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Música Folk E Direitos Civis Nos Estados Unidos (1945-1960)

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Música Folk E Direitos Civis Nos Estados Unidos (1945-1960) UNIVERSIDADE ESTADUAL PAULISTA “JÚLIO DE MESQUITA FILHO” FACULDADE DE CIÊNCIAS HUMANAS E SOCIAIS MARIANA OLIVEIRA ARANTES CANTO EM MARCHA: MÚSICA FOLK E DIREITOS CIVIS NOS ESTADOS UNIDOS (1945-1960) FRANCA 2014 MARIANA OLIVEIRA ARANTES CANTO EM MARCHA: MÚSICA FOLK E DIREITOS CIVIS NOS ESTADOS UNIDOS (1945-1960) Tese de Doutorado apresentada à Faculdade de Ciências Humanas e Sociais da Universidade Estadual Paulista “Júlio de Mesquita Filho”, como pré-requisito para obtenção do título de Doutora em História. Área de Concentração: História e Cultura Social. Orientador(a): Prof(a). Dr(a). Tânia da Costa Garcia FRANCA 2014 MARIANA OLIVEIRA ARANTES CANTO EM MARCHA: MÚSICA FOLK E DIREITOS CIVIS NOS ESTADOS UNIDOS (1945-1960) Tese de Doutorado apresentada à Faculdade de Ciências Humanas e Sociais da Universidade Estadual Paulista “Júlio de Mesquita Filho”, como pré-requisito para obtenção do título de Doutora em História. Área de Concentração: História e Cultura Social. BANCA EXAMINADORA Presidente: _________________________________________________________________ Dr. (a) Tânia da Costa Garcia, UNESP Franca 1º Examinador: _____________________________________________________________ Dr. José Adriano Fenerick, UNESP Franca 2º Examinador: _____________________________________________________________ Dr. (a) Mary Anne Junqueira, USP São Paulo 3º Examinador: _____________________________________________________________ Dr. (a) Cecília da Silva Azevedo, UFF Niterói 4º Examinador: _____________________________________________________________ Dr. Silvano Fernandes Baia, UFU Uberlândia Franca, 10 de junho de 2014. À Tânia da Costa Garcia, com gratidão e amizade. AGRADECIMENTOS Agradeço o financiamento da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES), durante meus primeiros dez meses de pesquisa, e agradeço imensamente o financiamento da Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP), durante os últimos dois anos e nove meses, sem os quais este trabalho não seria possível. Minha gratidão e carinho à minha orientadora, Tânia da Costa Garcia, não cabem nestas palavras, mas deixo aqui o registro do meu reconhecimento à sua dedicação, paciência e sabedoria, neste longo caminho de nove anos que temos seguido juntas. Suas palavras me ensinaram mais do que sou capaz de agradecer e retribuir. Sigo feliz pela nossa amizade. Agradeço o apoio e recepção do editor executivo da revista Sing Out!, Mark Moss, bem como do editor geral, Matt Hengeveld, quando da minha estada em Bethlehem, Pensilvânia. Agradeço também ao arquivista do Smithsonian Folkways, Jeff Place, pelas várias indicações bibliográficas, documentos digitalizados e informações privilegiadas sobre a gravadora Folkways. Imprescindíveis, ainda, foram os documentos disponibilizados por Cecilia Peterson, funcionária do Smithsonian Institute, e o apoio dos funcionários da Biblioteca Pública de Nova Iorque, durante a pesquisa de campo nos Estados Unidos. À grata surpresa da amiga Adriana Angotti, uma brasileira/nova iorquina que contribuiu com dicas sobre a cidade e me levando para ouvir boa música em Nova Iorque. Minha eterna gratidão aos amigos Fabricio Trevisam e Helena Amália Papa, o casal mais solícito e gentil que tenho o prazer de conhecer; obrigada pelas discussões acadêmicas, pela companhia e estadia em muitos momentos preciosos ao longo dessa pesquisa de doutoramento. Agradeço aos colegas do grupo de pesquisa História e Música, alocado na UNESP/Franca, que muito contribuíram com discussões teóricas indispensáveis, bem como aos colegas do Laboratório de Estudos de História das Américas- LEHA, alocado na USP/ São Paulo, que me brindaram com críticas relevantes à pesquisa, quando de minhas apresentações em nossas reuniões de estudo. Os debates sobre as conexões entre História e Música realizados nos Simpósios de “História e Música Popular” da ANPUH também contribuíram ao amadurecimento da pesquisa; agradeço aos coordenadores e demais participantes pelas profícuas discussões. Agradeço aos colegas historiadores de Belém/PA, pelas ricas conversas sobre cultura popular, em especial a Tony Leão da Costa, por sempre me lembrar de que a música brasileira vai muito além do eixo Rio- São Paulo e que nós, historiadores, devemos estender ao máximo nossos conhecimentos teóricos à nossa prática social. Aos professores que aceitaram o convite para integrar minha Banca de Qualificação e que muito contribuíram com suas críticas e sugestões: Profº Dr. José Adriano Fenerick, docente da UNESP/Franca, e Profª Dra. Mary Anne Junqueira, docente da USP/ São Paulo, sempre generosa, disponibilizando informações importantes para essa pesquisa. Agradeço, também, aos professores que aceitaram o convite para comporem minha Banca de Defesa da Tese: Profº Dr. José Adriano Fenerick, Profª Dra. Mary Anne Junqueira, Profª Dra. Cecília da Silva Azevedo e Profº Dr. Silvano Fernandes Baia. À Cáttia Adrianna Nascimento Brito Lourenço, professora de inglês que muito me ajudou a compreender melhor a documentação utilizada nessa pesquisa. Agradeço à pianista Mara Rúbia Canoletto Rodrigues, minha eterna professora, que me ensinou que, antes de qualquer pedaço de papel, música é som, e deve ser ouvida, antes de ser objeto de reflexão. Aos amigos Bruna Campos Gonçalves, Carolina Damasceno Ramos, Juliana de Melo e Silva, Samyr Abraão Moisés e Cristina Kian pelo apoio, constante incentivo e valorização do meu trabalho. Ao casal Lucinda e Welington, amigos extraordinários, pessoas inteligentes e bonitas, do tipo que sempre soma. Obrigada pelo apoio nas correrias da vida. Um agradecimento especial à Natália Ayo Schmiedecke, exímia pesquisadora e amiga com quem compartilhei longas horas de conversas e excelentes trocas de experiência, historiadora que admiro e que, muitas vezes sem saber, muito contribuiu nos aspectos bons desse trabalho. Ao meu amado companheiro, sempre paciente e amoroso, que me apoia e valoriza meu trabalho, ouve meus devaneios e me incentiva a continuar na vida acadêmica, entendendo suas particularidades: Jefferson Tavares de Araújo. Minha eterna gratidão e amor à Solange Dias de Almeida e Onofra Maria de Oliveira Arantes, minhas mãezinhas que muito me apoiam e se orgulham da minha vida acadêmica, me inspirando a ser melhor a cada dia. E agradeço, ternamente, à minha família, meu esteio: meu pai, Ladislau Arantes, meus irmãos Gisele, Odirley, Tatiana, Gabriela e Lígia, meu cunhado Everton e meus amados sobrinhos: Beatriz, Maria Eduarda, Carlos Eduardo, Taiany, Julio Cesar, Rafaela, Pedro e Miguel, motivo de querer uma educação melhor para este país. “The music doesn’t change governments. Some bureaucrat or some politician isn’t going to be changed by some music he hears. But we can change people – individual people. The people can change governments”. (A música não muda governos. Um burocrata ou um político não será modificado por alguma música que ele ouça. Mas nós podemos mudar pessoas – pessoas individuais. As pessoas podem mudar governos). Cordell Reagon ARANTES, Mariana Oliveira. Canto em marcha: música folk e direitos civis nos Estados Unidos (1945-1960). 2014. Tese (Doutorado) – Faculdade de Ciências Humanas e Sociais, Universidade Estadual Paulista “Júlio de Mesquita Filho”, Franca, 2014. RESUMO A presente pesquisa analisa as relações entre a música e a política nos Estados Unidos, especificamente a atuação de um grupo de compositores e intérpretes ligados ao repertório folk que se engajaram nas lutas pelos direitos civis de minorias nacionais. Nosso recorte temporal abarca o período pós-Segunda Grande Guerra, entre 1945 e 1960, no qual ocorreu a emergência do país como a nação hegemônica entre os países do Ocidente, seguida da veiculação de um discurso democrático, que encontrava seu limite em uma sociedade segregada e desigual. Deste modo, as lutas pelos direitos civis, antes balizadas em ações legais, como os processos nas cortes judiciais, foram direcionadas a espaços públicos e amplos, como as ruas e praças ao redor do país, e tiveram o apoio de distintos grupos sociais, inclusive de músicos ligados ao repertório folk. Devido a escassa bibliografia sobre a música folk estadunidense no Brasil, nosso primeiro capítulo aborda as relações entre música folk e o contexto histórico dos Estados Unidos ao longo do século XX, mostrando como este repertório tornou-se um objeto controverso de estudo da cultura nacional, quais foram os gêneros estabelecidos como música folk e seu processo de difusão das áreas rurais para as cidades, bem como sua inserção no mercado musical. No segundo capítulo nos detemos na produção da principal referência na atividade de gravação de material folclórico no país, a gravadora Folkways, elencando os sujeitos inseridos no processo de produção dos discos e os discursos propagados por meio de tais produções. Neste sentido, acreditamos ser imprescindível compreender seu período histórico de atuação e papel no mercado musical nacional. Ao adotarmos como documentação para a pesquisa duas revistas musicais publicadas nos Estados Unidos, People’s Song e Sing Out!, faz-se imperativo analisar os grupos sociais envolvidos na criação e desenvolvimento das revistas, suas características físicas, formas de circulação, conteúdo, ou seja, analisar suas dimensões textuais e para textuais - e este é o objetivo do terceiro capítulo, que inicia com a análise do momento de criação das duas publicações, das pessoas envolvidas e dos projetos estéticos e ideológicos adotados, seguida de um estudo das escolhas dos nomes das revistas, que remetem a uma discussão importante
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