“Amamos Sabota’ e Milton Santos”: o Rap Geográfico e outras linguagens no ensino de geografia

Abstract

The Hip Hop movement, originating in urban peripheries, emerges from the fusion of entertainment and the denunciation of social injustices, including structural racism, unemployment, and social inequality. The racial stratification and inequality present in the Americas, fueling the structure of the cultural movement studied in this research, are part of the colonial heritage, affecting each country in distinct ways. The emergence of Hip Hop in New York is related to urban restructuring after the deindustrialization of the region. The decline in industry resulted in fewer resources for social policies, affecting the underprivileged population, composed of workers from various ethnic backgrounds, but primarily African Americans and Latino Americans. Rap, when not co-opted by bourgeois and neoliberal ideology, can promote the necessary decolonial thinking in Latin America, challenging the Eurocentric episteme that marginalizes third-world cultures. This requires autonomy for each people to tell their own story. Hip Hop, as an artistic movement, adapts regionally by incorporating local rhythms, as seen in Brazil with samba, legitimizing the experiences of the peripheries. Hip Hop promotes peace, even recognizing that peace may require conflict. In Geography education, Rap can be employed as a language, contributing to a reading of social reality, allowing students to explore social practices through workshops and cultural projects, incorporating artists into the classroom, using music videos, songs, and lyrics to address various Hip Hop-related themes. Furthermore, it develops spatial reading skills, promoting critical literacy in Geography. In this context, Rap is not just an assessable end product but a means to build geographic knowledge. This dissertation presents how "Geographic Rap" can be used in education, detailing how verses can contain themes and concepts that generate dialogue, collective constructions, and possibilities for interdisciplinary learning. To effectively use Hip Hop in the classroom, teachers must deeply research its culture and emotional potential, avoiding cultural appropriation and respecting its roots.