Impressões digitais da (in)dependência : os CDs (in)depententes em Brasília (1990 a 2007)

AUTOR(ES)
DATA DE PUBLICAÇÃO

2008

RESUMO

The present study takes place in Brasília, the capital of Brazil, a city founded in 1960, which has become an early tertiary metropolis in the 1980s. Nowadays, Brasilia is the fourth largest city in the country with about 2.5 million people. Brasília is comprised of Plano Piloto [Pilot Plan] and a set of satellite-cities spread through the Federal District. In this space and along its short existence, there is an intense cultural activity that is more and more consolidated the independent production of music CDs. Aside from the quick population growth, Brasília is one of the municipalities that contributes the most for the Gross Domestic Product (GDP), along with Sao Paulo, Rio de Janeiro, Curitiba and Belo Horizonte. The object of this thesis is what the independent music CDs mean to their creators in Brasília between 1990 and 2007, considering independent production as a cultural practice that is different from the industrial way of doing it, anchored in the wish of expression of artists, which does not depend on the market. The intention is to contribute to the history of popular music in Brazil and Brasília. The thesis uses the narration of artists as a reference. They have been chosen from six different music genres, and they are song writers who can also sing their own pieces. The lyrics are also an important part of analysis. From a deep analysis of the art pieces, based on the theoretical standing and also taking into account the words of artists, we try to draw and understand the cultural identity of Art, in a period which coincides with the redemocratization of the nation. The thesis Digital Impressions of (in) dependence: (in) dependent CDs in Brasília (1990 to 2007) is developed under the context of the new historical culture, with value given to the symbolic aspects, the imagination and the social representations, thus evidencing the senses, which blossom in creative production. Such perspective is indispensable, especially for the strong symbolic character that follows the city ever since its foundation, thus reflecting new objects of interest along history, such as values, myths and beliefs. The theoretical form has been supported by the concepts of the Diaspora, the hybridism and the translation, as proposed by Stuart Hall, which allow the perception of forming new identities that are useful to observe the culture in Brasília, the influence of the several regions in the country and the syntheses that occur. In order to set out the identity profile of independent song writers, we have especially considered aspects such as the influence of their family in the artistic creation, the cultural diversity, their self-image, their relation with politics and how they view their own independent production. Independent production is not seen as a denial of the hegemonic production, but as a way of cultural survival for the writer, who is not willing to meet all the needs of the major industry, in which circumstance the artist tries to preserve his/her expression. The thesis also brings a reflection on the city culture in the few decades of its history, thus showing the features in each period and their interrelation with the social environment and their dialogue with the national culture. Hence, the character in the spotlight is the independent artist, many times ignored by the major industry and even by the communication means that should open them a fair space for giving more value to the Brazilian art, meeting new demands for expressing and forming identities. Therefore, independent production is an inconclusive, vague and poorly organized work, although it presents the first signs of systematization and effectiveness. Acknowledging and replicating it is a challenge in which the new cultural history plays a major role.

ASSUNTO(S)

música brasília história história cultural música independente historia

ACESSO AO ARTIGO

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