When the DJ plays: thinking ethnomathematics in the Hip-Hop movement

Abstract

In the 1970s, on the outskirts of the United States of America -- a place where the African-American and Latino population found themselves socially excluded and with little access to basic security, economic and social conditions; forgotten by the State and in the midst of violence -- hip-hop culture emerges as an escape from these ills and promotes the creation of a new identity: the outcome of the encounter of these cultural groups that lived there. Clearly, together with an entire culture composed of dance, music, poetry and visual elements, a series of knowledge and practices are produced there. This work brings knowledge about the crossroads of sound and body, the art of the DJ who dialogues with his audience through his music, his techniques that produce his own sounds. Starting from theoretical surveys and the authors' experiences, we consider DJ practice in a possible dialogue with ethnomathematics and the decoloniality of knowledge.