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O Som Afrofuturista: Elaboração Da Ficção Sônica Impactitos Por Disco Duro

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O Som Afrofuturista: Elaboração Da Ficção Sônica Impactitos Por Disco Duro O som Afrofuturista: elaboração da ficção sônica Impactitos por Disco Duro Pitter Gabriel Maciel Rocha DISSERTAÇÃO DE MESTRADO Fevereiro de 2021 O som Afrofuturista: elaboração da ficção sônica Impactitos por Disco Duro por Pitter Gabriel Maciel Rocha Texto submetido ao Exame de Qualificação de mestrado do Programa de Pós-Graduação em Música do Centro de Letras e Artes da UNIRIO, como requisito parcial para obtenção do grau de Mestre, sob a orientação do(a) Professor(a) Dr.(a) Marcelo Carneiro de Lima. Rio de Janeiro, 2021 Autorizo a cópia da minha dissertação/tese “O som Afrofuturista: elaboração da ficção sônica Impactitos por Disco Duro” para fins didáticos . À memória de Hel. Agradecimentos Eu fico imensamente satisfeito que durante essa pesquisa encontrei tantas pessoas que trocaram e contribuíram de diferentes formas, com conversas, trocas, papos, mensagens, sons e inspirações. Agradeço à minha mãe, Vuvu, meu pai, Benjamin, e meus irmãos, Sophia, Henrique e Solano. Agradeço a companhia de Lucas Fixel e o amor de Lorena Pazzanese. Agradeço a orientação e parceria com Marcelo Carneiro de Lima. Agradeço aos encontros, influências, papos, visões, sons e delírios com Rafael Bqueer, Aline Besouro, Milena Lízia, Max Willà Morais, Diambe Santiso, Pedro Amparo, Rodrigo Maré, Dani Costa, Negro Leo, Ava Rocha, Bernardo Oliveira, Kauê Husani, Gabriel Barbosa, Paulo Dantas, Henrique Machado, Pedro Leal, Rodrigo Ferrera, Miguel Bandeira, Rainha Timbuca, Ismael David, Rona, Hugo Lenner, Fabiane Borges, Débora, Oton Barros, Ricardo Cartaxo, Juliane Gamboa, Léo Brum, Magno Souza, Ana Clara Gurjão, Danilo Andrade, Iris, Hugo Noguchi, Daniel Duarte Barros, Dara Núbia, Valquíria Luna, Júlia Cassoti, Júlia Peixoto, Igor, Mc Santos, Morena Mariah e todo o bonde do Afrofuturo, Lwiza Gannibal, Lucas Carvalho, Marta Supernova, Profª Fátima Lima e Maria Elvira Díaz Benítez (PPGAS- UFRJ), Renan Rimou, Bel Viega, Bianca Tossato, Carlos Eduardo Soares, Gabriel Gorini, Helena Lessa, Laura Lagub, Leo Fiuza, Ludmilla Lana, Mariana Avillez, Pedro Fadel, Rafael Fortes, Rebeca Mouri, Sueli Logullo, Tomas Gonzaga, José Ricardo, Ale Fenerich, Carol Mathias, Lucas Totti, Raquel Paixão, Bryan Holmes, Kênia Freitas, Carlos Palombini e todas as estudantes que participaram da disciplina História da Música Afrofuturista. Luz! Luxo e Glória! Essa pesquisa teve financiamento da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior – Capes. “Estimamos que o indivíduo deve tender ao universalismo inerente à condição humana.” Franz Fanon “Todo problema humano exige ser considerado a partir do tempo. Sendo ideal que o presente sempre sirva para construir o futuro. E esse futuro não é cósmico, é o do meu século, do meu país, da minha existência. De modo algum pretendo preparar o mundo que me sucederá. Pertenço irredutivelmente à minha época. E é para ela que devo viver. O futuro deve ser uma construção sustentável do homem existente. Esta edificação se liga ao presente, na medida em que coloco-o como algo a ser superado.” Franz Fanon “Um passo à frente e você já não está no mesmo lugar.” Chico Science e Nação Zumbi ROCHA, P. G. M.. O som afrofuturista: elaboração da ficção sônica Impactitos por Disco Duro. 2021. Dissertação (Mestrado em Música) – Programa de Pós-Graduação em Música, Centro de Letras e Artes, Universidade Federal do Estado do Rio de Janeiro. RESUMO Os estudos a respeito do som afrofuturista vêm reforçar, no campo das artes sonoras e da música, as lutas contínuas da diáspora negra no continente americano em prol da sua afirmação cultural, política, social e humana. Considera as diversidades ao mesmo tempo em que localiza as produções e os discursos. Intencionando contribuir para os estudos do som afrofuturista, esta dissertação o investiga, a partir das discussões que relacionam o som com as reflexões, as dinâmicas e as produções afrofuturistas. Esta dissertação investiga a relação entre o som e o afrofuturismo, a partir das discussões que relacionam ambos os termos. Essas discussões apresentam o som afrofuturista como um conjunto aberto de práticas sonoras afrodiaspóricas no século XX, onde dimensões ficcionais, tecnológicas, culturais e da experiência da vida negra estão imbricadas nas obras dos artistas, propondo uma contra-história da música moderna onde desenvolvimentos e elaborações técnicas, tecnológicas e da linguagem musical negra foram ignoradas pela musicologia tradicional ocidental. Esta pesquisa visa contribuir para os estudos do som em produções musicais e artes sonoras no âmbito do afrofuturismo, produzindo tanto uma reflexão teórica que o situa no tempo e no espaço quanto uma produção artística denominada Impactitos que se dá na esfera de produção e performance autodenominada Disco Duro. Amparados pelas discussões, bibliografia, filmes, e músicas acerca do som afrofuturista relatamos o processo criativo de “Impactitos”, ficção sonora elaborada a partir do “Manifesto Terracosmista”, que explorou o uso de técnicas e assinaturas sonoras das músicas afrodiaspóricas que tivemos contato durante a pesquisa, através de leituras e escuta de discografias. Ao final, fazemos um balanço dos pontos estudados e discutidos em relação ao lugar que hoje ocupam na sociedade. Conclui que a importância de pesquisas acerca do som afrofuturista têm funções artístico-sociais e políticas imprescindíveis para a sociedade de hoje, cuja urgência de práticas antirracistas, de justiça e igualdade se fazem premente. Palavras- Chave: afrofuturismo. música afrodiaspórica. processo criativo. ROCHA, P. G. M.. Afrofuturistic sound: the development of sonic fiction Impactitos by Disco Duro. 2001. Master Thesis (Master in Music) – Programa de Pós-Graduação em Música, Centro de Letras e Artes, Universidade Federal do Estado do Rio de Janeiro. ABSTRACT Studies concerning the afrofuturist sound reinforce, in music and sound art fields, the black diaspora struggles in the American continent in support to its cultural, social, political and humane recognition. Takes the diversities into account while locating its productions and statements. Intending to contribute to the afrofuturists sound studies, this thesis, starting from the discussions towards the thoughts, dynamics, and productions in afrofuturist scope. This dissertation investigates the relationship between sound and Afrofuturism, from the initial discussions that relate both terms. These discussions present the afrofuturistic sound as an open set of afrodiasporic sound practices in the 20th century, where fictional, technological, cultural dimensions and the experience of black life are intertwined in the works of the artists, proposing a counter-history of modern music, where developments and technical, technological and black musical language developments were ignored by traditional western musicology. This thesis aims both to contribute to the sound studies in music and sound art in the scope of afrofuturism, presenting a theoretical reflection that places it in time and space and the development of an artistic production entitled Impactitos in the artistic performance called Disco Duro. Supported by the discussions, the bibliography, films, and music around the afrofuturist sound Supported by discussions about afrofuturistic sound and the concept of sonic fiction, we relate the creative process of “Impactitos”, a sonic fiction elaborated from the “Manifesto Terracosmista” which explored the use of techniques and sound signatures of the afrodiasporic music that we had contact during the research, through readings and listening to discographies. At the end all those discussed and studied topics are reviewed in relation to the place they occupy today in our society. Conclude researche like this one have social-artistc and political functions that are essentials for nowadays society where antiracists, justice and equality practices are a pressing matter. KEYWORDS: afrofuturism. afrodiasporic music. creative process. Lista de Figuras: Figura 1: Mólasse (1983) Jean-Michel Basquiat…………………...…...…...…...…...…....p.25 Figura 2: Uma das armaduras criadas por Ramellzee…...…...…...…...…...…...…...…...….p.25 Figura 3: Frente e verso do santinho da obra Monumento a voz de Anastácia, Yhuri Cruz, 2019………………………………………………………………………………………...p.43 Figura 4: Capa e contra-capa do álbum Sextant (1973) de Herbie Hancock. Arte de Robert Springett……………………………………………………………………………….........p.97 Figura 5: Contra-capa e capa frontal do álbum Bitches Brew (1970) de Miles Davis. Arte de Mati Klarwein….….….….….….….….….….….….….….….….….….….….….….….….p.98 Figura 6: Capa do álbum Thrust (1974) de Herbie Hancock. Arte de Robert Springett.…………….….….….….….….….….….….….….….….….….….….….….…...p.98 Figura 7: Capa do álbum”Crossings” de Herbie Hancock (1972).........................................p.100 Figura 8: Capa do álbum Agharta, de Miles Davis (1975)....................................................p.101 Figura 9: Capa do álbum “I am” do grupo Earth, WInd and Fire (1979) feita pelo ilustrador Shuzei Nagaoka…………………………………………………………………………....p.115 Figura 10: Contra-Capa e capa frontal do disco All'N'All do Earth, Wind & Fire (1977)......p.115 Figura 11: Capa do álbum A Nation Under the Groove, Funkadelic (1977)..........................p.117 Figura 12: Capa do álbum Planeta fome (2019) de Elza Soares, ilustrada pela artista Laerte...................................................................................................................................p.147 Figura 13: Exemplo do set no Ableton Live que foram utilizados no processo criativo…..p.157
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