and sexual explicitness: social identity of favelas.

28. Other global pheripheries Grind and Dupstep (England) Hip-hop (Baltimore, Texas) Miami Bass Kuduro (Angola) Bublin (Suriname) Coupé decalé (Côte d’Ivoire, France) Kwaito (South Africa) Villeras (Mexico)

29. Sources -RIP: A Remix Manifesto – BRETT GAYLOR -Good Copy Bad Copy - ANDREAS JOHNSEN; RALF CHRISTENSEN; HENRIK MOLTKE --Belém: uma Amazônia de atraçoes – la Mairie de la ville du Belém du Para Videos -http://www.youtube.com/watch?v=hJ78j-JKS_4&feature=relatedhttp://www.youtube.com/watch?v=hJ78j-JKS_4&feature=related -http://www.youtube.com/watch?v=zIgsL1LbNFI&feature=relatedhttp://www.youtube.com/watch?v=zIgsL1LbNFI&feature=related

30. C i t i z e n c re a t i v i t y Marlei.Pozzebon@hec.ca 2011 Summer School RemixRemix c r e a t i v e c o m m o n s peripheriesperipheries