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UNIVERSIDADE DE BRASÍLIA – Unb INSTITUTO DE CIÊNCIAS SOCIAIS PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS COMPARADOS SOBRE AS AM UNIVERSIDADE DE BRASÍLIA – UnB INSTITUTO DE CIÊNCIAS SOCIAIS PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS COMPARADOS SOBRE AS AMÉRICAS OUTROS TERRITÓRIOS DA CUMBIA: CONSOLIDAÇÃO DA CUMBIA PERUANA COMO GÊNERO DE MÚSICA POPULAR Bibiana Soyaux de Almeida Rosa Brasília, abril de 2018 OUTROS TERRITÓRIOS DA CUMBIA: CONSOLIDAÇÃO DA CUMBIA PERUANA COMO GÊNERO DE MÚSICA POPULAR Texto apresentado ao Programa de Pós-Graduação em Estudos Comparados sobre as Américas da Universidade de Brasília para a defesa de dissertação de mestrado. Linha de Pesquisa: Desenvolvimento, Globalização e Regionalização nas Américas Orientadora: Profª. Drª. Lília Gonçalves Magalhães Tavolaro. Brasília, abril de 2018 Outros Territórios da Cumbia: consolidação da cumbia peruana em gênero de música popular Bibiana Soyaux de Almeida Rosa Banca Examinadora: Profª. Drª. Lília Gonçalves Magalhães Tavolaro (ELA - UnB) Prof. Dr. Cristhian Teófilo da Silva (ELA - UnB) Prof. Dr. Edson Silva de Farias (SOL - UnB) Prof. Dr. Leonardo Cavalcanti da Silva (ELA - UnB) RESUMO Os processos de globalização e de modernização tensionaram e promoveram distintas formas de manifestações culturais nas sociedades contemporâneas. No que diz respeito à música, tais processos modificaram de forma contundente as maneiras de se fazer, produzir e consumir música. Considera-se que o desenvolvimento e consolidação de gêneros de música local e popular na América Latina são indicativos de como diferentes espaços – rurais e urbanos – e diferentes referenciais culturais se relacionam em situações diversas de globalização. Nesta perspectiva, essa dissertação tem como objetivo compreender a consolidação da cumbia peruana em gênero de música popular nacional. Decorrente da reterritorialização da cumbia colombiana em solos peruanos, este gênero compôs uma dimensão social atravessada e demarcada por expressões do local, do nacional e do global no país. A consolidação da cumbia peruana sucedeu-se na esteira de fenômenos sociais e culturais que modificaram o panorama musical do Peru. Assim, compreendendo a cumbia peruana como manifestação de uma cultura mundializada, abordarei os diferentes elementos sociais que lhe informaram e lhe constituíram como fenômeno musical significativo da música popular peruana. Para tal, essa pesquisa se organizou a partir dos seguintes debates teóricos: as relações entre arte, cultura e globalização; a atuação das industrias culturais na América-Latina e a constituição de espaços interculturais no continente a partir da globalização. Depois, situei a consolidação da cumbia colombiana em gênero de música popular do país e sua posterior popularização na América-Latina, o que lhe caracterizou como gênero de música transnacional. Por fim, realizada a pesquisa de campo e a leitura de bibliografia especializada, realizou-se a análise da cumbia peruana a partir da cena musical constituída em Lima. Utilizando entrevistas com produtores musicais e musicistas que atuaram na cena da cumbia entre a década de 1960 e 1970, construí um esboço dos primeiros anos da consolidação da cumbia peruana. ABSTRACT The processes of globalization and modernization have stressed and promoted different forms of cultural manifestations in contemporary societies. With regard to music, such processes have strongly modified the ways in which music is produced, practiced and consumed. I consider that the development and consolidation of local and popular music genres in Latin America are indicative of how different spaces - rural and urban - and different cultural references are related in different contexts of globalization. In this perspective, this dissertation aims to understand the consolidation of the peruvian cumbia as a genre of national popular music. Due to the reterritorialization of colombian cumbia in peruvian soils, this genre composed a social dimension crossed and demarcated by expressions of local, national and global through the country. The consolidation of the peruvian cumbia succeeded in the wake of social and cultural phenomenas that modified the musical panorama of Peru. Therefore, understanding peruvian cumbia as a manifestation of a globalized (mundializada) culture, I will approach the different social elements that informed it and constituted it as a significant musical phenomenon of peruvian popular music. For this purpose, this research was organized from the following theoretical debates: the relations between art, culture and globalization; the performance of cultural industries in Latin America and the creation of intercultural spaces on the continent out of globalization. Then, I placed the consolidation of colombian cumbia into a genre of popular and tropical music in the country and its subsequent popularization in Latin America, which characterized it as a transnational musical genre. Finally, as the field research went on and with the reading of specialized bibliography, the peruvian cumbia was analyzed from the musical scene constituted in Lima. Using interviews with music producers and musicians who worked on the cumbia scene between the 1960s and 1970s, I constructed an outline of the early years of the consolidation of Peruvian cumbia. RESUMEN Los procesos de globalización y de modernización promovieron distintas formas de manifestaciones culturales en las sociedades contemporáneas. En lo que se refiere a la música, tales procesos han modificado de forma contundente las maneras de hacer, producir y consumir música. Se considera que el desarrollo y consolidación de géneros de música local y popular en América Latina son indicativos de cómo diferentes espacios – rurales y urbanos – y diferentes referencias culturales se relacionan en situaciones diversas de globalización. En esta perspectiva, esta disertación tiene como objetivo comprender la consolidación de la cumbia peruana cómo género de música popular nacional. Tras la reterritorialización de la cumbia colombiana en suelos peruanos, este género articuló una dimensión social atravesada y demarcada por expresiones del local, del nacional y del global en el país. La consolidación de la cumbia peruana se sucedió en la estera de fenómenos sociales y culturales que modificaron el panorama musical del Perú. Así, comprendiendo la cumbia peruana como manifestación de una cultura mundializada, abordaré los diferentes elementos sociales que le informaron y le constituyeron como un fenómeno musical significativo de la música popular peruana. Para ello, esa investigación se organizó a partir de los siguientes debates teóricos: las relaciones entre arte, cultura y globalización; la actuación de las industrias culturales en América Latina y la constitución de espacios interculturales en el continente a partir de la globalización. Después, sitúo la consolidación de la cumbia colombiana en género de música popular del país y su posterior popularización en América Latina, lo que le caracterizó como género de música transnacional. Por último, realizada la investigación de campo y la lectura de bibliografía especializada, se realizó el análisis de la cumbia peruana a partir de la escena musical constituida en Lima. Utilizando entrevistas con productores musicales y musicistas que actuaron en la escena de la cumbia entre la década de 1960 y 1970, construí un esbozo de los primeros años de la consolidación de la cumbia peruana. AGRADECIMENTOS Essa pesquisa não teria sido realizada sem o apoio financeiro da bolsa de mestrado concedida pela CAPES. Somado a isso, o apoio institucional e financeiro que me foi concedido pelo Programa de Pós-Graduação em Estudos Comparados sobre as Américas foi essencial para que os rumos desta pesquisa tenham sido os mais favoráveis e promissores quanto a seus resultados – mesmo com a vida acontecendo e colocando obstáculos no caminho. Contar com uma rede de apoio que envolveu funcionários, colegas e professores foi essencial no processo de tornar-me pesquisadora – condição que descobri diversas vezes ser solitária e angustiante. Além do suporte emocional, contar com auxílios financeiros para realizar viagens, dentro e fora do país, foi condição sem a qual essa pesquisa não contaria com a profundidade reflexiva, referencial teórico e dados empíricos com os quais se constituiu. Escrevendo agora estas últimas-primeiras linhas de minha dissertação, fica mais que óbvia a importância do investimento financeiro, de apoio e de condição de trabalho para aquelas e aqueles que executam a pesquisa acadêmica no país sintam-se valorizados. Dito isso, começar o mestrado no primeiro semestre de 2016 – ano que inaugurou o cenário político instável no qual vivemos e o desmonte sucessivo de garantias sociais no Brasil – deu o tom para a minha trajetória pessoal neste período. Lidar com as obrigações do mestrado e com os desafios da pesquisa enquanto o Brasil passava por tais momentos críticos não foi fácil. Não poderia escrever essa sessão de agradecimentos sem antes expor o impacto que os acontecimentos sociais e políticos do país tiveram na minha vida pessoal, financeira e emocional. Licenciada em História pela UnB, dividida até então apenas entre carreira de docência no ensino básico e a carreira acadêmica, e testemunhando os sucessivos cortes de verba nos mais diferentes níveis da educação brasileira, fui tomada pelo pessimismo durante estes dois anos. Nesse sentido, seguir com a pesquisa, acreditar que a pesquisa social é relevante, sentir-me satisfeita onde eu estava e conseguir escrever esse texto final, em meio ao caos político instaurado no país, foi tarefa hercúlea, que não teria conseguido sozinha. Como diria David
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