Ó abre alas que eu quero passar: a mulher no cenário do choro em Sergipe

Detalhes bibliográficos
Autor(a) principal: Nou, Alice Dantas Perrucho
Data de Publicação: 2019
Tipo de documento: Dissertação
Idioma: por
Título da fonte: Repositório Institucional da UFS
Texto Completo: http://ri.ufs.br/jspui/handle/riufs/16739
Resumo: Woman and Chorinho. On the one hand, the challenges of being a woman in a society still marked by the ideology of machismo. On the other, the hard, restricted musical scenery of a demanding audience and complex rhythm, which requires a lot of dedication like Chorinho. This work arose with the purpose of giving voice to the choronas as an opportunity to report the participation of the woman in the chorinho. In the first phase of the research was carried out a collection of information from great thinkers of classical sociology in their respective contexts, showing how they have been and have been influence for the promotion of feminism, and the main feminist theories and Identity. A brief analysis of Choro in Brazil, its origins and the history of women's daily life was also made, and in the nineteenth and twentieth centuries, when women's participation was timid in order to understand the reflexes in society today. In this research we bring the trajectory of Chiquinha Gonzaga, considered the first woman to be inserted in the cry and Ademilde Fonseca, known as "Queen of Choro", that very influenced the woman to assume other roles beyond what the society attributed to the genre. Through the Interview method, we approached the woman's participation in the chorinho in Sergipe. With different ages and trajectories of schooling and social status, Maria Olívia (first female pianist working in chorinho sergipano), Paula Al'Sant, the only trans chorista woman, Silvina do Choro (musician and nutritionist) and Nancy Alves (mother, housewife and choreographer) to address their challenges in the music scene. It was verified that, with the study of the trajectory of Chiquinha Gonzaga, Ademilde Fonseca and the field work with the group of four agents interviewed, the singularities of each trajectory, the different social origins and the different amounts of capital, do not tend to represent great social distances. On the other hand, even with a large number of regularities and despite the evolution of participation thanks to the participation of great women in the past, the social trajectory is unique because the challenges remain and the struggle, consequently.
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spelling Nou, Alice Dantas PerruchoEnnes, Marcelo Alario2022-11-02T00:30:53Z2022-11-02T00:30:53Z2019-08-27NOU, Alice Dantas Perrucho. Ó abre alas que eu quero passar: a mulher no cenário do choro em Sergipe. 2019. 105 f. Dissertação (Mestrado em Sociologia) – Universidade Federal de Sergipe, São Cristóvão, 2019.http://ri.ufs.br/jspui/handle/riufs/16739Woman and Chorinho. On the one hand, the challenges of being a woman in a society still marked by the ideology of machismo. On the other, the hard, restricted musical scenery of a demanding audience and complex rhythm, which requires a lot of dedication like Chorinho. This work arose with the purpose of giving voice to the choronas as an opportunity to report the participation of the woman in the chorinho. In the first phase of the research was carried out a collection of information from great thinkers of classical sociology in their respective contexts, showing how they have been and have been influence for the promotion of feminism, and the main feminist theories and Identity. A brief analysis of Choro in Brazil, its origins and the history of women's daily life was also made, and in the nineteenth and twentieth centuries, when women's participation was timid in order to understand the reflexes in society today. In this research we bring the trajectory of Chiquinha Gonzaga, considered the first woman to be inserted in the cry and Ademilde Fonseca, known as "Queen of Choro", that very influenced the woman to assume other roles beyond what the society attributed to the genre. Through the Interview method, we approached the woman's participation in the chorinho in Sergipe. With different ages and trajectories of schooling and social status, Maria Olívia (first female pianist working in chorinho sergipano), Paula Al'Sant, the only trans chorista woman, Silvina do Choro (musician and nutritionist) and Nancy Alves (mother, housewife and choreographer) to address their challenges in the music scene. It was verified that, with the study of the trajectory of Chiquinha Gonzaga, Ademilde Fonseca and the field work with the group of four agents interviewed, the singularities of each trajectory, the different social origins and the different amounts of capital, do not tend to represent great social distances. On the other hand, even with a large number of regularities and despite the evolution of participation thanks to the participation of great women in the past, the social trajectory is unique because the challenges remain and the struggle, consequently.Mulher e Chorinho. De um lado, os desafios de ser mulher numa sociedade ainda marcada pela ideologia do machismo. Do outro, o cenário musical árduo, restrito, de um público exigente e ritmo complexo, que exige muita dedicação como o Chorinho. Este trabalho surgiu com o objetivo de dar voz às choronas como oportunidade de relatar a participação da mulher no chorinho. Na primeira fase da pesquisa foi realizado um apanhado de informações de grandes pensadores da Sociologia clássica em seus respectivos contextos, apresentando de que forma eles foram e têm sido influência para o fomento do feminismo, e as principais teorias feministas e Identidade. Também foi feita uma análise sucinta do Choro no Brasil, suas origens e a história do cotidiano da mulher e no século XIX e XX, período em que a participação da mulher era tímida com o objetivo de compreender os reflexos na sociedade hoje. Nessa pesquisa trazemos a trajetória de Chiquinha Gonzaga, considerada a primeira mulher a ser inserida no choro e Ademilde Fonseca, conhecida como “Rainha do Choro”, que muito influenciaram a mulher a assumir outros papéis além do que a sociedade atribuía ao gênero. Por meio do método Entrevista, abordamos a participação da mulher no chorinho em Sergipe. Com diferentes idades e trajetórias de escolarização e status social, Maria Olívia (primeira mulher pianista atuante no chorinho sergipano), Paula Al´Sant, única mulher TRANS chorista, Silvina do Choro (musicista e nutricionista) e Nancy Alves (mãe, avó, artesã dona de casa e chorista), para abordarem seus desafios no cenário musical. Verificou-se que, com o estudo da trajetória de Chiquinha Gonzaga, Ademilde Fonseca e do trabalho de campo com o grupo das quatro agentes entrevistadas, as singularidades de cada trajetória, as diferentes origens sociais e as diferentes quantidades de capitais, não tendem a representar grandes distâncias sociais. Por outro lado, mesmo com um grande número de regularidades e não obstante a evolução da participação graças à atuação de grandes mulheres no passado, a trajetória social é única porque os desafios permanecem e a luta, consequentemente.Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESSão CristóvãoporSociologiaCultura popularChoro (Música)Sergipe (SE)MulheresFeminismoTrajetória socialMúsicosParticipaçãoChoronasDesafiosMulherFeminismSocial trajectoryMusiciansParticipationChallengesWomanCIENCIAS HUMANAS::SOCIOLOGIAÓ abre alas que eu quero passar: a mulher no cenário do choro em Sergipeinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisPós-Graduação em SociologiaUniversidade Federal de Sergipereponame:Repositório Institucional da UFSinstname:Universidade Federal de Sergipe (UFS)instacron:UFSinfo:eu-repo/semantics/openAccessLICENSElicense.txtlicense.txttext/plain; charset=utf-81475https://ri.ufs.br/jspui/bitstream/riufs/16739/1/license.txt098cbbf65c2c15e1fb2e49c5d306a44cMD51ORIGINALALICE_DANTAS_PERRUCHO_NOU.pdfALICE_DANTAS_PERRUCHO_NOU.pdfapplication/pdf602451https://ri.ufs.br/jspui/bitstream/riufs/16739/2/ALICE_DANTAS_PERRUCHO_NOU.pdf324e1aa66d046fa3bba362a226b0b8faMD52TEXTALICE_DANTAS_PERRUCHO_NOU.pdf.txtALICE_DANTAS_PERRUCHO_NOU.pdf.txtExtracted texttext/plain213973https://ri.ufs.br/jspui/bitstream/riufs/16739/3/ALICE_DANTAS_PERRUCHO_NOU.pdf.txt784ebbd8e10ff9400d79d00815b9919fMD53THUMBNAILALICE_DANTAS_PERRUCHO_NOU.pdf.jpgALICE_DANTAS_PERRUCHO_NOU.pdf.jpgGenerated Thumbnailimage/jpeg1218https://ri.ufs.br/jspui/bitstream/riufs/16739/4/ALICE_DANTAS_PERRUCHO_NOU.pdf.jpgc027187bd218861a12815ee860600661MD54riufs/167392022-11-01 21:30:53.238oai:ufs.br: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Repositório InstitucionalPUBhttps://ri.ufs.br/oai/requestrepositorio@academico.ufs.bropendoar:2022-11-02T00:30:53Repositório Institucional da UFS - Universidade Federal de Sergipe (UFS)false
dc.title.pt_BR.fl_str_mv Ó abre alas que eu quero passar: a mulher no cenário do choro em Sergipe
title Ó abre alas que eu quero passar: a mulher no cenário do choro em Sergipe
spellingShingle Ó abre alas que eu quero passar: a mulher no cenário do choro em Sergipe
Nou, Alice Dantas Perrucho
Sociologia
Cultura popular
Choro (Música)
Sergipe (SE)
Mulheres
Feminismo
Trajetória social
Músicos
Participação
Choronas
Desafios
Mulher
Feminism
Social trajectory
Musicians
Participation
Challenges
Woman
CIENCIAS HUMANAS::SOCIOLOGIA
title_short Ó abre alas que eu quero passar: a mulher no cenário do choro em Sergipe
title_full Ó abre alas que eu quero passar: a mulher no cenário do choro em Sergipe
title_fullStr Ó abre alas que eu quero passar: a mulher no cenário do choro em Sergipe
title_full_unstemmed Ó abre alas que eu quero passar: a mulher no cenário do choro em Sergipe
title_sort Ó abre alas que eu quero passar: a mulher no cenário do choro em Sergipe
author Nou, Alice Dantas Perrucho
author_facet Nou, Alice Dantas Perrucho
author_role author
dc.contributor.author.fl_str_mv Nou, Alice Dantas Perrucho
dc.contributor.advisor1.fl_str_mv Ennes, Marcelo Alario
contributor_str_mv Ennes, Marcelo Alario
dc.subject.por.fl_str_mv Sociologia
Cultura popular
Choro (Música)
Sergipe (SE)
Mulheres
Feminismo
Trajetória social
Músicos
Participação
Choronas
Desafios
Mulher
topic Sociologia
Cultura popular
Choro (Música)
Sergipe (SE)
Mulheres
Feminismo
Trajetória social
Músicos
Participação
Choronas
Desafios
Mulher
Feminism
Social trajectory
Musicians
Participation
Challenges
Woman
CIENCIAS HUMANAS::SOCIOLOGIA
dc.subject.eng.fl_str_mv Feminism
Social trajectory
Musicians
Participation
Challenges
Woman
dc.subject.cnpq.fl_str_mv CIENCIAS HUMANAS::SOCIOLOGIA
description Woman and Chorinho. On the one hand, the challenges of being a woman in a society still marked by the ideology of machismo. On the other, the hard, restricted musical scenery of a demanding audience and complex rhythm, which requires a lot of dedication like Chorinho. This work arose with the purpose of giving voice to the choronas as an opportunity to report the participation of the woman in the chorinho. In the first phase of the research was carried out a collection of information from great thinkers of classical sociology in their respective contexts, showing how they have been and have been influence for the promotion of feminism, and the main feminist theories and Identity. A brief analysis of Choro in Brazil, its origins and the history of women's daily life was also made, and in the nineteenth and twentieth centuries, when women's participation was timid in order to understand the reflexes in society today. In this research we bring the trajectory of Chiquinha Gonzaga, considered the first woman to be inserted in the cry and Ademilde Fonseca, known as "Queen of Choro", that very influenced the woman to assume other roles beyond what the society attributed to the genre. Through the Interview method, we approached the woman's participation in the chorinho in Sergipe. With different ages and trajectories of schooling and social status, Maria Olívia (first female pianist working in chorinho sergipano), Paula Al'Sant, the only trans chorista woman, Silvina do Choro (musician and nutritionist) and Nancy Alves (mother, housewife and choreographer) to address their challenges in the music scene. It was verified that, with the study of the trajectory of Chiquinha Gonzaga, Ademilde Fonseca and the field work with the group of four agents interviewed, the singularities of each trajectory, the different social origins and the different amounts of capital, do not tend to represent great social distances. On the other hand, even with a large number of regularities and despite the evolution of participation thanks to the participation of great women in the past, the social trajectory is unique because the challenges remain and the struggle, consequently.
publishDate 2019
dc.date.issued.fl_str_mv 2019-08-27
dc.date.accessioned.fl_str_mv 2022-11-02T00:30:53Z
dc.date.available.fl_str_mv 2022-11-02T00:30:53Z
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dc.identifier.citation.fl_str_mv NOU, Alice Dantas Perrucho. Ó abre alas que eu quero passar: a mulher no cenário do choro em Sergipe. 2019. 105 f. Dissertação (Mestrado em Sociologia) – Universidade Federal de Sergipe, São Cristóvão, 2019.
dc.identifier.uri.fl_str_mv http://ri.ufs.br/jspui/handle/riufs/16739
identifier_str_mv NOU, Alice Dantas Perrucho. Ó abre alas que eu quero passar: a mulher no cenário do choro em Sergipe. 2019. 105 f. Dissertação (Mestrado em Sociologia) – Universidade Federal de Sergipe, São Cristóvão, 2019.
url http://ri.ufs.br/jspui/handle/riufs/16739
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