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Newman Gregorio Newman Gregorio SAMBA-ROCK – EXPRESSÃO ARTÍSTICA CULTURAL AFRO-PAULISTANA Trabalho de conclusão do curso de Pós-graduação em Gestão de Projetos Culturais e Organização de Eventos, realizado sob a orientação da Prof.ª Dra. Joana Rodrigues CELACC/ECA-USP 2013 Newman Gregorio1 SAMBA-ROCK– EXPRESSÃO ARTÍSTICA CULTURAL AFRO-PAULISTANA CELACC/ECA-USP 2013 1 Graduado em Administração pela Faculdade Zumbi dos Palmares. Este artigo foi redigido como trabalho de conclusão do curso de pós-graduação lato sensu em Gestão de Projetos Culturais e Organização de Eventos, organizado pelo Centro de Estudos Latino-Americanos sobre Cultura e Comunicação, da ECA/USP, no ano de 2013, sob a orientação da Prof.ª Dr.ª Joana Rodrigues. Sumário Resumo ...................................................................................................................................... 5 Introdução .................................................................................................................................. 6 Uma expressão afro-brasileira ................................................................................................... 6 Música ........................................................................................................................................ 7 Espaços, locais e ambientes para praticar a expressão artística cultural Samba-rock ............ 8 Uma história de perseverança por profissionais ao Samba-rock ............................................. 11 Considerações finais ............................................................................................................... 16 Referências Bibliográficas .......................................................................................................17 RESUMO Samba-rock é uma expressão artística cultural afro-paulistana, que tem seu estilo musical particular e em sua forma de dançar movimentos igualmente particulares. O objetivo desse artigo, a partir de uma percepção sobre o Samba-rock é mostrar que essa manifestação artístico-cultural pode ser consagrada como parte da cultura de São Paulo, por sua maneira de se dançar já estar enraizada, além de seu estilo musical estar difundido pelo Brasil. Palavras-chave: SAMBA-ROCK - CULTURA – DANÇA AFRO-PAULISTANA ABSTRACT Samba-rock is an artistic expression cultural african-São Paulo, which has its particular musical style and his way of dancing movements also individuals. The purpose of this article, from a perception of the Samba-rock is to show that artistic and cultural expression can be established as part of the culture of São Paulo, for his way of dancing is already rooted, and his musical style being widespread in Brazil. Keywords: SAMBA-ROCK - CULTURE – DANCE – AFRICAN PAULISTANA RESUMEN Samba-Rock es una expresión artística y cultural afro-paulistana, que tiene su estilo musical particular y en su forma de bailar igualmente particulares. El objetivo de este artículo, a partir de la percepción sobre la Samba-rock, es mostrar que esa manifestación artística y cultural pueda ser consagrada como parte de la cultura de São Paulo, por su manera de bailar ya tener sus raíces más allá de su estilo musical, siendo conocida por varias partes de Brasil. Palabras Clave: SAMBA-ROCK - CULTURA – DANZA - AFRO- PAULISTANA Introdução Ao aguçar o olhar sobre a cidade de São Paulo é possível perceber, no centro e principalmente nas periferias, uma expressão artística vigorosa que forma um conjunto de identidades: corporal, musical e étnica. Esse conjunto de identidades se expressa pelo corpo em movimento, mas que se transforma em uma linguagem polissêmica, em que as diferentes culturas negras brasileiras se manifestam e se reelaboram. A essa expressão dá-se o nome de Samba-rock, em seu contexto cultural afro-paulistano. Esta pesquisa pretende demonstrar alguns dos elementos que sustentam o Samba-Rock. Para isso, destacam-se nesta investigação alguns dos pilares já sólidos para essa expressão artística cultural afro-paulistana. Dentre esses pilares que existem no Samba-Rock destacam-se nesta investigação: - A música, compositores e cantores para o desenvolvimento desta expressão artístico-cultural. - Os bailes ocorridos nas décadas de 60, 70, 80 até os dias atuais e o seu surgimento nas residências das famílias. - Os instrutores e professores de dança especialistas na modalidade que transmitem essa expressão artístico-cultural. Uma expressão afro-brasileira A expressão Samba-rock é usada pela primeira vez por Jackson do Pandeiro, na música Chiclete com Banana, de Gordurinha: Na busca das raízes desta nova musicalidade, Jackson poderia ser considerado o primeiro músico de que se tem registro em empregar o termo Samba-rock. Contudo o disco lançado em 57 do Violinista Bola Sete, E aqui está bola sete, pela gravadora Odeon, já trazia na sua ficha técnica a faixa “Bacará” (...) a menção ao samba-rock como gênero musical. (OLIVEIRA, 2006, pág. 7) Na primeira metade da década de 70 o Samba-rock recebeu diversos nomes como Sambalanço, Swing, Rock Samba, e finalmente Samba-rock por causa do lançamento da primeira coletânea com músicas que eram tocadas nos bailes de Samba-Rock e regravadas especialmente para estes bailes. 6 A primeira coletânea lançada em 1978 e que se chamava Samba-rock, o Som dos Black`s, deu início a uma nova era para o Samba-rock onde eram regravados vários sucessos de bailes da época. O acesso a essas músicas era difícil porque esse gênero estava fora da mídia e a distribuição dos primeiros discos era precária. Assim, o gênero era mais difundido na capital paulistana e em alguns poucos Estados. Porém, apesar de mais difundido na cidade de São Paulo, havia uma identidade em relação ao Samba-rock: como ritmo musical, era mais difundido e realizado na Baixada Fluminense, no Rio de Janeiro, o Afro-fluminense; como dança, estava mais fomentado em São Paulo, conhecida como a dança afro-paulistana. Assim, a música fluminense e a dança paulistana paulatinamente vão se encontrando e tomando corpo em São Paulo. Música A música do Samba-rock atingiu o auge nas décadas de 70 e 80, nos bailes Black da periferia. Em São Paulo, os bailes ocorriam ao som de Trio Mocotó, Copa 7, Os Brasas, Luiz Vagner Guitarreiro, Branca Di Neve, Carlos Dafé, Dhema, Abílio Manoel e Hélio Matheus. Em 1970, Jorge Ben Jor se une ao Trio Mocotó, lançando Muita Zorra, disco que trazia hits do Samba-rock e duas músicas de Roberto e Erasmo Carlos (Coqueiro Verde e O Sorriso de Narinha). O Samba-rock atingiu sua maior força com os compositores Bebeto, Bedeu e Luís Vagner, considerados por alguns como os verdadeiros representantes desse gênero musical. Outros compositores contribuíram para que o ritmo permanecesse vivo até hoje, entre eles, Carlos Dafé, Wilson Simonal, Marku Ribas, Hildon, Itamar Assunção e Branca di Neve. Nas décadas de 80 e 90, o Samba-rock passou praticamente fora do interesse da grande mídia, mas nunca desapareceu. Dançante, se tornou a expressão corporal da periferia de São Paulo. Tornou-se também a possibilidade dos negros paulistanos, que não podiam frequentar os bailes das grandes orquestras, no final dos anos 50, encontrarem a sua própria expressão. No entanto, o Samba-rock traz em seu interior questões que vão muito além da expressão artística: O termo (samba-rock), em sua própria estrutura, remete exatamente à ideia da fusão musical entre a música brasileira e a estrangeira, encerrando em si tensões e conflitos não só estéticos, mas também sociais e ideológicos. Este também seria o nome mais utilizado atualmente, dentro do cenário musical contemporâneo que presencia o (re)aparecimento de vários artistas que 7 enquadram seu trabalho como samba-rock, em referência ao processo de redefinição destes produtos musicais por parte das gravadoras e também por parte de seus públicos, em processo de reconfiguração. (OLIVEIRA, 2006, pág. 2) Espaços, locais e ambientes para praticar a expressão artística cultural Samba-Rock Na periferia de São Paulo, ao longo dos anos 70 e 80, os bailes de Samba-rock continuavam tocando as músicas, que apareciam aqui e ali em coletâneas vendidas em lojas do centro da cidade de São Paulo. Porém, os discos ainda tinham uma distribuição deficiente. Porém, as músicas eram bastante tocadas em bailes da periferia de São Paulo, onde os primeiros DJs faziam do estilo uma narrativa. Nesses bailes desenvolveu-se também um jeito próprio de se dançar, baseado nos rodopios do Twist americano, da fusão de Samba-Maxixe com Rockabilly, o Jazz e o Soul. Uma miscelânea que abriria um estilo de dançar característico do Samba-rock. Na década de 60, marcado pela coexistência do Samba pós Bossa Nova, configurado pelo Samba-Jazz, o fino da bossa, a bossa americanizada de Sérgio Mendes e da Jovem Guarda de Roberto Carlos e Erasmo Carlos, surge o cantor Jorge Ben Jor, com um samba meio misturado, uma levada diferente de violão, um violão de 10 cordas por sinal. O próprio Jorge Ben chegou a tocar samba com maracatu, uma espécie de samba misturado com o Rock, acompanhado pelo Trio Mocotó. Seu violão encontra a levada de percussão com mais característica ao que iriam chamar hoje de Samba-rock. Com a cuíca, o pandeiro, a timba, o banjo, o surdo, o reco-reco na levada do samba, Jorge Ben Jor fez com que a sua música chegasse a outros movimentos da época como a Jovem Guarda (Roberto Carlos, Erasmo Carlos, Jair Rodrigues e outros) a Bossa Nova (João Gilberto, Tom Jobim, Vinícius de Morais e outros) e o Tropicalismo (Gilberto Gil, Caetano Veloso, Rita Lee, Tom Zé entre outros). Por isso ele é considerado o ícone
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