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Universidade Federal Do Rio Grande Do Sul Instituto De Filosofia E Ciências Humanas Programa De Pós-Graduação Em Antropologia Social

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Universidade Federal Do Rio Grande Do Sul Instituto De Filosofia E Ciências Humanas Programa De Pós-Graduação Em Antropologia Social i UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE FILOSOFIA E CIÊNCIAS HUMANAS PROGRAMA DE PÓS-GRADUAÇÃO EM ANTROPOLOGIA SOCIAL BCI É DAQUI OU ESTÁ AQUI?: Uma etnografia da recepção da publicidade do Banco Comercial e de Investimentos (BCI) veiculada nas televisões, rádios e nos outdoors em Moçambique Fernando Félix Tivane Porto Alegre 2015 ii UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE FILOSOFIA E CIÊNCIAS HUMANAS PROGRAMA DE PÓS-GRADUAÇÃO EM ANTROPOLOGIA SOCIAL BCI É DAQUI OU ESTÁ AQUI?: Uma etnografia da recepção da publicidade do Banco Comercial e de Investimentos (BCI) veiculada nas televisões, rádios e nos outdoors em Moçambique FERNANDO FÉLIX TIVANE Dissertação de Mestrado apresentada ao Programa de Pós-Graduação do Departamento de antropologia do Instituto de Filosofia e Ciências Humanas como requisito parcial à obtenção do título de Mestre em Antropologia Social. Orientador: Prof. Carlos Alberto Steil Porto Alegre 2015 iii iv Fernando Félix Tivane BCI É DAQUI OU ESTÁ AQUI?: Uma etnografia da recepção da publicidade do Banco Comercial e de Investimentos (BCI) veiculada nas televisões, rádios e nos outdoors em Moçambique Dissertação de Mestrado apresentada ao Programa de Pós-Graduação do Departamento de antropologia do Instituto de Filosofia e Ciências Humanas como requisito parcial à obtenção do título de Mestre em Antropologia Social. Orientador: Prof. Carlos Aberto Steil Banca Examinadora _____________________________________ Dr. Carlos Alberto Steil PPGAS-UFRGS (Orientador) ______________________________________ Dr.ª Lúcia Helena Alves Müller PUCRS-PPG Ciências Sociais ______________________________________ Dr. Ruben George Oliven PPGAS-UFRGS ______________________________________ Dr.ª Maria Eunice de Souza Maciel PPGAS-UFRGS Porto Alegre 2015 v Às minhas duas filhas, hahaninhas, Matchasse e Rindzela Tivane. Amo- vos muito. vi Agradecimentos Confesso-vos que escrever notas de agradecimento é uma coisa muito difícil, talvez mais difícil que escrever o próprio trabalho do qual os agradecimentos são parte. É muito difícil porque o autor tem que apelar à performance da sua memória para que, pelo menos, não se esqueça das pessoas que participaram diretamente da sua pesquisa. Primeiro, endereço os meus agradecimentos ao Instituto Superior de Artes e Cultura (ISArC), na pessoa do Diretor-Geral, Filimone Meigos, pela concessão da Bolsa de estudo que permitiu a materialização do meu nobre sonho aqui apresentado. Segundo, o meu kanimambo se estende, igualmente, ao meu orientador Carlos Alberto Steil pelo sentido humano, pela cordialidade, compreensão, ajuda, atenção e, principalmente, pelas suas leituras críticas e suas maravilhosas sugestões teóricas para garantir o mínimo de rigor antropológico nesta dissertação. Terceiro, ao corpo docente do PPGAS, especialmente aos professores: Maria Eunice (minha mãe no Brasil), Cláudia Fonseca, Fabíola Rohden, Ondina Leal (quem me deu os primeiros passos na orientação teórica deste trabalho), Bernardo Lewgoy, Ruben Oliven e Arlei Damo. À Rose, secretária do PPGAS – a minha vinda ao Brasil deveu-se muito ao seu zelo nas suas atividades. Sem ela, não sei dizer o que teria acontecido comigo. Aos meus interlocutores da Polana Caniço, da Agência de Publicidade e Marketing GOLO e Direção de Marketing do BCI pela valiosa colaboração. Sem vossa estimada ajuda o meu trabalho seria mais difícil do que foi. Convosco aprendi imenso sobre o que é ser daqui. Aos meus amigos e colegas no Brasil: Mário Saretta, Josep Segarra, Maria Sanz, Aline Rochedo, Lívia Piment, Miguel Muhale, Segone Cossa (que me sugeriu considerar a hipótese de vir ao Brasil), e a toda comunidade MOZPOA. À minha esposa, Glória Ndeve, pelo amor, carinho e compreensão. Não é fácil ficar longe de casa quase dois anos privado das coisas mais lindas vividas em família. Agradecimentos estendidos, também, para os meus pais, Atália Ngovene e Félix Tivane; aos meus irmãos ainda em vida, Hilário, Arone e Rosa; aos meus sobrinhos, Letícia, Sheruna, Shelton, Shelbe e July. Adicionalmente, os meus agradecimentos são extensivos aos meus colegas de trabalho, aos ISArCJobs, principalmente para Mário Tsaquice, Anibal Sando, Enera Mambo, Luísa Espada, enfim a todos os funcionários do ISArC. vii RESUMO A presente pesquisa é uma etnografia da recepção da publicidade do Banco Comercial e de Investimentos (BCI) exibida em espaços comerciais de televisão, rádio e outdoors em Moçambique a partir do ponto de vista dos clientes do banco. O estudo foi realizado na Cidade de Maputo, capital de Moçambique. Os seus resultados sugerem que a nova estratégia comunicacional do BCI apropria-se de “cultura local” (signos e elementos simbólicos tidos como moçambicanos) para se reposicionar no mercado bancário local. Como corolário de “apropriação” de elementos identitarios “locais”, na imaginação e nos discursos dos interlocutores da pesquisa, o BCI é entendido como um banco privado moçambicano, um banco “daqui”, um banco que respeita a “cultura moçambicana”. Os resultados da pesquisa revelam, também, que a localidade presente nos anúncios do BCI, para os clientes do banco, figura como um pretexto para a reinvenção da nação moçambicana numa época em que o país é desafiado pelo capitalismo neoliberal cada vez mais mundializado. Palavras-chave: Etnografia. Recepção da publicidade do BCI. Globalização. Moçambique. Moçambicanidade viii ABSTRACT This research is ethnography of bank customers’ perception of advertisement of the Commercial and Investment Bank (BCI) displayed in commercial spaces of television, radio and billboards in Mozambique. The study was conducted in Maputo, capital of Mozambique. Their results suggest that the new communication strategy of the BCI appropriates “local culture” (signs and symbolic elements taken as typically Mozambican) to reposition itself in the local banking market. As a corollary of this assimilation of elements of “local” identity in the imagination and in the discourses of the bank customers, BCI is understood by them as a Mozambican private bank, a bank “from here” (“um banco daqui”), and a bank with respects towards “Mozambican culture”. The survey concludes that for the bank customers the locality present in BCI advertisements figures as an argument for the reinvention of the Mozambican nation at a time when the increasingly globalizing country is challenged by neoliberal capitalism. Keywords: Ethnography. Perception of BCI advertising. Globalization. Mozambique and “Mozambianness”. ix Siglas e acrônimos BCI – Banco Comercial e de Investimentos BIM – Banco Internacional de Moçambique BCM – Banco Comercial de Moçambique, S.A.R.L BdM – Banco de Moçambique BM – Banco Mundial BPD – Banco Popular de Desenvolvimento BPI – Banco Português de Investimentos CGD – Caixa Geral de Depósitos CDM - Cervejas de Moçambique COMECON – Council for Mutual Economic Assistance DAA – Departamento de Antropologia e Arqueologia FMI – Fundo Monetário Internacional FRELIMO – Frente de Libertação de Moçambique OMM – Organização da Mulher Moçambicana ONG – Organizações Não-Governamentais OTM – Organização dos Trabalhadores de Moçambique PPGAS – Programa de Pós-Graduação em Antropologia Social RENAMO – Resistência Nacional Moçambicana SCI – Sociedade de Controlo e Gestão de Participações SARL – Sociedade Anónima de Responsabilidade Limitada UEM – Universidade Eduardo Mondlane UFRGS – Universidade Federal do Rio Grande do Sul x SUMÁRIO INTRODUÇÃO .......................................................................................................................................... 10 CAPÍTULO I: A PARTIDA ....................................................................................................................... 12 1.1 Construindo o objeto de pesquisa ............................................................................................... 12 1.2. Contexto da pesquisa e sua relevância ............................................................................................. 18 1.3 O trabalho de campo ......................................................................................................................... 26 CAPÍTULO II: MOÇAMBIQUE E A EMERGÊNCIA DA BANCA COMERCIAL ............................... 30 2.1. Moçambique pós-independência...................................................................................................... 30 2.2. A banca comercial em Moçambique ................................................................................................ 34 2.3. “Globalização” e “Mundialização” da Cultura ................................................................................ 36 2.4. A “globalização” da cultura “dissolve” as identidades “nacionais”? ............................................... 42 CAPÍTULO III: BCI É DAQUI OU ESTÁ AQUI? ................................................................................... 44 3.1. Era preciso moçambicanizar o BCI... .............................................................................................. 44 3.2. Fotos e folhetos publicitários em circulação em Moçambique ........................................................ 49 3.3. Os jingles e spots do BCI ................................................................................................................. 54 3.5. Etnografando as agências do BCI .................................................................................................... 69 3.6. O banco está a respeitar a nossa cultura... .......................................................................................
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