Comunidade Bigode: uma etnografia do samba e do sambista em Belo Horizonte

• Ano de defesa: 2022
• Autor(a) principal: Gabriel Silva Arruda
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; MUSICA - ESCOLA DE MUSICA; Programa de Pós-Graduação em Música; UFMG
• Palavras-chave em Português: Samba; Sambista; Roda de Samba; Bloco de carnaval; Etnografia; Trabalho acústico; Aprendizagem; Música e trabalho; Música - Teses; Samba - Belo Horizonte (MG); Sambistas; Samba de roda; Blocos carnavalescos
• Link de acesso: http://hdl.handle.net/1843/49876

This work proposes an ethnographic exercise about sambas and sambistas in Belo Horizonte (MG). The descriptions and analyzes developed are built around an acoustic formation known in the research field as “samba”. We sought to carry out an intensive applied study on a web of localized social interactions, based on acoustic labor, which allowed us to study some of the systems of interpersonal relationships and their categories of social representation. We aim to understand how the context of what became known as the musical genre “samba” crosses the perceptions of the observed reality, to then analyze how a socio-musical tissue that we call, as a constructed object of analysis, as “Comunidade Bigode” is organized. We then worked on describing some of the practices developed within this community, more precisely the description and analysis of a street carnival block and the “rodas de samba” as a “show”, in addition to the spaces and experiences that permeate them. From the field experience, we mobilized themes related to performance and the in-between place of samba among presentational and participatory characteristics; to learning in a situated character, fundamentally as a social process and not just a cognitive process; to the labor doing and the precarious forms that develop in the process of flexibilization of labor relations; to socialization and fruition in a community context and; to the symbolic representations and present identities, based on the perceptions and trajectories of my interlocutors as musicians and representatives of a cultural manifestation.