Ciberdocumentário AmarElo como dispositivo de experiências culturais periféricas

Abstract

This article aims to present the cyberdocumentary “AmarElo: é tudo para tarde” starring the rapper Emicida and set in one of his most emblematic recent presentations, at Theatro Municipal de São Paulo (2019). Launched by the Netflix streaming platform in 2020, the audiovisual production in question is inserted in a country context in which many artists publicly position themselves against hegemonic narratives of violence and intolerance, in addition to defending guidelines such as anti-racism, feminism and the right to individual freedoms – it is worth mentioning, not in just any place, but in virtual loci, with a great capacity for sharing ideas. In this sense, the narratives present there are historically situated and can contribute to shedding light on social and cultural issues that are important to the present time, including those related to the use of networked devices. With this in mind, AmarElo will be scrutinized here in the light of the theoretical-epistemological contribution of multi-referentiality (ARDOINO, 1998) and the notions of experience, resistance, everyday life, cultural artifacts (CERTEAU, 2014) and habitus (BOURDIEU, 1989), the in order to answer the following questions: How does Emicida fit into a wider network of connections on the outskirts of São Paulo? How, in turn, does it permeate the anti-racist struggle in the country? What was the historical-cultural intention of launching AmarElo? With these questions in mind, it is intended that this work contributes to the elucidation of the cyberdocumentary in question from the perspective of the field of Education.