O Guitarrar Local: uma prática musical para além da Amazônia paraense

Abstract

The practice of Guitarrada is investigated here considering the configuration of social, political, cultural structures and its establishment as a founding musical genre of memory and identity in Pará. The broad transformations resulting from the modernization and globalization processes that occurred between the advent of Lambada and the consolidation of Guitarrada, submerged in a capitalist Entertainment Industry, reconfigured spaces and social dynamics, as well as the way of consuming, making and producing music, promoting the historiographic resizing, in memory and in the way in which cultural identities are constituted in the Paraense Amazon. Thus, such sociocultural manifestations that took place in these scenarios had an impact on the creation and dissemination of the Guitarrada genre, which is the result of paradigmatic transformations that represent the identities of this musical genre. Considering culture (HALL, 2011; CANCLINI, 2015), memory (HALBWACHS, 2006; CANDAU, 2012), and music (CARAVEO, 2019a, 2019b; CHADA, 2007; MENDÍVIL 2013, 2015 and 2022; MUKUNA, 2008; NETTL, 2005; SEEGER, 2008; SMALL, 1998) as related systems, I glimpse the thesis that deals with the changes and new musical identities in the Amazon, focusing mainly on the Guitarradas of Pará. The Amazon Region, with its space time multiculturalism of diverse musical practices, needs in-depth musical investigations that point to historical cultural fusion, considering, however, developments, perspectives and particular looks that present new diagnoses in the face of contexts that present themselves indissolubly in the present. Investigating the musical practices of the guitarists in Pará, observing from what perspectives social changes, globally and locally, affected musical production, altering symbolic cultural processes and determining the constitution of identities was the main objective of this proposal. The specific objectives were to describe the ethnographic procedures carried out throughout the research, identifying the broad and particular social transformations that made possible the descriptions and interpretations of musical phenomena that pointed to the guitar playing as a contemporary musical practice in Pará – the Local Guitarrar. To analyze Mestre Vieira's discography and to propose a contextual description that reveals the behavior and directions imposed by the Entertainment Industry and its impact on Mestre Vieira's work throughout his production. Point out aspects inherent to the processes of modernization and globalization that point to similar scenarios and dynamics that share with the constitution of identities and, therefore, under the aspects of musical changes and cultural transformations, point out cases of hand-over. In addition to reviewing the existing literature on the subject and bibliographical studies referring to historical and cultural subjects, under the light of ethnomusicology, an ethnographic description of the current contexts in which the practice of Guitarrada dynamics are made, semi-structured interviews that made possible the foundation of analytical arguments and musical analyzes of Mestre Vieira's phonographic production. The period covered by this research comprises the 1950s, an important post-war period in the world, and 2023, the year of completion of the thesis. Considering the analyzes carried out so far, the thesis was confirmed that Guitarrada, when emancipated from Lambada through Hand-over, configures itself in a modern, independent musical practice, with its own aesthetic identity, which determines musical changes, cultures and new perspectives for memory, culture, politics and music in the Brazilian Amazon.