refer to sex. Especially interesting (and wry for the artists from the favela who created the genre) is, when the music is detached from the favela environment, the consequences are different. João, a human rights activist and lawyer, questions the
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The Power of Silence
Sonic Experiences of Police Operations and Occupations in Rio de Janeiro's Favelas
Sterre Gilsing
Liberation Autochthony
Namibian Veteran Politics and African Citizenship Claims
Lalli Metsola
examples, see Nujoma (2001) ; SWAPO (1981) . For a more detailed account of this genre, see Metsola (2015: 191–195 ). 4 See articles in the following newspapers: The Namibian , 10, 21 April, 9, 17 May 1995, 7 May, 26 June, 29 September, 24, 28, 31
Emergent Police States
Racialized Pacification and Police Moralism from Rio's Favelas to Bolsonaro
Tomas Salem and Bjørn Enge Bertelsen
help me catch those guys. Among officers, then, funk parties and funk music, especially the genre of proibidão (lit. “forbidden”), expressed the “culture of trafficking” that they thought to be common among favela residents (see Muniz and