"Milano is burning, and by fireside we are dancing". Spatial and auditory re-appropriation of the city through the breakdance

Author/s Fabio Bertoni
Publishing Year 2019 Issue 2019/4 Language Italian
Pages 19 P. 43-61 File size 143 KB
DOI 10.3280/RGI2019-004003
DOI is like a bar code for intellectual property: to have more infomation click here

Below, you can see the article first page

If you want to buy this article in PDF format, you can do it, following the instructions to buy download credits

Article preview

FrancoAngeli is member of Publishers International Linking Association, Inc (PILA), a not-for-profit association which run the CrossRef service enabling links to and from online scholarly content.

The ephemeral practices can unexpectedly be realized in urban contexts, casting doubt on the planned, designed and politically controlled space. Practitioners appropriate existing spaces through territorial tactics, and they construct an alternative and heterotopic space, that differs from the previous for its uses, potentialities, norms. Produced in plural and sometimes ambivalent processes, these spaces are realized through putting into context and relation physical spaces, moving bodies, institutions, atmospheres, and sociotechnical tools. Part of ethnographic research realized in the context of the breakdancing in Milan, this contribution highlights the importance of music and sound in the practices of territorial re-appropriation, as an instrument of the redefinition of urban, material and symbolic boundaries. More specifically, it will start from a specific space, the mezzanine of the underground station of Porta Venezia, in order to deepen the capacities of the interstitial spatial formations to redefine new urban imaginaries.

Keywords: Spatial reappropriation, aural territories, hip-hop, breakdancing, ethnography

  1. Akrich M. e Latour B. (1992). A Summary of a Convenient Vocabulary for the Semiotics of Human and Non-Human Assemblies. In: Bijker W.E. e Law J., a cura di, Shaping Technology/Building Society. Cambridge: MIT Press.
  2. Anzoise V., Mutti C. e Natali L. (2016). PAK-Map: immagini, mappe mentali e soliloqui itineranti. Un’esplorazione transdisciplinare delle percezioni sociali su Expo Milano 2015. In: Frisina A., a cura di, Metodi visuali di ricerca sociale. Bologna: Il Mulino.
  3. Bandt R., Duffy M. e MacKinnon D. (2007). Hearing Places: Sound, Place, Time and Culture. Cambridge: Cambridge Scholar.
  4. Beer D. (2014). Hip Hop as Urban and Regional Research: Encountering an Insider’s Ethnography of City Life. International Journal of Urban and Regional Research, 38(2): 677-85.
  5. Bennett A. (2000). Popular Music and Youth Culture: Music, Identity and Place. London: MacMillan.
  6. Bertoni F. (2017). Con le mani per terra: trasformazione dei luoghi nella pratica corporea. Il caso della breakdance a Porta Venezia, Milano. Sociologia e Ricerca Sociale, 114: 138-62. DOI: 10.3280/SR2017-11400
  7. Black S. (2014). Street Music, Urban Ethnography and Ghettoized Communities. International Journal of Urban and Regional Research, 38(2): 700-705. DOI: 10.1111/1468-2427.1209
  8. Blesser B. (2006). Spaces Speak, are you Listening? Cambridge: MIT Press.
  9. Bolton J.H. (2006). Writing in a Polluted Semiosphere: Everyday Life in Lotman, Foucault, and de Certeau. In: Schonle A., a cura di, Lotman and Cultural Studies: Encounters and Extensions. Madison: University of Wisconsin Press.
  10. Borden I. (2001). Skateboarding, Space and the City: Architecture and the Body. Oxford: Berg.
  11. Brighenti A.M. (2013a). Teoria dei territori. Scienza e Politica, 25(48): 175-183.
  12. Id. (2013b). Urban Interstices: the Aesthetics and the Politics of the In-Between. Farnham: Ashgate.
  13. Cellamare C. (2014). Self-organization, appropriation of places and production of urbanity. In: Cellamare C. e Cognetti F., a cura di, Practices of Reappropriation. Roma: Planum.
  14. Codeluppi E., Dusi N. e Granelli T. (2008). Introduzione: riscrivere lo spazio. E|C, 2: 5-19.
  15. Conradson D. e Latham A. (2007). The Affective Possibilities of London: Antipodean Transnationals and the Overseas Experience. Mobilities, 2(2): 231-254. DOI: 10.1080/1745010070138157
  16. Cresswell T. (2012). Place: A Short Introduction. Malden: Blackwell.
  17. de Certeau M. (1980). L’ invention du quotidien. Paris: Union générale d’editions.
  18. Dehaene M. e De Cauter L. (2008). Heterotopia and the City. Public Space in Postcivil Society. London-New York: Routledge.
  19. Deleuze G. e Guattari F. (1980). Mille Plateaux. Paris: Les Editions de Minuit.
  20. Id. e Id. (1991). Ou’est-ce la philosophie? Paris: Les Editions de Minuit.
  21. Duffy M., Waitt G., Gorman-Murray A. e Gibson C. (2009). Bodily Rhythms: Corporeal Capacities to Engage with Festival Spaces. Emotion Space and Society, 4: 17-24.
  22. Erlmann V. (2004). Hearing Cultures. Essays on Sound, Listening and Modernity. Oxford: Berg.
  23. Forman M. (2002). The Hood Comes First: Race, Space and Place in Hip Hop. Middletown: Wesleyan UP.
  24. Foucault M. (1986). Of Other Spaces. Dyacritics, 16(1): 22-27.
  25. Goffman E. (1971). Relations in Public. Microstudies of the Public Order. New York: Basic Books.
  26. Huq R. (2006). Asian Kool? Bhangra and Beyond. In: Bennett A., Shank B. e Toynbee J., a cura di, The Popular Music Studies Reader. London-New York: Routledge.
  27. Kärrholm M. (2005). Territorial Complexity in Public Places. A Study of Territorial Production at Three Squares in Lund. Nordic Journal of Architectural Research, 18(1): 99-114. DOI: 10.1177/120633120730435
  28. Id. (2007). The Materiality of Territorial Production. A Conceptual Discussion of Territoriality, Materiality and the Everyday Life of Public Space. Space and Culture, 10(4): 437-453. DOI: 10.1177/120633120730435
  29. Keyes C. (2004). Rap Music and Street Consciousness. Urbana: University of Illinois Press.
  30. LaBelle B. (2010). Acoustic Territories. Sound Culture and Everyday Life. London: Continuum.
  31. Lancione M. (2016). Rethinking Life at Margins: the Assemblage of Contexts, Subjects, and Politics. London-New York: Routledge.
  32. Latham A. e McCormack D.P. (2010). Moving Cities: Rethinking the Materialities of Urban Geographies. Progress in Human Geography, 28(6): 701-724.
  33. Law S. (2002). Objects and Space. Theory, Culture and Society, 19(5-6): 91-105. DOI: 10.1177/02632760276189916
  34. Lefebvre H. (2004). Rhythmanalysis: Space, Time and Everyday Life. London: Continuum.
  35. Leonard M. (1998). Paper Planes: Travelling the new Grrrl Geographies. In: Skeltonand T., Valentine G., a cura di, Cool Places: Geographies of Youth Cultures. London-New York: Routledge.
  36. Leshua B., Wagg S. e Spracklen K. (2014). Sounds and the City: Popular Music, Place and Globalization. Basingstoke: Palgrave McMillan.
  37. Levésque L. (2009). Towards an Interstitial Approach to Urban Landscape. Territorio, 48: 77-82. DOI: 10.3280/TR2009-04801
  38. Lotman J.M. (2005). On the Semiosphere. Sign System Studies, 33(1): 205-229.
  39. Id. e Uspenskij B.A. (1981). The Semiotics of Russian Culture. Ann Arbor: Michigan Slavic Publications.
  40. Marrone G. (2001). Corpi sociali: processi comunicativi e semiotica del testo. Torino: Einaudi.
  41. Massumi B. (2002). Parables for the Virtual: Movement, Affect, Sensation. Durham: Duke UP.
  42. Mitchell T. (2001). Global Noise: Rap and Hip Hop outside the USA. Middletown: Wesleyan UP.
  43. Pedrazzi M. (2008). Disordinati e straordinari. Spazi e pratiche della controprogrammazione artistica. E|C, 2: 93-99.
  44. Pisanello C. (2017). In nome del decoro. Dispositivi estetici e politiche securitarie. Verona: Ombrecorte.
  45. Ripley C. (2007). Hearing Places: Sound in Architectural Throught and Practice. In: Bandt R., Duffy M. e MacKinnon D., a cura di, Hearing Places: Sound, Place, Time and Culture. Cambridge: Cambridge Scholars.
  46. Rorty R. (2009). Philosophy and the Mirror of Nature. Princeton: Princeton UP.
  47. Rose T. (2004). Black Noise: Rap Music and Black Culture in Contemporary America. Hanover: University Press of New England.
  48. Shank B. (1994). Dissonant Identities: the Rock’n’Roll Scene in Austin, Texas. Middletown: Wesleyan UP.
  49. Shapiro R. (2004). The Aesthetics of Institutionalization: Breakdancing in France. The Journal of Arts Management, Law and Society, 33(4): 316-335. DOI: 10.3200/JAML.33.4.316-33
  50. Smith J.S. (1994). Soundscapes. Area, 26(3): 232-240.
  51. Stevens Q. (2007). The Ludic City: Exploring the Potential of Public Spaces. London-New York: Routledge.
  52. Stokes M. (1995). Ethnicity, Identity, and Music: the Musical Construction of Place. Oxford: Berg.
  53. Wilson E. (1995). Plagues, Fairs, and Street Cries: Sounding out Society and Space in Early Modern London. Modern Language Studies, 25(3): 1-42. DOI: 10.2307/319537
  54. Ziakas V. (2015). For the Benefit of All? Developing a Critical Perspective on Mega-Event Leverage. Leisure Studies, 34(6): 689-702. DOI: 10.1080/02614367.2014.98650

Fabio Bertoni, Milano is burning, and by fireside we are dancing. Riappropriazioni spaziali e sonore della città nella breakdance in "RIVISTA GEOGRAFICA ITALIANA" 4/2019, pp 43-61, DOI: 10.3280/RGI2019-004003