Sofrendo, cantando, chorando, bebendo: um estudo antropológico entre a música sertaneja e a banda sinaloense

• Ano de defesa: 2021
• Autor(a) principal: França, Matheus Gonçalves
• Orientador(a): Tamaso, Izabela Maria
• Banca de defesa: Tamaso, zabela Maria, Raposo, Paulo, Dias, Juliana Braz, Souza, Maria Luiza Rodrigues, Hirano, Luis Felipe Kojima
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Programa de Pós-graduação em Antropologia Social (FCS)
• Departamento: Faculdade de Ciências Sociais - FCS (RG)
• País: Brasil
• Palavras-chave em Português: Música sertaneja; Banda sinaloense; Emoções; Música; Antropologia
• Palavras-chave em Inglês: Música sertaneja; Banda sinaloense; Emotions; Music; Anthropology
• Área do conhecimento CNPq: CIENCIAS HUMANAS::ANTROPOLOGIA::TEORIA ANTROPOLOGICA
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tede/11898

The present study aims to carry out an anthropological comparison effort between música sertaneja (Brazil) and banda sinaloense (Mexico), seeking to understand to what extent these two musical styles are closer and far apart in cultural, discursive and also in relation to social practices – especially those of sociability – that take place in their respective contexts, with a focus on the subjective experience in relation to these cultural repertoires. Through ethnographic research carried out in the cities of Goiânia (GO) and Oaxaca de Juárez (Oaxaca), I sought to explore on this dimension of the experience of subjects with music, especially with regard to the emotions provoked by them as a way of marking and producing differences. In this sense, through fieldwork carried out in bars, nightclubs, private parties and large-scale concerts in terms of audience and musical production, the field of cultural performances becomes an important element of observation and analysis. In the two cases studied here, discourse practices on the love suffering are evident as constitutive of an ethos that characterizes both musical styles, whether in the content of the songs, especially the lyrics, or in the speeches of interlocutors. In the same way, discourses around social markers of difference such as gender, sexuality, regionality and race show contentiousness around the limits - and ruptures - of representation and social representativity in the field of music, especially that pointed out as "massive” or “commercial”.