Artífices da Manguetown : a constituição de um novo campo artístico no Recife (1991-1997)

Detalhes bibliográficos
Autor(a) principal: OLIVEIRA, Esdras Carlos de Lima
Data de Publicação: 2012
Tipo de documento: Dissertação
Idioma: por
Título da fonte: Biblioteca Digital de Teses e Dissertações da UFRPE
Texto Completo: http://www.tede2.ufrpe.br:8080/tede2/handle/tede2/4729
Resumo: The cultural scene called Manguebeat was a phenomenon that happened in the 90’s in the city of Recife, capital of the Brazilian state of Pernambuco. This scene initially only intended to create places to a group of young middle class have fun in the night of the city. After the success of the parties promoted for this young boys and girls the city watched the born of a new cultural scene with a lot of bands that mixed regional rhythms with musical information from other cultural traditions. This cultural scene found some obstacles to get its legitimacy as a valid artistic field because there was a dominant vision about the culture inspired for the regionalist Armorial Movement, led by the writer and popular culture researcher Ariano Suassuna. In the pages of this work we discuss this process of legitimating of the scene and we try to see which representation of the city emerges from the symbolic production of the Manguebeat. We will try to study this process taking as basis the analysis of the release Caranguejos com cérebro and the first albums from Chico Science & Nação Zumbi and Mundo Livre S/A that were the mainly bands of the scene. In addition we will analyze some material from the Pernambuco’s Jornal do Commercio that legitimized the scene and we will use some texts from Folha de São Paulo’s Ilustrada’s cultural supplement that made Manguebeat known in São Paulo. We will take as theoretical basis the Pierre Bourdieu's field concept to analysis this cultural scene. This concept can support us in the analysis of the the constitution of Manguebit in Recife in the 1990’s and in that attempt of the group of young people involved in this artistic field to reshape the city's cultural scene through the building of a particular image of the city, creating a Recife’s new representation. We get the objective to consider how this scene was the way which a group of young residents of Recife, cultural periphery of a globalized world, try to insert it city into the national industry of culture.
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spelling BARBOSA, Lúcia FalcãoOLIVEIRA, Ana Lúcia do NascimentoSILVA, Fabiana de Fátima Bruce daMORAES, Maria Thereza Didier dehttp://lattes.cnpq.br/6492625987351779OLIVEIRA, Esdras Carlos de Lima2016-06-15T11:31:16Z2012-07-18OLIVEIRA, Esdras Carlos de Lima. Artífices da Manguetown : a constituição de um novo campo artístico no Recife (1991-1997). 2012. 150 f. Dissertação (Programa de Pós-Graduação em História) - Universidade Federal Rural de Pernambuco, Recife.http://www.tede2.ufrpe.br:8080/tede2/handle/tede2/4729The cultural scene called Manguebeat was a phenomenon that happened in the 90’s in the city of Recife, capital of the Brazilian state of Pernambuco. This scene initially only intended to create places to a group of young middle class have fun in the night of the city. After the success of the parties promoted for this young boys and girls the city watched the born of a new cultural scene with a lot of bands that mixed regional rhythms with musical information from other cultural traditions. This cultural scene found some obstacles to get its legitimacy as a valid artistic field because there was a dominant vision about the culture inspired for the regionalist Armorial Movement, led by the writer and popular culture researcher Ariano Suassuna. In the pages of this work we discuss this process of legitimating of the scene and we try to see which representation of the city emerges from the symbolic production of the Manguebeat. We will try to study this process taking as basis the analysis of the release Caranguejos com cérebro and the first albums from Chico Science & Nação Zumbi and Mundo Livre S/A that were the mainly bands of the scene. In addition we will analyze some material from the Pernambuco’s Jornal do Commercio that legitimized the scene and we will use some texts from Folha de São Paulo’s Ilustrada’s cultural supplement that made Manguebeat known in São Paulo. We will take as theoretical basis the Pierre Bourdieu's field concept to analysis this cultural scene. This concept can support us in the analysis of the the constitution of Manguebit in Recife in the 1990’s and in that attempt of the group of young people involved in this artistic field to reshape the city's cultural scene through the building of a particular image of the city, creating a Recife’s new representation. We get the objective to consider how this scene was the way which a group of young residents of Recife, cultural periphery of a globalized world, try to insert it city into the national industry of culture.A cena Mangue foi um fenômeno que ocorreu na década de 90 do século passado na cidade do Recife. Inicialmente, pretendia apenas criar espaços de diversão para um determinado grupo de jovens de classe média, porém, com o decorrer do tempo e do sucesso das festas promovidas por essa juventude, foi se configurando na cidade como uma nova cena cultural, permeada por bandas que misturavam ritmos regionais com informações musicais advindas de outras tradições culturais. Essa cena cultural construiu sua legitimação como campo artístico válido a partir do embate com uma visão de cultura produzida pelo Movimento Armorial, de base regionalista, comandado por Ariano Suassuna. Nessa dissertação, analisaremos esse processo de legitimação da cena, através da criação de uma determinada representação da cidade que emerge da produção simbólica do Mangue. Para tanto, tomaremos como ponto de partida o release/manifesto Caranguejos com cérebro e os dois primeiros álbuns das duas principais bandas que formaram o que classificamos como núcleo-duro da cena: Chico Science & Nação Zumbi e Mundo Livre S/A. Também pesquisamos matérias do Jornal do Commércio, Folha de São Paulo, entre outros diários, para analisar que papel tiveram na legitimação e constituição da cena mangue. Tomaremos como marco teórico, principalmente, o conceito de campo de Pierre de Bourdieu, que pode nos auxiliar na análise da constituição do Manguebit no Recife da década de 1990 e na tentativa, do grupo de jovens envolvidos com esse campo artístico, de remodelar a cena cultural da cidade através da tessitura de uma determinada imagem da urbe, criando uma representação particular ao movimento. Com o objetivo de ponderar de que forma a cena mangue foi o meio através do qual determinado grupo de jovens moradores do Recife, periferia cultural de um mundo artístico globalizado, logra se inserir na indústria nacional da cultura.Submitted by (lucia.rodrigues@ufrpe.br) on 2016-06-15T11:31:16Z No. of bitstreams: 1 Esdras Carlos de Lima Oliveira.pdf: 2155746 bytes, checksum: d4d0f6dde295f8947266e2d0f2e83b43 (MD5)Made available in DSpace on 2016-06-15T11:31:16Z (GMT). No. of bitstreams: 1 Esdras Carlos de Lima Oliveira.pdf: 2155746 bytes, checksum: d4d0f6dde295f8947266e2d0f2e83b43 (MD5) Previous issue date: 2012-07-18Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESapplication/pdfporUniversidade Federal Rural de PernambucoPrograma de Pós-Graduação em HistóriaUFRPEBrasilDepartamento de HistóriaMovimento manguebeatCena culturalCIENCIAS HUMANAS::HISTORIAArtífices da Manguetown : a constituição de um novo campo artístico no Recife (1991-1997)info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesis17407005178065347876006006006001686574110831741672-38409219363320405912075167498588264571info:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da UFRPEinstname:Universidade Federal Rural de Pernambuco (UFRPE)instacron:UFRPELICENSElicense.txtlicense.txttext/plain; charset=utf-82165http://www.tede2.ufrpe.br:8080/tede2/bitstream/tede2/4729/1/license.txtbd3efa91386c1718a7f26a329fdcb468MD51ORIGINALEsdras Carlos de Lima Oliveira.pdfEsdras Carlos de Lima Oliveira.pdfapplication/pdf2155746http://www.tede2.ufrpe.br:8080/tede2/bitstream/tede2/4729/2/Esdras+Carlos+de+Lima+Oliveira.pdfd4d0f6dde295f8947266e2d0f2e83b43MD52tede2/47292019-10-22 09:58:33.801oai:tede2: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Biblioteca Digital de Teses e Dissertaçõeshttp://www.tede2.ufrpe.br:8080/tede/PUBhttp://www.tede2.ufrpe.br:8080/oai/requestbdtd@ufrpe.br ||bdtd@ufrpe.bropendoar:2024-05-28T12:32:06.888072Biblioteca Digital de Teses e Dissertações da UFRPE - Universidade Federal Rural de Pernambuco (UFRPE)false
dc.title.por.fl_str_mv Artífices da Manguetown : a constituição de um novo campo artístico no Recife (1991-1997)
title Artífices da Manguetown : a constituição de um novo campo artístico no Recife (1991-1997)
spellingShingle Artífices da Manguetown : a constituição de um novo campo artístico no Recife (1991-1997)
OLIVEIRA, Esdras Carlos de Lima
Movimento manguebeat
Cena cultural
CIENCIAS HUMANAS::HISTORIA
title_short Artífices da Manguetown : a constituição de um novo campo artístico no Recife (1991-1997)
title_full Artífices da Manguetown : a constituição de um novo campo artístico no Recife (1991-1997)
title_fullStr Artífices da Manguetown : a constituição de um novo campo artístico no Recife (1991-1997)
title_full_unstemmed Artífices da Manguetown : a constituição de um novo campo artístico no Recife (1991-1997)
title_sort Artífices da Manguetown : a constituição de um novo campo artístico no Recife (1991-1997)
author OLIVEIRA, Esdras Carlos de Lima
author_facet OLIVEIRA, Esdras Carlos de Lima
author_role author
dc.contributor.advisor1.fl_str_mv BARBOSA, Lúcia Falcão
dc.contributor.referee1.fl_str_mv OLIVEIRA, Ana Lúcia do Nascimento
dc.contributor.referee2.fl_str_mv SILVA, Fabiana de Fátima Bruce da
dc.contributor.referee3.fl_str_mv MORAES, Maria Thereza Didier de
dc.contributor.authorLattes.fl_str_mv http://lattes.cnpq.br/6492625987351779
dc.contributor.author.fl_str_mv OLIVEIRA, Esdras Carlos de Lima
contributor_str_mv BARBOSA, Lúcia Falcão
OLIVEIRA, Ana Lúcia do Nascimento
SILVA, Fabiana de Fátima Bruce da
MORAES, Maria Thereza Didier de
dc.subject.por.fl_str_mv Movimento manguebeat
Cena cultural
topic Movimento manguebeat
Cena cultural
CIENCIAS HUMANAS::HISTORIA
dc.subject.cnpq.fl_str_mv CIENCIAS HUMANAS::HISTORIA
description The cultural scene called Manguebeat was a phenomenon that happened in the 90’s in the city of Recife, capital of the Brazilian state of Pernambuco. This scene initially only intended to create places to a group of young middle class have fun in the night of the city. After the success of the parties promoted for this young boys and girls the city watched the born of a new cultural scene with a lot of bands that mixed regional rhythms with musical information from other cultural traditions. This cultural scene found some obstacles to get its legitimacy as a valid artistic field because there was a dominant vision about the culture inspired for the regionalist Armorial Movement, led by the writer and popular culture researcher Ariano Suassuna. In the pages of this work we discuss this process of legitimating of the scene and we try to see which representation of the city emerges from the symbolic production of the Manguebeat. We will try to study this process taking as basis the analysis of the release Caranguejos com cérebro and the first albums from Chico Science & Nação Zumbi and Mundo Livre S/A that were the mainly bands of the scene. In addition we will analyze some material from the Pernambuco’s Jornal do Commercio that legitimized the scene and we will use some texts from Folha de São Paulo’s Ilustrada’s cultural supplement that made Manguebeat known in São Paulo. We will take as theoretical basis the Pierre Bourdieu's field concept to analysis this cultural scene. This concept can support us in the analysis of the the constitution of Manguebit in Recife in the 1990’s and in that attempt of the group of young people involved in this artistic field to reshape the city's cultural scene through the building of a particular image of the city, creating a Recife’s new representation. We get the objective to consider how this scene was the way which a group of young residents of Recife, cultural periphery of a globalized world, try to insert it city into the national industry of culture.
publishDate 2012
dc.date.issued.fl_str_mv 2012-07-18
dc.date.accessioned.fl_str_mv 2016-06-15T11:31:16Z
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dc.identifier.citation.fl_str_mv OLIVEIRA, Esdras Carlos de Lima. Artífices da Manguetown : a constituição de um novo campo artístico no Recife (1991-1997). 2012. 150 f. Dissertação (Programa de Pós-Graduação em História) - Universidade Federal Rural de Pernambuco, Recife.
dc.identifier.uri.fl_str_mv http://www.tede2.ufrpe.br:8080/tede2/handle/tede2/4729
identifier_str_mv OLIVEIRA, Esdras Carlos de Lima. Artífices da Manguetown : a constituição de um novo campo artístico no Recife (1991-1997). 2012. 150 f. Dissertação (Programa de Pós-Graduação em História) - Universidade Federal Rural de Pernambuco, Recife.
url http://www.tede2.ufrpe.br:8080/tede2/handle/tede2/4729
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