A emersão do carimbó urbano: um gênero marginal do carimbó

Abstract

This research aims to demonstrate that the urban carimbó has emerged in recent years as a movement and also a lifestyle for the Stampers of the Metropolitan Region of Belém (RMB). In this way, the intention is to show why this type of cultural manifestation is configured as legitimate - despite the absence of its registration in the patrimonialization process carried out by the Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN) during the years 2008 to 2013 that generated the research on the identity of the carimbó and resulted in the Carimbó Dossier in 2014, therefore, there is no investigation a deep investigation on the carimbó produced in urban spaces, therefore, this research focused on the absence of registration and on the existence of an urban resignification of the carimbo. In this way, the focus of this research was to recognize the matrices that constitute the bases for the emergence of the urban carimbó, from a methodology of participant observation conceptualized by Malinowski (1975) and anchored in convergence with the multi-situated ethnography of Marcus (1995), focusing on the subjective character of the subjects and objects analyzed, as well as an analysis of the trajectory of the carimbó sets Caruana and Cobra Venenosa based on a bibliographic clipping provided in the research on carimbó by Salles (1969), Gabbay (2012) and Amaral (2004). ), in addition to cultural studies on the hybridization processes postulated by Canclini (2003) and cultural diaspora by Hall (1996) and, also, studies on urban spaces made by Lefebvre (2006) and Harvey (2014) to demonstrate how this movement urban carimbó reshapes the identity of the traditional manifestation of carimbó, by developing new forms of sociality.