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

Detalhes bibliográficos
Ano de defesa: 2022
Autor(a) principal: Gabriel Silva Arruda
Orientador(a): Não Informado pela instituição
Banca de defesa: Não Informado pela instituição
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
Programa de Pós-Graduação: Não Informado pela instituição
Departamento: Não Informado pela instituição
País: Não Informado pela instituição
Palavras-chave em Português:
Link de acesso: http://hdl.handle.net/1843/49876
Resumo: 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.