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A Morte Do Artista Como Artefato Cultural: Uma Pesquisa Netnográfica

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A Morte Do Artista Como Artefato Cultural: Uma Pesquisa Netnográfica TÍTULO: A MORTE DO ARTISTA COMO ARTEFATO CULTURAL: UMA PESQUISA NETNOGRÁFICA CATEGORIA: EM ANDAMENTO ÁREA: CIÊNCIAS SOCIAIS E APLICADAS SUBÁREA: Administração INSTITUIÇÃO: FACULDADE DE ADMINISTRAÇÃO DA FUNDAÇÃO ARMANDO ALVARES PENTEADO - FAE-FAAP AUTOR(ES): BRUNO BIZIGATTO BRANDÃO ORIENTADOR(ES): CARLA CAIRES ABDALLA Realização: Apoio: 1. Resumo O presente estudo pauta-se na morte do artista como artefato cultural, para aprofundar a discussão acerca da intensificação das interações nas redes sociais em torno de artistas mortos. Sendo a imersão no contexto cultural online em torno dos artistas mortos ponto de partida, utilizou-se o método de netnografia para análise de hashtags do Instagram. Concluiu-se preliminarmente que a morte aumenta a citação das obras dos artistas no Instagram. 2. Introdução Não se passa despercebido o aumento do consumo de imagens e das obras de artistas após seu falecimento. Este é o caso do falecimento do rapper Lil Peep, em 2017. Sua música “Awful Things” alcançou 8,2 milhões de streams e 3.000 downloads vendidos no fim de semana subsequente a sua morte. Um aumento de 144% e 190%, respectivamente. Além disso, com a música, o artista apareceu pela primeira vez na Billboard hot 100 – lista que classifica as cem músicas mais vendidas no decorrer da semana - 24 dias após seu falecimento (ZELLNER, 2017). 3. Objetivos Partindo-se dos significados simbólicos presentes nos produtos, que vai além do valor utilitário destes (MCCRACKEN, 1986), considerando o consumo como um ato no qual o indivíduo produz a própria imagem por meio da escolha desses significados (FIRAT e VENKATESH, 1995), buscou-se entender os significados simbólicos e as interações sociais geradas pela morte dos artistas no ambiente online, considerando que as tecnologias digitais vêm mudando profundamente o comportamento do consumidor (BELK, 2013). Esse estudo analisa a morte dos artistas como um artefato cultural, em conforme com a definição de Bartlett (2005, pg.3): “objetos, símbolos, narrativas, ou imagens marcados pela atribuição coletiva de significado”. Preliminarmente, objetivou-se apontar as diferenças, com relação às interações sociais, entre artistas mortos e vivos. Posteriormente, em futura continuação dessa pesquisa, partindo-se do modelo de circuito da cultura (DU GAY et al., 1997), será verificado o que a morte dos artistas representa no meio cultural. 4. Metodologia Usando-se netnografia – uma metodologia etnográfica digital (KOZINETS, 2014) - foram analisados quatro artistas, a partir das respectivas hashtags no Instagram: Lil Peep e XXXTentacion, dois artistas falecidos, Lil Xan e Trippie Redd, dois artistas vivos. Os quatro cantores pertencem a um subgrupo do rap conhecido como emo rap (CAVALCANTI, 2018). Ainda que nem sempre as hashtags denotem ou representem grupos ou comunidades (BRUNS e BURGESS, 2011 apud HIGHFIELD, 2015), elas indicam um conjunto de publicações que, de acordo com a interpretação de seus significados pelos usuários, devem ser agrupadas (HIGHFIELD, 2015). Assim sendo, houve o levantamento de símbolos, elementos e sentimentos explícitos mais recorrentes nas primeiras 50 postagens com hashtags na legenda ou que marcaram o perfil de cada artista, segundo critério de relevância do próprio Instagram. Não foram incluídas na análise, as postagens feitas por perfis de canais de mídia ou pelo perfil original do artista, para que fossem destacadas as associações feitas pelos fãs dos artistas, seus consumidores. 5. Desenvolvimento A hashtag do artista Lil Peep contava com 2.5 milhões de postagens, sendo que ele aparecia em 72% delas. Os principais elementos destacados foram expressões faciais de felicidade (38% das postagens) e tristeza (24%), microfones (24%), corações (14%), cigarros (24%). XXXTentacion, com 1 milhão de publicações, aparecia em 48% delas. Os principais elementos destacados foram: expressões faciais sérias (38%), felizes (24%) e tristes (24%), corações (24%) e pombas brancas (14%). Trippie Redd, com 1,5 milhões de postagens, apareceu em 44% delas. Os principais elementos associados foram: expressões faciais felizes (32%), descontraídas (26%), corações (22%) e cigarros (14%). Lil Xan, por fim, com 892 mil postagens, apareceu em 60% delas. Os principais símbolos observados foram expressões faciais felizes (30%), corações (18%), a língua de fora (14%) e cigarros (14%). Houve uma última categoria investigada, com relação à aparição de partes de música ou trechos das letras nas publicações. Tendo sido observado que na hashtag associada ao Lil Xan houve aparição em 10% das postagens, 12% na de Trippie Redd, 32% na de XXXTentacion e 34% na de Lil Peep. 6. Resultados Preliminares Tendo em vista que artefatos culturais não possuem significados em si e a construção desses significados se dá por meio das imagens e palavras associadas aos artefatos (DU GAY, HALL, JANES, MACKAY e NEGUS, 1997), foram constatados muitos elementos semelhantes entre os artistas mortos e vivos, que apontam para características comuns do grupo. As variações de humor nas postagens – expressões felizes em algumas postagens e em outras, tristes ou sérias – junto à recorrência de cigarros, são símbolos que se relacionam com os problemas psicológicos e abuso de drogas característicos das letras do emo rap (CAVALCANTI, 2018). Da mesma forma há a recorrência de corações, relacionados à temática, também frequente, de relacionamentos. Já na análise do aparecimento das obras dos artistas nas postagens, foi observado o aumento da citação de músicas dos artistas mortos na postagem, em comparação com os artistas vivos analisados. Em conclusão preliminar, portanto, pode-se afirmar que a morte do artista enaltece o consumo de suas músicas, não só na compra direta da música como citado na introdução desse estudo (ZELLNER, 2017), mas também no uso da música enquanto significado simbólico, na comunicação entre os consumidores no Instagram, o que pode ser explorado em estudos futuros como um antecedente do aumento das vendas. 7. Fontes Consultadas BARTLETT, Lesley. Identity work and cultural artefacts in literacy learning and use: A sociocultural analysis. Language and education, v. 19, n. 1, p. 1-9, 2005. BELK, Russell W. Extended self in a digital world. Journal of Consumer Research, v. 40, n. 3, p. 477-500, 2013. CAVALCANTI, Amanda. O emo rap é o verdadeiro revival do emo. Vice. Disponível em: https://www.vice.com/pt_br/article/8xk87a/emo-rap-revival-emo. Acessado em 30 ago. 2019. DU GAY, Paul et al. Doing cultural studies: The story of the Sony Walkman. Sage, 2013. FIRAT, A. Fuat; VENKATESH, Alladi. Postmodernity: the age of marketing. International Journal of research in Marketing, v. 10, n. 3, p. 227-249, 1993. HIGHFIELD, Tim; LEAVER, Tama. A methodology for mapping Instagram hashtags. First Monday, v. 20, n. 1, p. 1-11, 2015. KOZINETS, Robert V. Netnografia: realizando pesquisa etnográfica online. Penso Editora, 2014. MCCRACKEN, Grant. Culture and consumption: A theoretical account of the structure and movement of the cultural meaning of consumer goods. Journal of Consumer Research, v. 13, n. 1, p. 71-84, 1986. ZELLNER, Xander. Lil Peep Charts on Billboard Hot 100 for First Time With 'Awful Things'. Billboard. Disponível em: https://www.billboard.com/articles/columns/chart- beat/8053834/lil-peep-charts-billboard-hot-100-first-time. Acessado em 30 ago. 2019. .
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