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, jan./abr. 2015 92-108

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2 Youth cultures are built based on the formation of a social bond that cultures are built based on the formation of a Youth As culturas jovens constroem-se partindo da formação de um laço um de da formação partindo constroem-se jovens culturas As

Youth cultures; urban art; expression of affection; Zico; Juiz de Fora. Juiz cultures; urban art; expression of affection; Zico; Youth PhD and Coordinator of Postgraduated Communicacion Programme, Faculty of Social of Social Programme, Faculty Communicacion of Postgraduated PhD and Coordinator The initial version of this article was presented at the round table Communication, Art, and Art, at the round tablepresented article was of this version initial The Communication, Universidade Communication, of Social Faculty Communication, PhD student in Social comun. mídia consumo, são paulo, v. 12, n. 33, p. 12, n. 33, p. v. comun. mídia consumo, são paulo, Federal de São João del-Rei - UFSJ, São João del Rei, MG, . - UFSJ, São João del Rei, de São João del-Rei Federal E-mail: [email protected] 3 RJ, do Estado - UERJ, , Universidade do Rio de Janeiro Communication, Brazil. E-mail: [email protected] Resumo O espaço urbano torna-se tem a cidade como meio de comunicação. social que 1 and Cultures of the Americas – Cities in Debate, of Debates of Peoples City of the VII Forum which took place in 2013 at the State of Rio de Janeiro. University 2 interventions, acts as an aggregating element of identification and affection for a element interventions, acts as an aggregating de Fora. group of residents in the city of Juiz Keywords: Abstract urban space becomes a place of The has the city as a medium of communication. in the configuration of identities symbolic constructions work interaction in which In this article, we notice that the repe and affections from a sense of belonging. footballer Zico, through urban artistic tition of a symbolic image of an idol, the Francisco Ângelo Brinati Francisco Denise da Costa Oliveira Siqueira de Juiz de Fora la producción de significado Culturas juveniles, “Zico guerrilla” de afecto: y la expresión de Juiz de Fora por las calles Youth culture, production of feelings, and of feelings, production culture, Youth affections: of expression the guerrilla” in “Zico streets Juiz de Fora of de sentidos e expressão produção Cultura jovem, ruas “Zico guerrilha” pelas de afetos:

ARTIGO para ungrupoderesidentesJuiz deFora. artísticas urbanas,actúacomoelementoagregador deidentificaciónyafecto una imagensimbólicadeunídolo,elfutbolistaZico,atravésintervenciones sentimiento de pertenencia. En este artículo, observamos que la repetición de bólicas trabajanenlaconfiguracióndelasidentidadesyemociones,uno urbano seconvierteenlugar delainteracciónenlocuallasconstruccionessim lazo socialque tienelaciudadcomounmediodecomunicación.Elespacio Resumen Fora. Palavras-chave: de Fora. Palabras clave: gador deidentificaçãoeafetoparaumgrupomoradoresJuiz deFora. Zico, pormeiodeintervençõesartísticasurbanas,funcionacomoelementoagre mos que a repetição de uma imagem simbólica de um ídolo, o jogador de futebol identidades eafetos,deumsentimentopertencimento.Nesteartigo,observa local deinteraçãonoqual construções simbólicastrabalhamnaconfiguraçãode Acceptance date:08/12/2014 Acceptance Submission date:09/03/2014 comun. mídiaconsumo, sãopaulo, v. 12,n.33,p.

francisco ângelobrinati|denisedacosta oliveirasiqueira Las culturasjóvenesseconstruyenapartirdelaformaciónun

Culturas juveniles;arteurbano;expresióndelafecto;Zico;Juiz Culturas jovens;arteurbana;expressãodeafetos;Zico;Juiz de

92-108 , jan./abr.2015 93

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ARTIGO ------, jan./abr. 2015 92-108 . l’air du temps youth culture, production of feelings, and expression of affections and expression of feelings, production culture, youth It is with this perspective that this article is built: a look at the ar It is with this perspective that this Addition, actually, is a good word to use when one reflects on the is a good word to use when one reflects actually, Addition,

comun. mídia consumo, são paulo, v. 12, n. 33, p. 12, n. 33, p. v. comun. mídia consumo, são paulo, as media and medium of communication of values, these interventions of values, of communication and medium as media synthesize worldviews, society. society. of transgression and collective mix tistic interventions in urban space, representation ideas, feelings, worldviews, conflicts but also of values, to the city fashions and “trends”. A fruit of “youth cultures” that point layers and voices dialectically interact and constantly dialectically are entering into layers and voices pessimistic a from of instead protests the observe can we So conflict. char positive sociologically conflict’s the of angle “the from perspective, understandswho one as p.123), 1983, (Simmel, acter” the from that confrontational for interaction may also arise interesting negotiations fact, a privileged stage where the difference manifests itself locally. itself locally. manifests fact, a privileged stage where the difference previously the ruins of cities These layers refer both to the architecture, as to the layers of cultural in established in the same place, as much origins that are added, merge, and even the formation of the different these there. All settle come and who groups social of different voices in the streets of large Brazilian cities have made them also be viewed as have made them also be Brazilian cities in the streets of large confrontation. and dispute, a place of struggle, stated polyphony—as voices, of layers space: the urban by Canevacci is, in The city construction. city’s (1993)—add up and overlap in the world, the city builds its local characteristics based on a mixture of phys of characteristics based on a mixture builds its local world, the city and daily life of its boundaries based on imagination ical and symbolic who come from and experiences of people residents and of information dia It is a dialogic, elements to the local “culture”. outside and that add have taken the protests and demonstrations that lectical space, but place Introduction a constitutes city the contemporary place of belonging, space, a Social it rises as an important of cultures and crossroads in object of research contemporary so related to the constitution of the scope of the debates globalized and medially effects of an economic relations. Under the cial 94

ARTIGO appears inCaiafa’s reading whenhewritesthat“in cities apowerful tions ofthesocial typesthatinhabitthecity. Thislookontheoutside definition openedahorizonfortheanalysescenteredoninterac withhim,whose identity barriers.Thenotionofamarginalmanstarted raised inChicagothatdelimited worldswhosecodesfunctionedastrue p.119). Aplacewherethedifferent, theforeigner isseenandmeshes. city wasconstitutedasanoutward appearance, asanexposition” (2007, around communication that the city can be read. As Caiafa wrote, “the is acomplexspaceforcommunication. sense,itisactually Inacertain chitectural, urbanspace,itisaplaceofculturalandsocial issuesand (1973) andSimmel’s (1973)approaches—the city, besidesbeing anar Many timesthoughtofineconomic terms—inaccordancewithWeber’s The cityasaspaceforcommunication the urbanspace. work intheproductionoffeelingsandexpressionaffections about how artistic interventions build processes of significance and can on reading authorssuchasCanevacci, Simmel,andLeBretontothink was conducted with their author. Our theoretical framework is based was alsousedthatgatheredmedia materials andfinallyaninterview in otherwordsoftheir placementaroundthecity. study Adocumentary football team. teamandofthenationalBrazilian fans ofafootballeranimportant space, whileforotherstheyareanaddition becausetheybringtogether images ofan“idol”arebothersomebecausetheyinvadethepublic public placesofthecity ofJuiz deFora inMinasGerais,forsomethese ers spaces offamily andprovincial media. Aspacethatprecisely receives external space is generated in contrast to the interior of the enclosed

Robert Park (1973)showed thatinthe1930stherewereethnic lines In termsofmethodology, observationbegan of In this text, specific interventions were studied about the use of stick with theimageofformerfootballerZico.Pasted onwalls,poles, comun. mídiaconsumo, sãopaulo, v. 12,n.33,p. francisco ângelobrinati|denisedacosta oliveirasiqueira stickers surplace 92-108 , jan./abr.2015 95 , or - - -

ARTIGO , - - - - - The blasé . , jan./abr. 2015 92-108 and special representations special ​​ and various the of youth culture, production of feelings, and expression of affections and expression of feelings, production culture, youth The affections resulting from the social relationships combine to fa The affections resulting from the social Thus, individually or collectively, life in urban areas imply in socia life in urban areas imply in or collectively, Thus, individually The amount of stimuli that the metropolis causes, while it can be can it while metropolis causes, that the The amount of stimuli This game of amalgams between inside and outside, interior and ex and interior outside, and inside between of amalgams game This

comun. mídia consumo, são paulo, v. 12, n. 33, p. 12, n. 33, p. v. comun. mídia consumo, são paulo, As Canclini wrote when thinking about the urban ideal models “the wrote when As Canclini fantasies becomes denser when loaded with heterogeneous city in a grid, spills over, and that is scheduled to operate and designed city stunned by so many impulses. convergence, and space, well as media space as vor the look of urban intercultural aspects that maintain, bonds of belonging and of however, a chorus of many voices. rises as an object that admits affection. The city expression. Le Breton sums up this thought when he wrote that “man that wrote he when thought this up sums Breton Le expression. thread Existence is a continuous is emotionally present in the world. can change and contradict that or less alive or diffuse of feelings more on the circumstances” (2009, p. themselves over time and depending attitude is even if his the city, 111). Man is also affectionately in A sociability that Simmel calls “superficial” and that “keeps itself from and that Simmel calls “superficial” A sociability merely formal relationship with it” the clashes with reality through a (1983, p.169). of emotions, and their construction and disaffection, affection bility, consists in the intensification of nervous stimuli that result in sudden that result in sudden of nervous stimuli consists in the intensification (1973, between external and internal stimuli” change and uninterrupted p. 12). does generate a search for relationship bonds and sociability. stunning, ties, in memories, languages, memories, in ties, mul it. Its residents are affected by this who form groups or individuals This of this process. time set the dynamics while at the same tiplicity when he writes with the thinking of Simmel perspective is consistent metropolitanof the basis “the psychological that individuality type of these strangers, who come from outside, but also from the city itself itself city also from the from outside, but who come these strangers, p.119). 2007, as exterior” (CAIAFA, since it is identity that explain the forge the shifts and otherness, terior, identity reali in urban and social metropolis is multiple transformations. The 96

ARTIGO symbolic spaces, the recent“passinhodomenor”inRiodeJaneiro. Thesephysicaland andbodilytations richsuchasgraffiti,hip-hop,funk,breakdance, twentieth centuryinseveralcities, aseriesofculturalaestheticmanifes the meetingofyoungpeople.Thesegroupsemergedthroughout ways welldefinedintermsoffunction,largecities alsobecome are notalwaysconventional (...)andmaybeinunusual publicspaces highly mediatized. Inthisurbanenvironment,artoccupiesplaces that and post-modern,traditional andtechnological,direct and contact gence ofmultipleplace betweencolonial orderswhereinteractiontakes in thestreet.“Thecity anditsstreetsareaspaceofvisibilityconver meet, share,cometogether,andexpressthemselves. It istheplaceofart p.138). sential characteristicsthatarebasedmostlyonashared feeling”(1987, overcomes thepeculiaritiesofindividuals aresomeofthegroup’s es munity ofthe structure that of ideas,impersonal concerns, andstability a groupthroughsharedeffervescence.AsMaffesoliwouldsay, “com produces effervescence.People experiencesituationsandsensationsin ics generatesinteraction,conflict,andidentification,which,inaword, they wanttolisten.Thereareasmanycities astherearepoints ofview. city therefore becomes cities, receiving as many as are the voices in it if multiplies intoindividual andcollectivefictions”(2007,p.107).The A placeofaffection,communication, oflargespaces,andnotal From thisperspective,thecity isalsoaphysicalspaceinwhichgroups The meetingofgroupsaroundapracticesports,body, oraesthet 67-68) exercise aestheticsensibility, andoccupythecity. (OLIVEIRA,2007,p. of theterritory, buildtheir identity, leavetheir marks,explaintheir ideas, possession are the“private”spaceofyoungpeople.Theretheymeet,take of social relations;theyareareasofimmediate interaction.Thecorners and they mark the festive recovery of the street as a place of articulation are venues forlargegroupsofteenagersandstudentstocometogether comun. mídiaconsumo, sãopaulo, v. 12,n.33,p. francisco ângelobrinati|denisedacosta oliveirasiqueira à lafois , 92-108 , jan./abr.2015 locus

and 97 of ------

ARTIGO - - - - are stickers , jan./abr. 2015 (or wheat paste-up, as it is also 92-108 the sticker 2007, p. 70). A continuation of graffiti, A continuation recently in format in popular culture) referring to its traditional known the Linked to graphic arts, cities. vaded the streets of large produced by hand and in suffi small pieces of adhesive paper or plastic routes, territorial creating to be spread throughout the city, number cient (OLIVEIRA, neighborhoods. in different appropriation, and recognition youth culture, production of feelings, and expression of affections and expression of feelings, production culture, youth Similar to graffiti, the sticker begins in a more or less refined process of process refined less or more a in begins sticker the graffiti, to Similar With the ease of application and the versatility of the technique, the versatility of the technique, With the ease of application and the The sticker gains ground among the many forms of art used by groups The sticker gains ground among the

comun. mídia consumo, são paulo, v. 12, n. 33, p. 12, n. 33, p. v. comun. mídia consumo, são paulo, for its execution, the wheat paste-up is applied quickly and therefore can and quickly applied wheat paste-up is the its execution, for tends to be shorter than graffiti because Its durability be glued discreetly. the paper is less resistant graffiti than the paint made on a wall; however, philosophy. There is no size limit, and the figures are made either by made either and the figures are is no size limit, There philosophy. giving it a strong connection pen, xerox, silkscreen, or plastic paints, 2007, p. 70). with the graphic arts” (OLIVEIRA, time requires that than graffiti different However, a drawing. producing sticker can occupy unusual places that are not very suitable for graffiti, sticker can occupy unusual of do-it-yourself “represents a new branch for example. The technique resist homogenization and indifference of the media society. society. of the media indifference and resist homogenization symbolic appro and belongings, sociability of young people to organize of identities, along with sharing aesthetics. priations, and recognition Everyone has an intervention on the city, whether intentionally or intervention on the city, Everyone has an vi “the of young people portray symbolically, not. The interventions highlight social time, document situations, lifestyles, sual history of our relationships, affections, imaginations, feed and show actors, ritual and practices Daily 70). p. 2007 (OLIVEIRA, frustrations” and desires, fears, affiliations that of identities and of group strengthen the construction and take over the square as a place for live art as well” (Siqueira, 2009, art as well” (Siqueira, a place for live as and take the square over p. 119). interventions in JF Urban youth and 98

ARTIGO and Faria (2012)—isknown tohaveanidentitymarkedbya senseofbe on itsso-called“identitycrisis”asdonebyMusse(2008) andRodrigues ofRiodeJaneiro—and asourceofseveralstudiesborder withtheState (BERGER andLUCKMANN,1995,p.228). subjective reality, adialectical relationshipcanbefoundwithsociety” “identity is of course a key element of subjective reality, and, justas all should alsobethusexplained.According toBergerandLuckmann, and thereforeidentities(ofindividuals, groups,orgeographicalareas) oftheworldareimposedonothers, interpretations space thatcertain keys ofpreferredreading aboutreality. Itisalwayswithinasharedsocial the discourses presentinsocial interactionseventuallydesignatesome onduringthesocialization process,whichmeansthat by codestaken “real”, theperceptionofrealitythatindividuals haveisinfluenced and subjects,thereforereinforces thefeelingofbelonging. these dailypracticesispartofthecommonimaginationgroups experiences sharedineverydaypractices.Thesymbolicuniverse of stood withinthescopeofculturewhereidentitiesarebuiltthrough between youngpeopleandthecity throughurbanartmust beunder sometimes lastyears. can becoveredbyotherlayersofgraffitiorposterswhilethesticker Janeiro arestrongwiththecity residents.Soitseemsconsistentthen, in time). Therelationofaffection withcharacters and situationsof Riode ing onaborder(inwhichit issomethinganditsothernessatthesame The city ofJuiz deFora ofMinasGerais, locatedonthe inthestate If theimaginarymodelisbasedonsymbolicappropriationsof Regardless of thetechnique used, theform adopted, the relationship the imagesandactions.(OLIVEIRA,2007,p.65) well assymbolicdimensions andthemodelsthatarearticulatedthrough on for individuals,to capture the meanings that the cultural forms take as well asonstorefronts,theposts,andurbanwalls.Thiswayitispossible resignify formandcontent,expressthemselvesthroughtheir bodies, as actionsinthecity,tions involvedtherepoint toactivesubjectswhotake The imaginarymodel,thesymbolicappropriations,andaestheticrela comun. mídiaconsumo, sãopaulo, v. 12,n.33,p. francisco ângelobrinati|denisedacosta oliveirasiqueira 92-108 , jan./abr.2015

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ARTIGO - - - - - , jan./abr. 2015 92-108 and ideologies that may be in a state of latency or youth culture, production of feelings, and expression of affections and expression of feelings, production culture, youth The narratives of the life trajectories of sports idols often focus char Football enables the population and the audience of mass media to media mass of the audience and population the enables Football When using symbols to rescue personalities and worldviews, young and worldviews, personalities symbols to rescue When using

comun. mídia consumo, são paulo, v. 12, n. 33, p. 12, n. 33, p. v. comun. mídia consumo, são paulo, virtuality in a given social system” (1982, p. 29). system” (1982, p. virtuality in a given social to Helal (2003, p.20), heroes. According them into acteristics that turn plex system of communication of values. Da Matta had observed that plex system of communication a series of capable of causing as being “Brazilian football can be studied world. One of the essential features of the dramatizations of the social represent, and discover attention, reveal, to attract drama is its ability relationships, values, ​ try, causing society to find a sense of wholeness rarely found and other to find a sense of wholeness rarely causing society try, life” (1997, p.5). spheres of social along in Brazil, symbols. Football gain an approximation with national people, a highly com of a sport, is also a form of socialization with being Clube de Regatas and one of the top do Flamengo from Rio de Janeiro in the and 1980s. Many athletes of the Brazilian national team former athlete. As written by Helal, fans till today still identify with this of people and can be attract thousands is able to mobilize and “Football the integration of the coun understood as a cultural form that promotes Football, Zico, and the production of meaning Zico, and the production Football, football professional played Zico, as known Coimbra, Antunes Arthur Although he has been retired as a between the years 1971 and 1994. considered the greatest idol of the player for over twenty years, he is still with the myth portrayed. The intent is to try to rebuild this path of be The intent is to try to rebuild with the myth portrayed. walls. Thus, in an the images pasted on the city’s longings by studying inter it is space where art is revealed as multiple, inter-cultural urban player Zico symbolic ransom of the former football esting to analyze the Fora. de of Juiz throughout the streets this context, for an urban artistic intervention from Juiz de Fora to have to Fora de from Juiz intervention for an urban artistic this context, of Rio de Janeiro. the city from a club from a football player as its theme in these and identity built of belonging together in bonds people come relationship residents that have the same emotional interactions among 100

ARTIGO 2009, agroupoffansrecalled thegoal,player,hisimage,and took place symbolically in Juiz de Fora. Twenty years later, in December ense, ZicoscoredthelastgoalofhiscareerforRio team.Thematch In December1989,inasoccermatchbetweenFlamengo andFlumin “Zico guerrilla” (DURAND, 1988,p.15). tion thatgivesrisetoasecretmeaning; heistheepiphanyofamystery” of ahero,symbol,notingthat“thesymbolis,therefore, arepresenta andeffortthatleadtowinstitles.Anidol,withtraits such astalent face duringhisheydaywithFlamengo,representstherescueofvalues demonstrates itsvalidity andstrengthens itsexplanatoryvalue.Zico’s symbolism tostrengthenitsown image.TherepetitionofZico’s image version ofavictorioushistorytheRiodeJaneiro clubappropriatesthe construction, keepsthisstoryup-to-datewithnewgenerationswhilethe meaning, thatconveys knowledge, theimageofplayer,alwaysunder up forming amythout ofZico.Becauseamythissomethingreal,with representing avictoriousgenerationtothefansofFlamengohaveended Cup withthenationalteam.Thus, ation of victorious players in their clubs, but who did not win a World ofa gener Zico wasthegreatestidolofBrazilianfootballandstar depictions withanurbanintervention inthecity ofMinasGerais.Ina The repetitionofastoryandtheimageanabove-averageplayer achieve success.(HELAL,2003,p.23). challenges thatheovercamewiththe“weapons”ofhispersonalityto meets thesecriteriaquite fully. Zico’s biographieshighlighttheconstant struggle, honesty,onthisposition.AndZico andunselfishnesstotake has tomeetfurtherrequirements suchasperseverance,determination, victories, achievements,andgoalsinfootball—arenotenough.Thehero roes. Itshows usthatheroic actsthemselves,inisolation—inthiscase,the the narrativearoundZicoispartoflistuniversal archetypesofhe comun. mídiaconsumo, sãopaulo, v. 12,n.33,p. francisco ângelobrinati|denisedacosta oliveirasiqueira 92-108 , jan./abr.2015

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ARTIGO - , - 4 , brought together , jan./abr. 2015 92-108 http://www.youtube.com/watch?v Zico Guerrilla ). It was with these instruments that they have created, instruments that they have created, ). It was with these it is perhaps bringing them closer not only to this vision in relation to He is a symbol, like a Brazilian hero. I think it is because of that, for this He is a symbol, like a Brazilian hero. I identify strongly with that other people identity with him, and to know a way for me to get closer to these people, but more than that, him. It’s youth culture, production of feelings, and expression of affections and expression of feelings, production culture, youth The art with the face of the player, The art with the face of the player, By reproducing and pasting images of the player Zico, residents of By reproducing The “weapons” of the group’s participants, according to the video according participants, the group’s The “weapons” of

This action was recorded on a video on YouTube’s site: http://www.youtube.com/ site: YouTube’s on video a on recorded was action This 4 watch?v=ke1uIRHoBxI. action and creator of the image, João Paulo de Oliveira, justified his de Oliveira, Paulo action and creator of the image, João for the footballer. choice several people in organized interventions. One of the organizers of the of the organizers One interventions. organized several people in comun. mídia consumo, são paulo, v. 12, n. 33, p. 12, n. 33, p. v. comun. mídia consumo, são paulo, to the present from time to time. For this reconstruction they use the this reconstruction they For to the present from time to time. bins, electric poles, and walls of streets in places such as bus stops, trash the city. all on the main thoroughfares of buildings, commercial for example, making interventions on the group’s intervention. An open the group’s for example, making interventions on words. work, to remember Umberto Eco’s take in the recent past, starting of an event ownership with de Fora Juiz it and bring memory their they rebuild and the player, of last goal the paint, the player’s face doesn’t have any specific traits, so what you see have any specific face doesn’t paint, the player’s It is profile. with the inside painted with the player’s then is the outline An im an image to see and understand city. while walking around the to room gives which it, recognize can Zico know who those only that age understandGuevara, Che into it turned or with it confused people why they posted on the video-sharing platform YouTube, were as follows: were as follows: video-sharing platform YouTube, they posted on the ( Guerilla” and love, paper, “spray, =ke1uIRHoBxI painted small posters in various parts of the city reproduced, and pasted Due to the effect of the face using spray. the player’s with the image of movement that the organizers themselves termed as “Zico Guerrilla” termed themselves that the organizers movement his peak face as it was during of the player’s hundred images about one of technique the using Gerais Minas of city the around scattered were stickers. 102

ARTIGO artistic strategy. aims to“populatethecity” bytheviewerofwhatartisthasrepresentedandthat representation sists ofmultiple redundancies. Andthisredundantcopyofafaceis it’s wrong”(OLIVEIRA,J.P., 2008). ers people.People itoffbecause agreewithZico,buttheywanttotake is alsoasourceofconflict.Theartistexplains:“thepastingprocessboth in theformofposterspastedwithbustplayerpublicspaces roleinthis,theurbanintervention the sportsidoltoplayanimportant com/watch?v=t3VEAddIPag. 6 5 bility networkthroughart.Oliveira wrotethefollowing relatedtothis: chosen tomarkthedifferences. Andatthe sametimetheyweaveasocia themselves in the use of common codes, and appreciate the symbols

Onthis,seethevideo“People thecities -Indifference” onYouTube: http://www.youtube. Interviewavailableatthesite: The paintedimageofZico’s face—this iconographicsymbol—con If thisapproachhastheaimofapproximationandusesimage The participants ofthe actioncometogether,meetpeers,exercise (OLIVEIRA, 2007,p.68). the metropolis the face of these our times. The city becomes a holder. across thecity forming multiple fragmentedandcoloredpanelsthatgive are producedcontinuously byyoungpeopleofvariouscharacteristicsand a discussion andinterferenceinthearchitectureofmetropolises.They tomeettogetheranddialog 1999:16),andpropose invitations (Gitahy viewer fromapassivepositionasmereconsumers,sothey are,aboveall, these discourses. try toremovethe Theseyouthgraphicmanifestations ors, textures,content,worldviews,andimaginaryworlds thatmakeup includes theseurbanyouthinterventionspresentedinvarious shapes,col centers and the potential of youth cultures. The fruit of daily life together Graffiti and to wheretheyarewalking,whichisonstreets(OLIVEIRA,J.P., 2008) increasing inspeedandthiscausespeoplesometimestonotpayattention withtheurbanspace.Ourlifeis time whenwearelosingsomecontact what Zicosymbolizes,butalsothequestion ofthecity, urbanlife,ata comun. mídiaconsumo, sãopaulo, v. 12,n.33,p. francisco ângelobrinati|denisedacosta oliveirasiqueira stickers http://www.youtube.com/watch?v=t3VEAddIPag are currentlyalmostsynonymousinthelargeurban 6 . Itisahumanization oftheurbanbyan 92-108 , jan./abr.2015 . 103 5 . - - - -

ARTIGO

- - shows in just over in just over shows , jan./abr. 2015 7 92-108 Zico Guerrilla , the group brings the myth of the idol, the hero, , the group brings the myth of the 8 times referred to as rooster) in stencil (graffiti). The images were spread times referred to as rooster) in stencil - Minas Gerais. de Fora of Juiz part of the city throughout the downtown The idea was to take advantage of the week before the last round of the a positive energy around 2009 Championship to generate Brasileirão of Flamen nickname the Tromba, Zico, Andrade, and Co. Incidentally, coach, is born and raised in this city! go’s The video is in honor of the 20th anniversary of Zico’s farewell. The match of Zico’s The video is in honor of the 20th anniversary Fluminense. x 0 5 1989. Flamengo 2, December on de Fora Juiz place in took face (some pasted with the Zico’s Urban guerrilla on which the posters are youth culture, production of feelings, and expression of affections and expression of feelings, production culture, youth Thus, when using the sticker as art to reproduce Zico’s face along the reproduce Zico’s Thus, when using the sticker as art to In the commentary about the video posted, João Paulo Oliveira Oliveira In the commentary about the video posted, João Paulo The pasting is done during the day when there is a lot of movement in during the day when there is a lot The pasting is done It is interesting to notice that the urban intervention extends into the extends intervention the urban notice that interesting to It is

Available on the website YouTube: http://www.youtube.com/watch?v=ke1uIRHoBxI. website YouTube: on the Available I “Recently Paulo. São in and Rio in same the did group the Fora, de Juiz to addition In comun. mídia consumo, são paulo, v. 12, n. 33, p. 12, n. 33, p. v. comun. mídia consumo, são paulo, 8 of Liberdade. He was there on Rua returned to SP and took a picture of Zico in its district that of Glória. I think I did in the district Augusta and in Rio on the street up to Santa Teresa, 2012). one in 2010” (OLIVEIRA, J.P. streets of Juiz de Fora streets of Juiz 7 explains: the downtown streets with people and buses passing alongside the boys buses passing alongside the boys streets with people and the downtown but not hidden. and discreet, The process is quick pasting the images. recognized can be Getúlio Vargas Av. Rua Halfeld, Independência, Av. business area spaces of the city’s in the images of the video as high-traffic the posters. that were chosen to receive bus stops at eye level, on trash bins, and on other urban supports of the on trash bins, and on other urban bus stops at eye level, Jorge In the background black ink on white paper. images made with who will take close to the goal area. Guess kick. the free Ben sings “Foul 10 from Gávea”. to be number going It’s space of YouTube to go beyond the frailty of the paper pasted to the post the paper pasted the frailty of to go beyond space of YouTube video The to the weather. and exposed last the image of Zico’s the intervention: a summary of four minutes on poles near of posters on the floor, pasting them goal, the production 104

ARTIGO they arethetrappingofatime goneby. andmonumentscity; statues areportraitsofatimethatdoesnotpass, withthe Graffiti andstickersareephemeralexpressionofthe contact ments officially planted in public spaces, has a role in building models. andmonuand othernon-official alongwiththestatues manifestations, withgraffiti,stickers, are producedandshared in public space. Contact idated, andfromthenarrativesonwhichsocial meanings aboutit stem from their lifeexperiences,from the modelon which itisconsol concretely everyday, individualsthatalso constructrepresentations is apublicfigurewidelyacceptedandadmired byamajority. mercial intent,generates conflict.Itviolateseveniftheobjectdepicted urban art,donesowithoutapplyingforapublicpermit, withoutcom thing thatisoutofplace,trashshouldbecleanedandremoved.So, residents whoseeinthestickersadisharmony intheurbanset,some two decadesago;andatthesametimeittriggersdisdain fromothercity ofsomeonewhomeantemotions lete; ittriggersasetofrepresentations these elements.Ittriggersthepleasureofseeing againanadmired ath with theimagerecreatedofaformerfootballidol,itbringsrisetoall andthespaceswheretheylive. inhabitants model, building tiesofbelongingorgenerating conflictsbetweenthe offorming theurban task ontheimportant forms ofartinthestreettake flict, findcommoninterests,andshareidentities.Inthiscontext,the codes, alongwithgoodandbadaffections.Init,citizens comeintocon Urban spaceisalsoamedia spaceinthat itexposes,sharesinformation, Final considerations who identifywiththeimageandmeaning thatitexpresses. back totheforefrontandrescuesasawinning memoryforsomefans glomeration, bythespeed, pollution,theneedtodiscipline yourselfand Simmel alwaysreminds us.Thus,peopleare transformedbytheag When livinginthecity, walkingthroughitsstreets,toperceive it When agroupofyoungpeoplecometogethertopastesmallposters The city interferesinpeople’s lives. Itisemotionallydemanding, as comun. mídiaconsumo, sãopaulo, v. 12,n.33,p. francisco ângelobrinati|denisedacosta oliveirasiqueira 92-108 , jan./abr.2015 105 ------

ARTIGO - - - - intervention done in , jan./abr. 2015 92-108 Zico Guerrilla youth culture, production of feelings, and expression of affections and expression of feelings, production culture, youth This is what we observed in the Perhaps Maffesoli (1987) gives us a key to reflect on about these Maffesoli (1987) gives us a key to reflect on about Perhaps Using the image of a myth—an above-average player, a “”, Using the image of a myth—an above-average Joining residents around a creative intervention constitutes an exer residents around a creative Joining

comun. mídia consumo, são paulo, v. 12, n. 33, p. 12, n. 33, p. v. comun. mídia consumo, são paulo, with the sole function of reaffirming the feeling that a certain the feeling function of reaffirming with the sole group has. de Fora December 2009. The gathering of people in the streets of Juiz issues when he writes that “a common subjectivity, a shared passion” subjectivity, issues when he writes that “a common this “postmodern tribalism or neo-tribalism”. for the idol is what unites there is no concrete to groups is always fleeting, Even so, the joining It has to do continuity. ensure their objective in these meetings that will friendship that come together ritualistically with networks of sporadic portant footballer, and this is explored in the stickers pasted up in Juiz de portant up in Juiz footballer, and this is explored in the stickers pasted but what So, perhaps the sticker bothers people or is out of place, Fora. too? What is the place of the sticker about the player, is he bothersome image? with the player’s the materiality of the work pasted on the wall. the materiality of the work pasted on effect on the construction/produc a hero of the football fields—has an that to recognize of certain how tion of meanings indicating residents manifestation.that puts him as an im a biography The athlete Zico has only unites men to things, but what unites men among themselves, in men among themselves, but what unites men to things, only unites race, is and daily hardships of the human level of happiness the lowly this affective representationthe empire of because it is lived, which is the images” (1988, p. 106). The representation lived is of the affection to perpetuate these works in the imagination more than what is going then can generate a result that is not lasting: graffiti fades away, can be fades away, a result that is not lasting: graffiti then can generate gets wet, crumbles, over while the sticker removed, can be spray-painted can be pasted over it. and other posters As Durand wrote, “reason and science of bonds. of strengthening cise be on guard to protect yourself. At the same time they also transform time they also At the same to protect yourself. be on guard in working together that require activities Urban interventions, cities. of youth sociability in new forms themselves manifest the production, than by statutes. by affective affinities guided more imply in a par They of the intervention—which a “cause”—the execution joining ticipation, 106

ARTIGO CANEVACCI, M. CANCLINI, N.G. CAIAFA, J. Vozes, 1995. 1973. p.26-67. urbano. In:VELHO,O.G.(Org.). PARK, humano no meio R. A cidade: sugestões para a investigação do comportamento nicação, mídiaeconsumo OLIVEIRA, R.C.A.Estéticasjuvenis: intervençõesnoscorposenametrópole. anos 60/70emJuiz deFora. SãoPaulo: Nankin,2008. MUSSE, C.F. massa. 3.ed.RiodeJaneiro: Forense Universitária, 1987. MAFFESOLI, M. Salton Peretti. Petrópolis: Vozes, 2009. LE BRETON, D. v. 4,n.7,p.19-36,2003. ___. Aconstruçãodenarrativas de idolatria no futebolbrasileiro. HELAL, R.Futebol,culturaecidade. GITAHY, C. trix: Edusp,1988. DURAND, G. neiro: Pinakotheke,1982. DAMATTA, R.(Org.). urbana. SãoPaulo: Studio Nobel,1993. BERGER, P. T.; LUCKMANN,T. References of theaction. there. Somestillremainonthecity’s walls.YouTube carriestherecord reproduce feelingsfromaffections.Mostoftheimagesarenolonger a reflectionofyouthculturesinurban interventions thatproduceand be understoodasasocializing event,ofinteraction,effervescence, around thereproductionofZico’s imagesthroughtheartofstickerscan Aventura dascidades comun. mídiaconsumo, sãopaulo, v. 12,n.33,p. O que égraffiti francisco ângelobrinati|denisedacosta oliveirasiqueira Imprensa,culturaeimagináriourbano A imaginaçãosimbólica. As paixões ordinárias O tempodastribos Imaginários urbanos A cidadepolifônica O universo dofutebol O universo , SãoPaulo, v. 4,n.9,p.63-86,2007. . SãoPaulo: Brasiliense,1999. : ensaioseetnografias.RiodeJaneiro: FGV, 2007.

A construçãosocialdarealidade. O fenômenourbano : odeclínio doindividualismo nas sociedades de Logos Trad. ElianeFittipaldi Pereira. SãoPaulo: Cul : ensaiosobreaantropologiadacomunicação : antropologia das emoções . 3.ed.BuenosAires:Eudeba,2007. , RiodeJaneiro, v. 5,n.2,p.5-7,1997. : esporteesociedade brasileira. RiodeJa : exercício dememóriasobreos . 2.ed.RiodeJaneiro: Zahar, Alceu 92-108 . Trad. LuisAlberto

12. ed.Petrópolis: , RiodeJaneiro, , jan./abr.2015 Comu

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ARTIGO - - Con Simmel, . São Paulo: . São Paulo: O fenômeno O fenômeno O fenômeno : o rádio e a e rádio : o http://www.youtube.com/ http://www.youtube.com/ Povoar as cidades - indife Povoar , jan./abr. 2015 92-108 . Acesso em: 28 out. 2014. In: VELHO, O. G. (Org.). In: VELHO, : cultura e sociedade no Brasil e em Portugal. no Brasil e em Portugal. : cultura e sociedade Cariocas do brejo entrando no ar entrando brejo do Cariocas Comunicação, narrativas e culturas urbanas Comunicação, narrativas . São Paulo: Ática, 1983b. p. 165-181. Ática, . São Paulo: . Acesso em: 28 out. 2014. . Acesso em: 28 out. 2014. Antropologia urbana Simmel, sociologia , Rio de Janeiro, v. 9, n. 2, dez. 2011. v. , Rio de Janeiro, . São Paulo: Ática, 1983a. p. 122-134. Ática, . São Paulo: . 2. ed. Rio de Janeiro: Zahar, 1973. p. 68-89. . 2. ed. Rio de Janeiro: . 2. ed. Rio de Janeiro: Zahar, 1973. p. 11-25. Zahar, de Janeiro: . 2. ed. Rio . Juiz de Fora: Facom/UFJF, 2008. Disponível em: Facom/UFJF, de Fora: . Juiz youth culture, production of feelings, and expression of affections and expression of feelings, production culture, youth

comun. mídia consumo, são paulo, v. 12, n. 33, p. 12, n. 33, p. v. comun. mídia consumo, são paulo, OLIVEIRA, J. P. de. Entrevista concedida para o vídeo de. Entrevista concedida OLIVEIRA, J. P. rença watch?v=t3VEAddIPag 2012. ___. Entrevista em 13 nov. concedida Vídeos: 2008. Disponível em: Facom/UFJF, de Fora: Juiz – indiferença. POVOAR as cidades http://www.youtube.com/watch?v=t3VEAddIPag 10 da Gávea. Disponível em: ZICO guerrilha – o camisa watch?v=ke1uIRHoBxI Entrevistas: temporânea VELHO, G. (Org.). Jorge Zahar, 2002. 2. ed. Rio de Janeiro: In: VELHO, G. O. (Org.). e categorias de cidade. WEBER, M. Conceito urbano sociologia pura ou formal. In: MORAES FILHO, – um exemplo de sociologia ___. Sociabilidade E. de (Org.). na cidade. C. O. Dança na rua: arte, representação D. da e comunicação SIQUEIRA, R. In: BORELLI, S.; FREITAS, Educ, 2009. p. 119-138. da Vila: espaço e representações da universidade. no entorno ___; REAL, L. Vozes RODRIGUES, F. L.; FARIA, M. C. B. M. C. FARIA, L.; F. RODRIGUES, 2012. UFJF, de Fora: Juiz juizforana (1940-1960). construção da identidade televisão na p. 260. vida mental. G. A metrópole e a SIMMEL, urbano FILHO, E. de (Org.). do conflito. In: MORAES ___. A natureza sociológica 108

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