Navegando por Assunto "Rock Paraense"

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Sons, textos e visualidades: arte e ativismo político na história de artistas ligados ao cenário do Rock paraense
(Universidade Federal do Pará, 2019-10-10) SILVA, Jaddson Luiz Sousa; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778
In the present work, the rock scene in Belém do Pará is approached from its social, cultural, artistic and economic characteristics, in order to investigate how three Pará artists were formed culturally, politically and artistically by it, as well as to also understand how these artists made this scenario, from their experiences, the stage of their artistic performances. The artists are: Alexandre Washington, Cosme Luiz and Marcos Moraes. The first artist, who also attends the pseudonym Joker Indian, developed a strong connection between his participation in the Anarco Punk Movement and his production in the areas of poetry, fanzines, performance and video poem. The second artist, in turn, acted as a singer and songwriter for a punk rock and hardcore band called Sem Deus Nem Pátria, and also worked with street theater, puppet theater and performance. Regarding the artist Marcos Moraes, it is noteworthy that he also acted as a musician and composer in many rock bands in Belém, besides having a fruitful trajectory in the production of zines, thus working with the Anarchist Movement, the Movement Anarco Punk and his inclination to the field of arts. Thus, current research develops an interdisciplinary analysis in the field of art history, articulating the history, anthropology and philosophy of art in order to trace the contribution of these artists to the social history of art in Belém do Pará. Historiographic sources, the basis for these reflections were: oral accounts, the fanzines and pamphlets made mainly by the artists studied here, as well as the productions of these artists, from writing poems to video performances. In this sense, the sources were understood as a monument document and served as the basis for the historical reflections presented here. Already as the main basis for the theoretical reflections, the social history of art and the relationship between history and biography gave important contributions to the understanding of the strong connection between art and life in the development of an art historiography that extended beyond the established artistic canons. by the elitist academies and circuits of art