Navegando por Assunto "Rock"

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Eu amo tudo o que não presta: punk e poética em trinta anos de Delinquentes
(Universidade Federal do Pará, 2016-11-21) SOUSA, Lucas Padilha de; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522
Delinquentes is a band with thirty years of activity and it's one of the main references in rock and the underground scene from city of Belem, capital of State of Para, in Amazonia. This work intends to investigate the representation of this band, which is almost a patrimony to Belem rock scene, and what's its importance for the artists and fans whose are participating in this scene. What motivates many people even today to be interested by Delinquentes, for listening to its music and go to concerts? What made these artists resist three decades in an underground punk rock band in a scenario like Belem, carved on the margins of great brazilians cultural centers? How relevant is this band for other artists, veterans and young, and what it means today at this rock scene? The research begins in the context in which emerged the band Delinquentes in 1985, and later in the relationship established between the band and the participants of the Belem rock scene. This research uses theoretical studies of Stuart Hall (2014) on identities published in the book The Question of cultural identity to trace a recent historical parallel by the popular music in the State of Para and try to understand how was the formation of a rock tribe in the city of Belem. The research also passes through the understanding of Michel Maffesoli (2014) in the book Le Temps des Tribus to try to assimilate the dialogues between the band and other artists, producers and the fans. The research was conducted through bibliographic records, publications in newspapers, independent publications, the collection of the band, audiovisual records and interviews with current and former members of Delinquentes, producers, journalists, artists and fans. I have made an application of the tripartite methodology by Allan Merriam (1964) to relate these discourses from each author and build, through the language of ethnographic film, an audiovisual product as a final result of this research. The research goes of a audiovisual format to build an analytical discourse on the sound phenomenon. In this research the film is a way to tell the story like an audiovisual research method taking as theoretical architecture a methodology of ethnomusicology. The visual language of the film is based on the fanzine narrative, a very important independent publications for subcultures such as punk. This work proposes a reflection on the importance of Delinquentes band as well as its extensions in the consolidation of the underground scene of the city of Belem.
Acesso aberto (Open Access)
Insólitos sons da Amazônia? Experiência e espírito de época na cena e no circuito rock de Belém do Pará entre 1982 e 1993
(Universidade Federal do Pará, 2013-08-14) OLIVEIRA, Enderson Geraldo de Souza; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361; https://orcid.org/0000-0002-0223-9264
In this work I seek to discuss and understand if the current reports of individual and collective experiences, especially by musicians, producers and consumers of rock in Belém, communicate some sort of relation between a chronological period (going from 1982 to 1993) of the musical scene (Straw, 1991) and circuit (see Magnani) and a possible “spirit of the age” (Zeitgeist). Aiming to demonstrate those relationships, I observed and sought to establish a dialogue between the memory of the individuals, who experienced that period, and their specific transits through the city as well as the ownership and attribution of meaning to the spaces and experiences. Going beyond, the spirit of the time is not be “trapped” chronologically, but can (could) also currently be evoked through places that individualize speech and make the eighties a retrospectively peculiar period. Mindful of this, I know that this work also constitutes an element that cooperates and is inserted in such constructions, more than language, related to experiences of subjects. This work deals with communication, with Comprehensive Sociology, History and Philosophy in a pretty close way, without forgetting Anthropology, of course. Thus, the main thing for me in the development of this research was precisely observing the relationship of persons, its time, society and even temporality. It is not intended to present the history or even the genesis of rock in Belém, nor scrutinize it, but to discuss the interrelationships between a socio-historical education and the memorialistic content concerning a time in which the rock music scene and circuit gained momentum.
Acesso aberto (Open Access)
Mundo metálico belenense e política cultural: declínio e reorganização do heavy metal paraense (1993-1996)
(Universidade Federal do Pará, 2014-12-05) SILVA, Bernard Arthur Silva da; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361
This paper seeks to explain why and how the art world and Para underground circuit of Heavy Metal and the actions of its practitioners, after the 3rd Rock 24 Hours between 1993 and 1996, began to enter the transition process, accompanied by declining dispersion and sprawl, the city of Belém, resulting in the gradual decrease of events of Heavy Metal, along with elimination of the presence of metal shows at the Experimental Theatre Waldemar Henrique, Municipal Theatre of São Braz Market, Square Artist / Centur Circus and Republic Square, while setting "a modification of the city‟s metal map" by the emergence of other spaces for concerts, private spaces like Olê-Hello Park Igarapés, Nightclub Rhyno's Nightclub Spectron, Bar, Nightclub slips and Nightclub Insânu, intense stampede of practitioners of development spaces of "metal sociability", reduction in cultural news columns of the leading local newspapers (The Liberal, Diary of Para and the Province of Para), accusatory and prejudicial treatment given to the Heavy Metal and Rock in Pará relation to the 3rd Rock 24 Hours a cultural columns of some paraenses journals (The Liberal and Diary of Para), continued to launch (demo-tapes and albums in vinyl format) metal phonograph records and the gradual and permanent change in state cultural policy facing public spaces used by local Heavy Metal and Rock. Newspapers, magazines, fanzines, videos, concerts, posters, flyers, interviews and recorded such actions were used to make this discussion.
Acesso aberto (Open Access)
Visagens do rock de Belém. Identidade assombrada e intersubjetividade numa banda amazônica
(Universidade do Sul de Santa Catarina, 2017-12) CASTRO, Fábio Fonseca de; AMADOR, Elielton Alves