“A Jamaica É Aqui”: Arranjos Audiovisuais De Territórios Musicados

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“A Jamaica É Aqui”: Arranjos Audiovisuais De Territórios Musicados 2 “A Jamaica é aqui”: arranjos audiovisuais de territórios musicados Aluno: Leonardo Alvares Vidigal Tese apresentada para o Programa de Pós- Graduação em Comunicação Social da Faculdade de Filosofia e Ciências Humanas da Universidade Federal de Minas Gerais, como requisito parcial para a obtenção do grau de Doutor em Comunicação Social. Área de Concentração: Comunicação e Sociabilidade Contemporânea Linha de pesquisa: Meios e Produtos da Comunicação Orientadora: Professora Doutora Maria Regina de Paula Mota Belo Horizonte 2008 3 FICHA CATALOGRÁFICA Vidigal, Leonardo Alvares. “A Jamaica é aqui”: arranjos audiovisuais de territórios musicados. / Leonardo Alvares Vidigal. – Belo Horizonte, MG: [s.n.], 2008. Orientadora: Mota, Maria Regina de Paula . Tese (doutorado) – Universidade Federal de Minas Gerais Faculdade de Filosofia e Ciências Humanas. 1. Comunicação social. 2. Documentário. 3. Música Popular. 4. Estudos Caribenhos. 5. Reggae I. Mota, Maria Regina de Paula. II. Universidade Federal de Minas Gerais, Faculdade de Filosofia e Ciências Humanas. III.Título. 4 Dedicada à memória de: João Fortunato Vidigal Geraldo Carvalho Perry Henzell 5 Agradecimentos Gostaria de agradecer, principalmente: À minha orientadora, Professora Regina Mota, pela forma sempre direta e perspicaz com que fez as suas leituras do texto e apresentou diversas soluções, pela confiança em um trabalho algumas vezes tortuoso, por ter me guiado pelas dificuldades variadas que surgiram no caminho, além da elucidativa e reveladora disciplina, por ela ministrada, a respeito do cinema documental e as teorias mais representativas acerca dessa modalidade de produto audiovisual. A todos que contribuíram para a coleta dos filmes: professor Antônio Moreno (Universidade Federal Fluminense), Marcia Coeli, Éder Santos, Peter Gittins (Reggae Film Festival), David Katz e funcionários da Film-Images, pela generosidade e indicações preciosas que me levaram a exemplares importantes para a trajetória desta pesquisa. A todos os professores do doutorado em comunicação social, com os quais aprendi a compreender alguns dos meandros teóricos com que me debati durante estes quatro anos e meio. Aos professores que leram o texto na fase de projeto e na qualificação, compartilhando comigo suas observações, comentários e sugestões, contribuindo assim de forma decisiva para o desenvolvimento do trabalho: Rosângela de Tugny (também responsável por uma importante disciplina cursada na Escola de Música), Patrícia Moran, Beatriz Bretas, José Márcio Barros e César Guimarães. Aos funcionários da Faculdade de Filosofia e Ciência Humanas e da Escola de Belas Artes da UFMG, cujo apoio foi de suma importância. Aos colegas e amigos do Centro de Estudos do Caribe no Brasil, com os quais partilho o interesse e a dedicação ao diálogo, tanto entre nós, quanto com os pesquisadores desse campo tão fascinante, os estudos caribenhos. A todos os amigos em todo o Brasil que compartilham o modo passional, prático e reflexivo de lidar com o gênero reggae, principalmente aqueles que integraram a equipe do Massive Reggae: Mauro França, Marcelino Rodrigues, Cláudio Rocha, Eduardo Crocco, Marcelo Crocco, Fred Arreguy. Ao Departamento de Fotografia, Teatro e Cinema da Escola de Belas Artes da UFMG, por ter apoiado a minha qualificação ao permitir que escrevesse a tese com um ano de afastamento, sem o qual não teria conseguido completar o doutorado. À Vera Guimarães, pela valiosa contribuição na revisão do texto e pelas sugestões que melhoraram a qualidade do mesmo. Pedro Marra e Cláudio Rocha também contribuíram para a versão em inglês do resumo, pelo que igualmente agradeço. E, para terminar, agradeço imensamente à minha família, que viveu comigo esse intenso processo de escritura. À minha mãe, Thereza, grande amiga e inspiradora, que me deu todas as condições para uma boa formação, me apoiou por toda a sua vida e mais ainda no doutorado. À minha irmã, Fernanda, sempre positiva e incentivadora. Aos meus sogros, Vera e Tarcísio, que contribuíram de maneira significativa para este trabalho, e a meus cunhados, Mariana e Lucas, pelo apoio. À minhas filhas Nina e Gabriela, pelo carinho e a paciência com o pai emaranhado em um trabalho assaz exigente. À Laura, pelo amor, compreensão, por crescer comigo e ter compartilhado desde o início todos os percalços e conquistas deste doutorado. Agora é a minha vez de retribuir, espero que com a mesma intensidade com que me apoiou, e com muito amor. Agradeço também a todos que, mesmo sem terem sido citados diretamente, ajudaram a tornar esta tese de doutorado uma realidade. 7 RESUMO “A Jamaica é aqui”: arranjos audiovisuais de territórios musicados Esta tese de doutorado foi catalisada pela frase “A Jamaica é aqui”, ouvida e lida em produtos audiovisuais que apresentam como tema principal as relações entre o gênero musical conhecido como reggae e determinados territórios geopolíticos. Ele visa compreender como a transposição territorial expressa naquela frase é tornada possível em certos filmes, vídeos e programas televisivos. A tese parte do pressuposto de que os produtos audiovisuais pertencentes ao corpus de análise são parte de um processo de comunicação transcultural. Por meio dessa perspectiva, entendemos que as coletividades são constituídas pelo contato recíproco e contínuo, uma dinâmica relacional que foi escamoteada durante a formação das entidades geopolíticas nacionais, como Brasil e Jamaica. Nesse contexto, os sistemas culturais não são tomados como dados, assim como as relações entre música e território expressas nos produtos audiovisuais, como aqueles analisados neste estudo. Os seis produtos audiovisuais que compõem o corpus de análise são os seguintes: Jamaica - Paraíso do Reggae / Baila Caribe: Jamaica / Música Libre: Jamaica / Documento Especial: Maranhão em ritmo de reggae / Netos do Amaral e O Bonde do Rastafari: histórias do reggae carioca. Outros filmes, produzidos na Jamaica, também foram analisados, como This is Ska e The Harder They Come. Cada um deles produz relações complexas entre música e território. Por meio da investigação das combinações entre som e imagem realizadas nestes produtos audiovisuais, notadamente aquelas que envolvem a música, foi possível avançar até alguns apontamentos conclusivos. O principal deles é que tais filmes e vídeos produzem territórios sonoros, brechas que se apresentam nas performances gravadas em direto e em outras situações, construídas pela espacialidade e temporalidade da combinação entre imagem e música, constituindo arranjos audiovisuais. Dessa forma, a expressão musical produz territórios sonoros nos filmes e vídeos, expandindo o número de pessoas afetadas pela música. Tal situação possibilitou a frase que dá nome a este trabalho e catalisou a realização deste estudo e de novos produtos audiovisuais. Estes produtos apresentam o potencial de tornar visíveis e audíveis as redes transculturais e rizomáticas, abafadas pela cultura institucionalizada. ABSTRACT “Jamaica is here”: audiovisual arrangements of music driven territories This thesis was catalyzed by the phrase "Jamaica is here", which was heard and read in audiovisual products which have, as their main theme, the relationship between the musical genre known as reggae and specific geopolitical territories. Its main goal is to understand how this territorial transposition was made possible in certain movies, videos and television programs. This work departs from a transcultural perspective, which considers the multiplicities of the unique cultural systems as consisting of various relations between different elements of human expression in its various points of contact, a dynamic relationship that was concealed during the formation of the geopolitical entities, such as Brazil and Jamaica. In this context, these cultural systems are not taken for granted, as well as the relationship between music and territory found in films and videos, like the ones analyzed in this study. Six audiovisual products made up this corpus: Jamaica - Paraíso do Reggae / Baila Caribe: Jamaica / Música Libre: Jamaica / Documento Especial: Maranhão em ritmo de reggae / Netos do Amaral e O Bonde do Rastafari: histórias do reggae carioca. Other movies, produced in Jamaica, were also examined, such as This is Ska and The Harder They Come. Each of them produces complex relationships between music and territory. Through the investigation of combinations between sound and image held in audiovisual products, especially those involving music, it was possible to reach some conclusion remarks. The main one is that such films and videos produce sound territories, loopholes that were present in musical performances recorded live, among other situations, built by the spatiality and temporality of the combination between image and music, constituting audiovisual arrangements. Thus, the musical expression produces sound territories in films and videos, expanding the number of people affected by the music. Such situation allowed for the expression of the phrase that gives name to this work and catalyzed the development of this study and new audiovisual products. These products have the potential to make visible and audible the transcultural and rhizomatic networks stifled by institutionalized culture. 10 11 S U M Á R I O Prólogo .............................................................................................. 13 Introdução ......................................................................................... 15 A trajetória da pesquisa ....................................................................
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