A cadeia produtiva do lambadão : rompendo as fronteiras da periferia

• Ano de defesa: 2013
• Autor(a) principal: Barros, Lidiane Freitas de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Mato Grosso; Brasil; Instituto de Linguagens (IL); UFMT CUC - Cuiabá; Programa de Pós-Graduação em Estudos de Cultura Contemporânea
• Palavras-chave em Português: Lambadão; Produção; Circulação; Consumo; Tecnologia; Autopirataria; CNPQ::LINGUISTICA, LETRAS E ARTES; Production; Circulation; Technology; Autopiracy
• Link de acesso: http://ri.ufmt.br/handle/1/565

A new popular music phonographical industry - based on unofficial production and commerce - is outlined in the country and Mato Grosso has an expressive representation. Alongside other rythms, like “funk carioca (RJ)” and “tecnobrega (PA)”, “lambadão” posseses a productive chain based on sustainability where promoters use different methods to circulate their music: Selling CDs recorded live or in home studios - and their distribution on the black market, important allies for the propagation of the bands work. This rythm widelly played at popular parties and coming from the outskirts, according to interviewed musicians - was constructed over the years by musicians that operated as miners, especially, in the state of Pará in the 70's and 80's and that established themselves in the city of Poconé, the states interior. It derives also from the genre called “rasqueado” and of the “lambada”, played a lot in the state of Pará at the time. The relationship of “lambadão” with piracy is very narrow. The rampant copying of their prouctions serves as a greeting card for their performances from which they obtain great part of their income. Some bands give their work over to the black market to guarantee their propagation, in a scheme which could be classified as autopiracy. The objective of the research is to analyze the supply chain: the ways articulates, moves and designs lambadão.