Das Cores da Música: o samba carioca do grupo do Estácio (1928-1937)

• Autor(a) principal: Giesta, Gabriel Valladares
• Data de Publicação: 2012
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/13521
• topic: Samba; Popular culture; Popular music; Phonographic industry; Estácio; Samba; Cultura popular; Música popular; Indústria fonográfica; Estácio; CNPQ::CIENCIAS HUMANAS::HISTORIA

This dissertation aims to analyze the samba during the early twentieth century in the city of Rio de Janeiro, in particular the phonographic production of the music group from Estácio between the years 1928 to 1937. For this, we will do a micro-historic exercise of alternating between micro and macro scales of analysis, both temporal and spatial. That is, create a bridge for dialogue between individual and/or group trajectories (experiences and cultural productions of samba musicians) with wider social context (the city of Rio and the Brazil), and also between the time-specific of the actions of our object of research (1928 - 1937) in relation with longer time frames that help us understand wider processes that surround it. That is, starting from the independence of Brazil, through the first references to samba to the progressive changes that this cultural manifestation goes toward your formation as a musical genre, to finally make a deeper analysis of samba musicians from Estácio within music industry. In this line, we must see the samba and popular in all its plurality, noting the diversity of experience both individual and between different groups and/or generations of samba involved. This does not avoid samba to encompass, in general, the concept of popular culture, because this one includes various forms of activity and expressions of the popular sectors, where they conveyed their identity, cultural and religious views, and even tried to fit as a constituent part of the Brazilian nation, tracing alternate paths to citizenship. In doing so, they ended up giving light to various conflicts typical of the Carioca and Brazilian society in the decades of 1910 - 1930: their dimensions of identity, gender and especially racial and social. After all, it is concluded that in their work with the music industry, the samba musicians from Estácio left exposed such conflicts, marking a difference of identity, typical of the African Diaspora.