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Please use this identifier to cite or link to this item: http://hdl.handle.net/1843/60947
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dc.creatorLeonardo Álvares Vidigalpt_BR
dc.date.accessioned2023-11-14T13:06:51Z-
dc.date.available2023-11-14T13:06:51Z-
dc.date.issued2022-
dc.citation.volume3pt_BR
dc.citation.spage1pt_BR
dc.citation.epage19pt_BR
dc.identifier.issn25637290pt_BR
dc.identifier.urihttp://hdl.handle.net/1843/60947-
dc.description.resumoThe objective of this article is to characterize, deepen, and appraise the pedagogical dimensions of sound system culture. Historically, sound systems were catalyzers of music production in Jamaica, and after their expansion to the UK in the 1950s, and later to the five continents, sound systems affected audiences in a way that turned them into sound listeners and creators. Sound system cultures are building a consumption, music production, and learning environment for a genre that is not engaged in the mainstream music market, fostering its underground activities and motivating people to fight for their rights in the process. The idea of Jamaican reggae sound system sessions as what sociologist Lisa Amanda Palmer calls “self-generated sites of learning,” and of soundmen and soundwomen (as they are known in the culture) as nonformal and informal educators, is at the center of this article’s argument. These themes are developed by examining several aspects of sound system culture: the internal practices of apprenticeship; pedagogical activities developed by soundcrews, like film screenings and roundtables before the sessions; academic events designed to bring practitioners and academics closer together, like the Sound System Outernational conference; and events carried out by music festivals and other happenings. The fields of community learning theory, musicology, film studies, reggae studies, sound system studies, and popular music studies support the discussion in a transdisciplinary theoretical framework. The article uses documentaries, films, and videos on reggae music and sound system culture as crucial sources of testimony and information about the people who make this cultural manifestation possible.pt_BR
dc.format.mimetypepdfpt_BR
dc.languageengpt_BR
dc.publisherUniversidade Federal de Minas Geraispt_BR
dc.publisher.countryBrasilpt_BR
dc.publisher.departmentEBA - DEPARTAMENTO DE FOTOGRAFIApt_BR
dc.publisher.initialsUFMGpt_BR
dc.relation.ispartofMusic Research Annual-
dc.rightsAcesso Abertopt_BR
dc.subjectPopular musicpt_BR
dc.subjectPedagogypt_BR
dc.subjectReggaept_BR
dc.subjectSound systemspt_BR
dc.subjectDocumentary film and videopt_BR
dc.subject.otherSom - Registro e reproduçãopt_BR
dc.subject.otherMusica reggaept_BR
dc.subject.otherTecnologia - Aspectos sociaispt_BR
dc.subject.otherCulturapt_BR
dc.title"Each one teach one"?: music and the pedagogical dimensions of reggae sound system culturept_BR
dc.typeArtigo de Periódicopt_BR
dc.url.externahttps://musicresearchannual.org/vidigal-each-one-teach-one-2/pt_BR
dc.identifier.orcidhttps://orcid.org/0000-0003-3750-3608pt_BR
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