Banca de DEFESA: FABIANE SILVA MARTINS

Uma banca de DEFESA de DOUTORADO foi cadastrada pelo programa.
STUDENT : FABIANE SILVA MARTINS
DATE: 29/06/2022
TIME: 10:00
LOCAL: videoconferência
TITLE:

Zeca Pagodinho: the voice of the periphery. Breaking ideological borders — cultural circularity in the late twentieth-century and in the early twenty-first century

KEY WORDS:

Zeca Pagodinho; Partido-alto (samba); periphery; suburbs; malandro (rascal).

 

PAGES: 245
BIG AREA: Ciências Humanas
AREA: História
SUMMARY:

The discussions in this thesis concern a central theme: the fight of representations and the conflict between the periphery and the center it entails. In the topographic construction of the urban spaces, the social conflicts and the idiosyncrasies of the city are apparent. In this sense, the periphery, which is neglected by the state and discriminated against by the hegemonic foundations of the society, builds its own representations and networks of sociability. In fact, it builds for itself its own image, identity, and signs and develops its self-esteem. In this context, the figure of Zeca Pagodinho synthesizes this construction. By means of an analysis based on the New Cultural History, it is possible to notice the construction of networks of sociability created by residents of the periphery in the late twentieth-century and in the early twenty-first century. These networks of sociability were shaped in cultural and artistic movements that gave rise to a new and more popularized genre of samba, known as pagode. Consequently, they also created a new niche in the cultural market. Building on an approach inserted in the microhistory, the focus of the analysis will be the career of Zeca Pagodinho, who was able to cross the boundaries established between the periphery and the center, becoming an icon for the former and spreading a music genre that used to be marginalized in the latter. Zeca becomes popular with the support of the media and manages to bring the pagode from the periphery to the ideological center of the metropolis of Rio de Janeiro. By making this move toward the center, the artist does not detach himself from this ethos. Rather, he enables the periphery, with its peculiarities, to be consumed by the center. The genre partido-alto represents the subaltern discourse and seeks a communal identity, which is Afrodescendant and immersed in the ancestry of the oral tradition and in the religiosity of the African matrix; it is not merely music and party; it represents the embodiment of the sign and the merging of the tradition of the African genesis and the essence of the city of Rio de Janeiro. In this context, the figure of the malandro (rascal), who was previously not expected to follow any formal rules, becomes a figure that is socially accepted by being associated with features such as vivacity, wit, warmth, charisma, sway and others, becoming the embodiment of the image of the carioca and demonstrating the capacity of adaptation of the subaltern. Zeca becomes a malandro that is socially accepted, synthesizing the essence of the suburban carioca. Zeca becomes the voice of the periphery, both materially—as the provider of opportunities to promote the partido-alto of unknown artists in the choice of his repertoire—, and nonmaterially—for he synthesizes the rascality typical of Joe Carioca. This artist, with his trajectory, his mannerisms and his own lyrics for his sambas, creates a sense of belonging and extracts from his artistic making the essence of what is analogous to him, becoming a reflex of his place of origin.

BANKING MEMBERS:
Presidente - 1308466 - ALEXANDRE FORTES
Interno - 1542358 - ALVARO PEREIRA DO NASCIMENTO
Interno - 1168132 - JOSE COSTA D ASSUNCAO BARROS
Externa à Instituição - STEPHANIE VIRGINIA REIST - SU
Externo à Instituição - THIAGO CAMPOS PESSOA LOURENCO - UFF