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  • @cdb_77
    CDB_77 @cdb_77 5/02/2021

    Manifested Stories. An Alternative Narrative to the Urban-Frontier Myth

    Rebecca Pryor traces the history of the revitalization of the Bronx River, illustrating an alternative narrative to the urban-frontier myth—one that centers Black and Brown communities and is community-generated.

    At the beginning of the film The Last Black Man in San Francisco (2019), which takes place in the not-so-distant future, a curbside preacher asks passersby why San Francisco is only now cleaning the Bay when residents have lived by its toxicity for decades. The cleanup is not for us, he yells, our neighborhood is “the final frontier for manifest destiny.”

    The preacher’s reference to manifest destiny is the urban-frontier myth at work. Originally theorized by geographer Neil Smith, this myth shows how American frontier language (“frontier,” “pioneer,” and “Wild West”) is used to justify gentrification and displacement. Smith names the myth to pinpoint what’s lurking behind the language: “the gentrification frontier is advanced not so much through the actions of intrepid pioneers as through the actions of collective owners of capital. Where such urban pioneers go bravely forth, banks, real-estate developers, small-scale and large-scale lenders, retail corporations, the state, have generally gone before” (Smith 1996). Through frontier language, gentrification is understood as rugged individualism instead of a phenomenon rooted in social, political and economic forces.

    The myth of the urban frontier reveals the power that stories have over place. The American frontier has always relied on complex justification narratives of white-settler colonialism—taking land and continuing to live on it requires stories about hate, fear, obsession and erasure (Tuck and Yang 2012). The same is true for the story created by urban-frontier language—longtime Black and Brown residents are erased, neighborhoods are devalued and then “discovered” through gentrification. But this is not the only kind of story. Another kind of story, what I am calling an “alternative narrative,” centers Black and Brown communities and can begin to appropriate urban spaces through collective land stewardship.

    Alternative narratives are formed by community-generated stories of place that manifest spatially. Whereas the frontier myth reflects a belief system that justifies erasure and individual profit, alternative narratives encourage the opposite—solidarity and collective ownership. One such alternative narrative is the story that environmental justice leaders created around the Bronx River.
    The Bronx River story

    The revitalization of the Bronx River has all the seeds of a great story. Those involved have mythical accounts of hauling cars out of the water and building parks from trash heaps. Many will talk about the importance of collective power and unexpected partnerships. Several say that they were lost until they “found” the river.

    Also, it’s a river. Rivers and most American waterways are uniquely common spaces. Unlike public parks and plazas, waterways are not owned by a city, state, or federal agency; they are governed by English Common Law, which secures the water as a public highway. The law creates spaces that, in some ways, can remain outside the context of American land ownership.

    The Bronx River story has three acts: the Upper River, the Lower River, and their unification. Act I begins in 1974 when Bronx resident Ruth Anderberg fell in love with a northern portion of the upper river, which runs from West Farms Square to 233rd Street. Once she realized that this was the same river as the one covered in trash at West Farms, she began a public cleanup project, enlisting police chiefs, local residents and friendly crane operators. Filled with everything from cars to pianos, the river was part archaeological site, part landfill. Anderberg’s efforts eventually turned into the Bronx River Restoration Group, a nonprofit that led restoration efforts and a youth workforce program until the late 1990s (DeVillo 2015).

    https://metropolitics.org/local/cache-vignettes/L970xH646/illu-pryor-1-98904.jpg?1610047008#.jpg

    Act II’s star, the Lower River, which runs from West Farms Square to Soundview, was overshadowed by the catastrophic impacts of government disinvestment in the South Bronx (Gonzalez 2006). One interviewee who lived in the Bronx in the 1970s said that, “as a teenager, I was ashamed of living in the Bronx […] we became the symbol of urban decay, we became everything that can go wrong in a city.” Media and popular culture, like the 1981 blockbuster hit Fort Apache, perpetuated the urban-frontier myth, showing the South Bronx as both terrifying and alluring, rather than as a neighborhood neglected by the government.

    In the following decades, community-based organizations like Banana Kelly and The Point CDC spearheaded community investment and provided critical social services. Vacant lots became community gardens and a movement of community reliance grew. The river, however, remained cut off by industrial lots.

    Act III opens with city and federal investment in the river. The Parks Commissioner dubbed 2000 the “Year of the Bronx River” and committed federally allocated restoration funds to the river’s revitalization. NYC Parks seed grants helped develop two community-designed parks, connecting the South Bronx to its waterfront. Once there was waterfront access to the Lower River, organizations from both sections formed the Bronx River Alliance. From early on, the Alliance led creative community events to bring attention to the river.

    Today, the Bronx River is a physical manifestation of community power. The same interviewee who had said she was ashamed of the Bronx as a teenager described “finding” the Bronx River decades later with her children. “You have to teach new people who come here who might think the river is dirty,” she said. “You have to show them the restoration efforts. This river is used for community building. This river is about community.”
    A visual story: community design and power

    The parks conceived by Bronx residents and activists reflect a story of collective power and appropriation of space. Concrete Plant Park (CPP), a waterfront park designed by community members, reflects how the alternative narrative is also ingrained in its design choices.

    In the early 2000s, Youth Ministries for Peace and Justice (YMPJ) used NYC Parks’ $10,000 seed grant to create a youth-led park design for an abandoned concrete plant. As part of their design process, they visited a waterfront park in Westchester County (immediately north of New York City). They saw that the park in this whiter and wealthier community invited people to the water’s edge with green space, whereas most of the parks in the Bronx had asphalt. Their design choices reflected a choice to honor their history and look towards the future. They incorporated passive recreation, a boat launch, and the retention of the concrete plant structures as a reminder of their past. As one interviewee from YMPJ described his experience of CPP, “the concrete plant acts as a visual story for the park: the story of repurposing, the story of community power, the story of what could be done.”

    The concrete plant relics, park design, and ongoing community-led programming are a visual representation of an alternative narrative about how to claim space. This is not a simple story. CPP was not only metaphorically appropriated; the site was removed from city auction and transferred to the Parks Department as a permanent park. And CPP was not created by a design survey and a neighborhood campaign alone—the transformation of CPP has taken over 20 years and is the result of community advocacy, citywide partnerships, and federally secured funding. Similar representations of community power and creative partnerships are found in parks throughout the lower portion of the river, from #Starlight_Park to #Hunts_Point_Riverside_Park.

    https://metropolitics.org/local/cache-vignettes/L970xH578/illu-pryor-2-b111d.jpg?1610047008#.jpg https://metropolitics.org/local/cache-vignettes/L970xH578/illu-pryor-3-a41b5.jpg?1610047008#.jpg

    Interconnected transformations: people and place

    Interviewees born and raised in the Bronx consistently spoke about the transformation of themselves and the Bronx River as part of the same story. As urbanist David Harvey states, “the right to the city is far more than the individual liberty to access urban resources: it is a right to change ourselves by changing the city” (Harvey 2008).

    An interviewee in her late twenties said, “I didn’t know anything about the Bronx River growing up, except that my grandfather’s brother died on it in the late ’70s. For me and my family, it was like, you don’t go to that place, it’s dangerous.” During college, she wanted to leave the Bronx in order to study the environment, but she became involved with the Bronx River Alliance and its stewardship efforts. When she took her grandfather to see the river, she said that “he was so amazed by the transformation. And I think part of this whole transition in me has been about changing the perception of those who are close to me who have always said, ‘No, you don’t go there.’”

    There are a couple of layers to this anecdote. First, this interviewee is young in the context of the Bronx River story. Without the previous decades of work spent appropriating space and establishing stewardship institutions, she may have left the Bronx to feel professionally fulfilled. Second, the story grew in a way that made room for her. It shifted from the manifestation of a frontier narrative placed on the Bronx—one of fear, danger, and otherness—to an alternative narrative that was generated by the people who lived there.
    A search for justice stories

    After the preacher in The Last Black Man in San Francisco questions the intended beneficiary of the Bay’s environmental cleanup, we watch as our protagonists, two young Black male San Franciscan friends, try to lay claim to their childhood home and, ultimately, to their narrative of belonging in San Francisco. The movie starts by satirizing the all-too-common story of green gentrification, where the cleanup of a toxic site is the harbinger of neighborhood displacement, and ends by illustrating the lonely battle of a Black man attempting to prove home ownership through his story alone.

    The Bronx River story, so far, is different. The river’s restoration was fueled by the incumbent community and its ongoing grassroots revitalization reaffirms their presence. Anchor institutions have helped to employ residents and keep them in the borough, if they want to stay there. Countless collaborative partnerships at the federal, city, and local level have enabled the transformation of the river. The Bronx River story is also not over. New waterfront developments are cropping up along the river as market-rate housing blooms in nearby gentrifying neighborhoods. Banana Kelly, The Point CDC, and Youth Ministries for Peace and Justice are now part of a coalition of groups challenging the city’s rezoning of the Southern Boulevard in the South Bronx. What happens next is the cliffhanger.

    ▻https://metropolitics.org/Manifested-Stories.html

    #Bronx_river #Bronx #renaturation #revitalisation #rivière #gentrification #USA #Etat-Unis #narrative #récit #USA #Etats-Unis

    CDB_77 @cdb_77
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  • @jeanmarie
    jeanmarie @jeanmarie CC BY-NC-SA 1/07/2019
    2
    @vanderling
    @colporteur
    2

    Comment le black-out de 1977 à #New-York a fait exploser le #hip-hop

    3 700 personnes sous les verrous, 1 616 boutiques saccagées, 550 policiers blessés, 1037 incendies, et une révolution culturelle majeure.

    ▻https://www.vice.com/fr/article/rk8dx9/black-out-1977-new-york-avenement-hip-hop

    South Bronx, 1973 : la naissance du hip-hop

    Au début des années 70, déserté par les Blancs et rongé par le chômage, la violence et la drogue, ce ghetto noir de New York voit l’émergence d’une nouvelle culture urbaine et contestataire, entre musique rap, breakdance et graffitis.

    ▻https://www.franceculture.fr/emissions/metronomique/south-bronx-1973-la-naissance-du-hip-hop-r

    ▻https://media.radiofrance-podcast.net/podcast09/16999-21.07.2018-ITEMA_21748825-0.mp3

    Du #Bronx au terrain vague de la Chapelle, le hip hop arrive en France

    Historiquement, le hip-hop est apparu il y a plus d’une trentaine d’années en France, et, approximativement quarante aux États-Unis. Cette culture n’a jamais bénéficié d’autant de succès et de visibilité, en France, que de nos jours. Pourtant son transfert culturel n’est pas allé de soi.

    ▻https://www.franceculture.fr/emissions/la-fabrique-de-l-histoire/musiques-noires-24

    ▻https://s3-eu-west-1.amazonaws.com/cruiser-production/static/culture/sons/2014/03/s12/NET_FC_30e4d930-4cc8-4d51-ac6a-6f844d532023.mp3

    https://images.vice.com/noisey/content-images/contentimage/29109/NY-Blackout3.jpg

    #musique

    jeanmarie @jeanmarie CC BY-NC-SA
    • @vanderling
      Vanderling @vanderling 1/07/2019

      à écouter en lisant Manhattan Chaos de Michaël Mention

      https://images-eu.ssl-images-amazon.com/images/I/41GvSUN6elL._SX195_.jpg

      Quand le 13 juillet 1977, New-York se plonge dans le noir suite à une coupure générale d’électricité, Miles Davis est en pleine « descente ». Il n’a plus d’héroïne pour y remédier et le casanier qu’il est devenu est contraint de sortir pour se réapprovisionner.
      Dehors, c’est rapidement le chaos. La violence est à chaque coin de rue. Nous somme encore dans le New-York des années 70, cité coupe-gorge. Le trompettiste est le témoin de vols, de violences. Il est même pris en stop par le tueur de série « Le Fils de Sam »...

      Vanderling @vanderling
    • @jeanmarie
      jeanmarie @jeanmarie CC BY-NC-SA 1/07/2019

      Ah, ça tombe bien, je recherche mon livre de l’été...

      jeanmarie @jeanmarie CC BY-NC-SA
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  • @jeanmarie
    jeanmarie @jeanmarie CC BY-NC-SA 9/04/2018
    3
    @02myseenthis01
    @reka
    @grommeleur
    3

    Jerome Ave: inside one of #New_ York City’s last #working_class areas - in pictures

    Photographs have gone on display from a project documenting and celebrating the workers and tradespeople of Jerome Avenue, in the #Bronx, where many people still make a living in small shops and factories. The city is considering a plan to rezone two miles along the street, which has already led to the raising of rents

    ▻https://www.theguardian.com/us-news/gallery/2018/apr/09/jerome-avenue-new-york-city-working-class-areas-in-pictures

    https://i.guim.co.uk/img/media/ee9d6dfc01deba016a907b3346575115bffa5edd/0_0_3101_3101/master/3101.jpg?w=1010&q=55&auto=format&usm=12&fit=max&s=3cc9c161da9b711180c20ab8711c8bf0

    #photographie #classe_ouvrière

    jeanmarie @jeanmarie CC BY-NC-SA
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  • @cdb_77
    CDB_77 @cdb_77 27/11/2017

    Les travaux de #Flaminia_Paddeu sur la #justice_alimentaire, la #justice_environnementale, l’ #urban_gardening, l’ #agriculture_urbaine :
    ▻https://www.cairn.info/publications-de-Paddeu-Flaminia--95568.htm

    #Detroit #Leipzig #Bronx

    CDB_77 @cdb_77
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  • @vanderling
    Vanderling @vanderling 10/06/2017

    In the first few decades following their self-titled 1981 debut EP, Bronx sister act ESG had been hiding in plain sight. The Scroggins’ minimalist funk-punk tracks—like the intergalactically-minded “UFO” and the kiss-off “Moody”—were beloved by intrepid crate-diggers, and were liberally sampled in songs by Notorious B.I.G., Ice Cube, Big Daddy Kane, and almost 500 others. Their low-key ubiquity eventually led to a career-spanning 2000 compilation A South Bronx Story. Arriving just as New York City was in the throes of a post-punk revival, the compilation put them on the map for a new generation of listeners, and eventually led to a proper reunion of the Scroggins family for a string of New York shows.

    ESG’s minimalist approach put the band’s grooves front and center while also giving vocalist Renee Scroggins room to simmer; the taut 2002 EP Step Off sticks with that musical idea, and the band’s thrilling vitality remains marvelously intact. On the sprawling “Sensual Intentions,” a deceptively simple bass line—by Nicole Nicholas, Renee Scroggins’s daughter—struts opposite jittery guitars; when the two finally entwine, the song’s mounting tension boils over. “Six Pack” gets its flirtatious feel from Valerie Scroggins’s daughter, guitarist Christelle Polite, whose flinty, abstract riffing darts around Renee’s beckoning vocals; on “Step Off,” Renee tells off a thickheaded pursuer with an insistent bass line by her side. ESG’s combination of the funky and the firm are in fine form throughout the record, which asserts their place in the post-punk canon and, even today, demonstrates the myriad ways that their approach to funk was utterly singular.

    —Maura Johnston

    http://factoryrecords.org/cerysmatic/images/southbronx2.jpg

    ▻https://www.discogs.com/fr/ESG-A-South-Bronx-Story/release/44007
    ▻http://www.chronicart.com/musique/esg-a-south-bronx-story

    #ESG #Funk_minimaliste #post_punk #Dub #House_music #Bronx #sisters

    Vanderling @vanderling
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  • @africasacountry
    Africa’s a Country [RSS] @africasacountry 31/03/2017

    Ghanaians put their arms around #New_York
    ▻http://africasacountry.com/2017/03/ghanaians-put-their-arms-around-new-york

    “New Yorkers Put Arms Around Dr. K. Nkrumah” read the June 1951 New York Amsterdam News report about the future president of #Ghana’s stop in the city. Nkrumah’s itinerary took him to his Alma Mater, Lincoln University, where he gave the commencement speech and was conferred an honorary degree. Unlike on his maiden journey to…

    #ESSAYS #Bronx #Essays #Harlem #History #immigration #Independance #Kwame_Nkrumah

    Africa’s a Country [RSS] @africasacountry
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  • @davduf
    Davduf @davduf CC BY-NC-SA 7/09/2016

    « Brûle » : la bombe de Laurent Rigoulet - davduf.net
    ▻http://www.davduf.net/brule-la-bombe-de-laurent-rigoulet

    Un roman vrai, en somme. Où tout est juste, fiction comme non fiction ; où tout sonne à merveille, aphorismes compris.

    On sent que Rigoulet a passé des semaines à arpenter les rues qu’il nous décrit à la perfection, qu’il a fait autant de rencontres qu’essuyé de refus. Son ouvrage raconte mieux que n’importe quel essai historique la naissance du rap. Parce que Brûle en fait un récit, un souffle ; pas un événement historique que l’on pourrait retracer, disséquer. Brûle est rap en ce sens : il place le style tout en haut, et le rythme aussi.

    #HipHop #Rap #Bronx #Roman

    Davduf @davduf CC BY-NC-SA
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  • @sinehebdo
    Dror@sinehebdo @sinehebdo 18/07/2016
    3
    @fonkisifou
    @aktivulo1
    @tintin
    3

    Les débuts du hip-hop, dans Télérama :

    La géniale génération perdue du hip-hop
    Laurent Rigoulet, Télérama, le 16 juillet 2016
    ▻http://www.telerama.fr/musique/la-geniale-generation-perdue-du-hip-hop,145229.php

    #musique #rap #histoire

    Dror@sinehebdo @sinehebdo
    • @rastapopoulos
      RastaPopoulos @rastapopoulos CC BY-NC 18/07/2016

      #hip-hop #New-York #Bronx

      RastaPopoulos @rastapopoulos CC BY-NC
    • @tintin
      gwyneth bison @tintin 18/07/2016

      #disco aussi

      gwyneth bison @tintin
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  • @cdb_77
    CDB_77 @cdb_77 20/01/2016
    1
    @reka
    1
    @ville_en

    Le #Bronx, des flammes aux fleurs : combattre les #inégalités socio-spatiales et environnementales au cœur de la ville globale ?

    Quand il chante avec Alicia Keys « New York, the Empire State of Mind » [1], le rappeur Jay-Z égrène tous les hauts lieux de la ville globale : l’Empire State Building et autres gratte-ciels emblématiques de la skyline, Wall Street, ou encore Times Square – tous situés dans le cœur historique de #New_York City. Il mentionne également Brooklyn, dont il est originaire, ainsi que d’autres quartiers périphériques, pour en montrer la vie de rue – dans ses dimensions ethniques, artistiques, mais aussi illégales. Cette chanson internationalement connue illustre les deux faces d’une même ville : la puissance et le rayonnement d’une part, les difficultés et la #ségrégation sociale, raciale et spatiale d’autre part. La #ville_globale (Sassen, 1991) est en effet duale [2] : non seulement s’y côtoient les personnes aux plus hauts postes et revenus et les personnes les plus fragiles socialement et financièrement, mais de plus, l’ensemble forme un système interdépendant, les seconds étant au service des premiers.

    http://geoconfluences.ens-lyon.fr/informations-scientifiques/dossiers-regionaux/etats-unis-espaces-de-la-puissance-espaces-en-crises/articles-scientifiques/images/delagecarte1#.jpg http://geoconfluences.ens-lyon.fr/informations-scientifiques/dossiers-regionaux/etats-unis-espaces-de-la-puissance-espaces-en-crises/articles-scientifiques/images/delagecarte3a#.jpg

    ▻http://geoconfluences.ens-lyon.fr/informations-scientifiques/dossiers-regionaux/etats-unis-espaces-de-la-puissance-espaces-en-crises/articles-scientifiques/le-bronx-des-flammes-aux-fleurs
    #urban_matter #démographie #cartographie #visualisation
    signalé par @ville_en

    CDB_77 @cdb_77
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  • @africasacountry
    Africa’s a Country [RSS] @africasacountry 25/09/2015

    The #Young_Lords In #New_York Exhibit: A timely and provocative look at a political movement
    ▻http://africasacountry.com/2015/09/the-young-lords-in-new-york-exhibit-a-timely-and-provocative-look-a

    In 1970, a young man of color who was a member of a radical group was sent to prison; shortly thereafter, he was found dead under suspicious circumstances, and his.....

    #LATIN_AMERICA_IS_A_COUNTRY #Art #Bronx_Museum_of_the_Arts #El_Museo_del_Barrio #Loisiada_Center #nyc #Puerto_Rico

    Africa’s a Country [RSS] @africasacountry
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  • @quartiersxxi
    QuartiersXXI @quartiersxxi 10/05/2015
    1
    @vanderling
    1

    In love with the coco
    ▻http://quartiersxxi.org/in-love-with-the-coco

    Lors d’un retour d’une compétition sportive, fin janvier dernier, on écoutait la radio dans le minibus en compagnie des jeunes qu’on avait emmenés dans une ville voisine. Une des chansons faisait l’unanimité, c’était un truc d’un ricain, O.T. Genasis, dont le refrain entêtant est « I’m in love with the coco ». Les ados chantaient et faisaient les clowns sur la chanson, devant l’air perplexe qu’on avait, nous les « grands » (pour ne pas dire les vieux) : une des gamines nous a expliqué d’un air entendu que (...)

    #Bronx

    QuartiersXXI @quartiersxxi
    • @rastapopoulos
      RastaPopoulos @rastapopoulos CC BY-NC 11/05/2015

      #drogue #cocaïne #coco #adolescents

      RastaPopoulos @rastapopoulos CC BY-NC
    • @vanderling
      Vanderling @vanderling 14/08/2017

      Le premier #retour_de_flamme des révoltes de 2005 a été le débarquement de la came dans les quartiers. Il faudrait faire un jour une cartographie de la propagation de la #came quartier par quartier, ville par ville, histoire de vérifier à quel point il y a corrélation entre misère, désespoir et automutilation. La #cocaïne s’est présentée sous un jour présentable, elle ne transforme pas en zombie et permet de faire la fête. Mais surtout elle est devenue « discount ». C’est comme le foie gras, avant c’était pour les riches, maintenant c’est trouvable chez LIDL et y en a même du halal. C’est pas du bon, pas du pur, mais ça fait office quand même. La #coke, c’est pareil. Peu importe le pacson pourvu qu’on ait les effets secondaires.

      Vanderling @vanderling
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  • @africasacountry
    Africa’s a Country [RSS] @africasacountry 1/11/2013

    Boogie Down Nima in the #Bronx
    ▻http://africasacountry.com/boogie-down-from-the-bronx-to-nima-and-back

    For almost two decades now, the Bronx has been the focus of much of #New_York’s newest wave of Africans moving to the United States. Films such as Little Senegal, Bronx Princess, and Prince of Broadway, have been depicting the growing uptown African immigrant population for years. The New York Times has covered some community-wide […]

    #MUSIC #Ghana #hip_hop #hiplife #immigration #rap

    • #New York
    • #United States
    • #Prince
    Africa’s a Country [RSS] @africasacountry
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  • @africasacountry
    Africa’s a Country [RSS] @africasacountry 21/08/2013
    1
    @02myseenthis01
    1

    Photographing the #African_Diaspora in #New_York
    ▻http://africasacountry.com/photographing-the-african-diaspora-in-new-york

    In a world ever more saturated by images, understanding how to read pictures has never been more important. In a course this summer at the #New_School in the GPIA, students learned how to read images, and also how to make them. We began by looking at other people’s photographs and thinking about the choices […]

    #PHOTOGRAPHY #Aaron_Leaf #Ashanti #Bronx #Brooklyn #Cameroon #Fula #Gladys_Ekoto #Nigeria #Toni_Akindele

    • #New York
    • #New School
    Africa’s a Country [RSS] @africasacountry
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  • @grommeleur
    grommeleur @grommeleur 30/06/2013

    Say Watt ? Le culte du sound system
    ▻http://www.gaite-lyrique.net/evenement/say-watt-le-culte-du-sound-system-l-exposition

    Via l’onde du Sound System, Say Watt guide le visiteur de ses débuts jamaïcains jusqu’à ses extrapolations dans l’art contemporain, en passant par ses contributions à la culture Do It Yourself.

    Bon, je sais pas trop ce que ça vaut, mais ça mérite peut-être un p’tit tour ...
    (Ah ... 7 € quand même ... street mais pas trop quand même).
    Plus de trucs ici, en fait :
    ▻http://www.gaite-lyrique.net/say-watt

    INSTALLATIONS, PHOTOS, VIDEOS, EXPÉRIENCES SONORES
, CONCERTS INÉDITS : L’EXPOSITION SAY WATT? LE CULTE 
DU SOUND SYSTEM OFFRE UN VOYAGE À LA RECHERCHE DE LA FORME ORIGINELLE DE L’EXPRESSION MUSICALE CONTEMPORAINE ET DE SES EXPRESSIONS A TRAVERS LE MONDE.

    #expo #sound-system #dub #dancehall #bronx

    grommeleur @grommeleur
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Thèmes liés

  • #bronx
  • city: new york
  • #new_york
  • city: york
  • #immigration
  • #new-york
  • person: laurent rigoulet
  • #cocaïne
  • #hip-hop
  • #rap
  • #musique