Ritmo E Poesia: a Arte E a Representação Da Realidade

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Ritmo E Poesia: a Arte E a Representação Da Realidade RITMO E POESIA: A ARTE E A REPRESENTAÇÃO DA REALIDADE RESUMO: Considerando a atividade musical integrante de uma cultura, que é criada e recriada pelo fazer do homem através do tempo e espaço e que vem expandindo e ganhando cada vez mais espaço em nossa sociedade, se faz necessário uma atenção mais focada no estudo da criação musical, para que com isso seja possível entender de que forma o autor cria determinada música, e como esta ganha suas significações e sentidos que são compartilhados tanto na esfera coletiva como individual. Sendo assim, este trabalho pretende verificar através do estilo musical que mais vem ganhando espaço nos últimos anos, a música RAP. Será usada como referência a história de vida e composições de um dos principais autores de RAP, Tupac Amaru Shakur, para investigar os processos de significação e sentido na criação musical, e quais suas ligações com a realidade do autor. Palavras chaves: Música; Rap; Arte; 1 SULLIVAN MACHADO PUGSLEY RITMO E POESIA: A ARTE E A REPRESENTAÇÃO DA REALIDADE Monografia apresentada ao Centro Universitário Positivo como requisito parcial para a obtenção do título de Psicólogo. Orientador: Profa. Roberta Kafrouni Banca examinadora: Mario Sérgio Michaliszyn Adriana de Fátima Franco 2 1 INTRODUÇÃO O rap vem crescendo e ganhando espaço gradativamente no universo musical, está presente em programas de rádios, televisão, revistas, na mídia de forma geral. Inspirado nas temáticas da rua, o rap faz parte de um movimento cultural conhecido como Hip Hop, termo criado para nomear os encontros realizados nas comunidades carentes dos Estados Unidos, este movimento é constituído por cinco elementos, são estes: o DJ (o que monitora o som), o Graffite (a arte, as chamadas “pichações”), o Break (que é a dança de rua), MC (mestre de cerimônia, rapper) e o quinto elemento conhecido como conscientização (ROCHA, DOMENICH, CASSEANO, 2003). O rap como a maioria das manifestações culturais de origem contestatória e revolucionária, tem auxiliado muitas crianças, jovens e adultos a encontrarem um espaço, adquirirem uma identidade e elevarem sua auto-estima. O rap é considerado a voz da periferia, um grito, um pedido, uma denúncia. Para o jornalista, escritor e pesquisador FAUSTINO (2003), um dos primeiro profissionais da área da comunicação a dar abertura ao movimento hip hop, diz: “O hip hop não foi inventado pela mídia. Nasceu naturalmente nas ruas, forjado em sangue, suor e lágrimas”. O processo de criação musical, como seria visto posteriormente deve ser compreendido sempre como um produto sócio histórico, completamente inserido no contexto que se encontra, onde o sujeito é constituído e constituinte do contexto social, e a música como intermediário da experiência capaz de construir sentidos individuais e coletivos. Para Maheire (2003), quando um artista se encontra em processo de criação, neste caso, a criação de uma letra de música, ele também está reelaborando seus sentimentos e emoções. Sendo assim, este trabalho pretende verificar como a musica RAP através de sua narrativa pode estar representando a realidade do autor. Para isso, usaremos como referência a história de vida e composições de um dos principais autores de RAP, Tupac Amaru Shakur. 3 2 HIP HOP E O RAP Para compreender realmente do que se trata o Rap, é necessário conhecer suas raízes, e quando se fala das origens do rap, remete-se da tradição africana da oralidade, os conhecidos griots (contadores de historias). Esta figura mítica (griots) está presente em toda a produção cultural que tem por base a oralidade, ou seja, a palavra, em particular, quando esta se combinada com o ritmo. (CONTADOR; FERREIRA; p.15, 1997) O elemento vocal ou expressivo, a voz, a poesia de rua, a forma ritmada de rimar acerca de diversos temas e histórias, sejam estas verídicas ou apenas fictícias, mostra claramente a forte ligação do rap com suas raízes. Para CONTADOR e FERREIRA (1997), a característica principal do rap e que o distingue de outros estilos é a dicção: é a poesia produzida fielmente à rua e utilizando-se das gírias oferecidas por esta. A música rap, como será visto posteriormente é um dos elementos que constituem o HIP HOP, que em uma tradução literal, significa movimentar os quadris (to hip, em inglês) e saltar (to hop) foi criado pelo cantor Afrika Banbaataa, por volta de 1968, para nomear os encontros dos dançarinos de breaks, DJs, e MCs nas festas de rua no bairro do Bronx, em Nova York. (ROCHA; DOMENICH; CASSEANO, p. 17; 2001) O HIP HOP é inspirado na cultura dos guetos norte-americanos, da década de 60, época que pode ser exemplificada com o que se passava na zona negra de Los Angeles, mas precisamente na famosa South Central, onde viviam cerca de 650 000 pessoas. As estatísticas desta época mostram que uma em cada quatro famílias vivia abaixo da linha da pobreza, os transportes públicos eram quase que inexistentes ou de péssima qualidade, a violência policial era diária, especialmente na zona de Watts onde 60 negros foram mortos pela policias entre 1963 e 1965; destes 25 estavam desarmados e 27 foram mortos pelas costas. Um dos acontecimentos mais importantes desta época aconteceu na noite de 11 de agosto de 1965, conhecida como a Rebelião de Watts (Watts Rebellion), durou cerca de 6 dias. Quando esta foi controlada, os números deixados foram chocantes para a época, 34 mortos, 1032 feridos, 3952 presos. 4 As revoltas civis que viriam a seguir até os meados da década de 70 teriam como exemplo a Rebelião de Watts. Como conseqüência dessas revoltas surgiria no campo cultural, o reconhecimento e apreciação pela linguagem utilizada por muitos negros americanos, conhecido como Black English, esta linguagem com diversas variações e gírias, despertaram interesse tanto da parte dos acadêmicos, como também de lingüistas, artistas, poetas e músicos, que validaram esta linguagem utilizando freqüentemente em suas obras, com isso a popularizando. (CONTADOR, FERREIRA, p.17, 1997) Ainda na década de 70 surgiriam grandes líderes negros como, Martin Luther King e Malcom X, que lutavam pelos direitos humanos. Os movimentos de luta pelos direitos humanos influenciaram, em muito, os primeiros participantes do movimento HIP HOP, que, em sua origem, tem um caráter político de promoção da conscientização coletiva. É neste contexto que surgem os Watts Prophets, um marco para a musica negra, o que se faz importante saber acerca deste grupo é o fato de terem buscado na tradição afro- americana da linguagem de rua, já muito utilizada na poesia popular, e a devolverem de volta às suas origens, as ruas. Apresentavam-se com muita popularidade desde em universidades, clubes noturnos, ou em prisões, ele empregavam uma formato de chamamento-resposta, em que criavam varias vozes e personagens. Mas os Watts Prophets não eram os únicos nesse processo de reinvenção e exploração de novos territórios poéticos-musicais, outro grupo importante foi os Last Poets. O aparecimento do grupo coincide com o aniversario de Malcon X, mas precisamente em 19 de maio de 1968, este grupo de jovens negros tinham como característica manifestar a sua revolta em rimas e percussões. Os temas abordados por estes poetas da rua provocaram um certo impacto nos jovens que os escutavam, e as suas temáticas são utilizadas pelos rappers contemporâneos: a luta pela dignidade, o apelo à revolta e à conscientização, o uso de gírias e palavrões, entre outras características que serão expostas posteriormente neste trabalho. (CONTADOR; FERREIRA; p.20-22; 1997) O HIP HOP foi definindo-se basicamente como uma manifestação cultural das periferias das grandes cidades, envolvia distintas representações artísticas de valores contestatório e revolucionário, e o uso desta definição fez com que fosse ganhando cada 5 vez mais espaço dentro do cenário musical. O HIP HOP geralmente é dividido em 4 elementos básicos, são estes: o rap (a música), o DJ (o que monitora o som), o Graffite (a arte, as chamadas “pichações”) e o Break (que é a dança de rua). Alguns integrantes do movimento consideram também um quinto elemento, que seria a conscientização, que compreende principalmente a valorização da ascendência étnica negra, o conhecimento histórico da luta dos negros e de sua herança cultural, o combate ao preconceito racial, a recusa em aparecer na grande mídia, e também o menosprezo por valores como a ganância, a fama e o sucesso fácil, sem que haja uma luta para conseguir. Cada um desses cinco elementos existe de forma independente um do outro, porém todos fazem parte de um todo maior, que é a cultura HIP HOP. Mas mesmo sendo independentes um do outro, tanto os Rappers, Djs, Grafiteiros e os B-Boys (dançarinos de Break) consideram-se unidos um ao outro, como uma espécie de irmandade. (ZENI, 2004) O jornalista Bruno Zeni (2004), apresenta uma breve história do rap no Brasil, no texto O negro drama do rap: entre a lei do cão e a lei da selva. Segundo Zeni (2004), o movimento HIP HOP chegou ao Brasil por volta dos anos 80, por intermédio das equipes de baile. As primeiras manifestações foram realizadas por volta de 1984, no centro da cidade de São Paulo, na região da estação São Bento do metrô e nas ruas 24 de maio e Dom José de Barros. Neste momento o rap surgira como canto improvisado para acompanhar as manobras corporais do break. Os rappers cantavam na rua, improvisando ao som de latas, palmas e beat box (imitação das batidas eletrônicas feitas com a boca). No começo, por ser um canto falado, feito de improviso nas rodas de break, o rap era chamado no Brasil de "tagarela". Ao contrário do Rap norte-americano, no começo havia pouca preocupação com o conteúdo contestatório ou de protesto das letras, sendo assim proliferou um tipo de rap inocente, descontraído e brincalhão, que mais tarde viria a ser conhecido como "rap estorinha", designação que traz certo desprezo pelo antigo estilo.
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