Identité(S), Marginalité(S) Dans Le Monde Occidental Contemporain
Total Page：16
File Type：pdf, Size：1020Kb
18/08/2020 Women, migrations and rock without borders Mémoire(s), identité(s), marginalité(s) dans le monde occidental contemporain Cahiers du MIMMOC 21 | 2020 : Circulations migratoires féminines dans l'espace hispanique et lusophone contemporain: vers une émancipation Women, migrations and rock without borders1 P GUERRA Résumé Abstract: This article addresses a musician’s life history – Brazilian born woman musician, Flávia Couri – and, particularly, her emigration experience, in how it relates music, to punk’s globalization, to local and trans-local musical scenes. We recognize the importance of these dynamics by analysing an interview with the musician, focusing on her discourse about her own journey and circumstances of emigration. The discussion about emigration touches on the following points: the causes and the rationales of emigration; the life in the new location, challenges, successes and identity reconstruction of the emigrant; and a possible return to the ‘tribe’ at the country of origin. The line of discourse analysis used is attentive to the actual context of the discourse, meaning its conditions of production and reception. Through this analysis, we were able to follow, explain and understand this woman’s migrant trajectory and how that path was always accompanied by a soundtrack of which she was the creator and audience, attempting to show the possibilities that music offers for identity construction and reconstruction, as well as providing reasons and contexts for migration. Entrées d’index Aires géographiques : Geographical area: Brazil, Denmark Périodes : Period: XX-XXI Century Thèmes : Keywords: migration, rock music, women, identity, transglobal sounds. https://journals.openedition.org/mimmoc/4458 1/13 18/08/2020 Women, migrations and rock without borders Texte intégral Introduction 1 It has been nearly four decades since the punk movement first came into being and, since then, it has changed deeply at different levels. One key aspect of this transformation has to do with how punk has been globalized and appropriated differently by urban youth around the world. This dynamic fits within a new framework of music bonds and identities, in a space and time which are translocal, marked by networks and mobility. In this article, we address a musician’s life story, and particularly an emigration experience, in how it relates music, to punk’s globalization, to local and trans-local musical scenes. We discuss the importance of all these dynamics in the emigration of a Brazilian born musician, Flávia Couri2, using an interview to analyse her discourse about her journey and circumstances of emigration This discussion about emigration is structured as follows: the causes and the rationales of emigration; the life in the new location, challenges, successes and identitary reconstruction of the emigrant; and a possible return to the “tribe” at the country of origin. Through discourse analysis, we were able to follow, explain and understand this woman’s migrant trajectory and how that path was always accompanied by a soundtrack of which Flávia was always the creator and audience. We took advantage and adapted the distinction between what the Dictionary of Discourse Analysis characterizes as “two complementary faces of a common object, seen as text when taken by textual linguistics – which privileges the organization of co-text and cohesion as linguistic coherence […] – and by discourse analysis – more attentive to the context of verbal interaction”; the discourse being, therefore, “conceived as the inclusion of a text in its context (= conditions of production and reception)3”. In this case, the focus of this article is on this second line of analysis4. Transglobal Sounds, Identities and Migrations 2 Contrary to the traditional idea of cultural identities – which speaks of solid and fixed selves, umbilically related to a territory and collective history – nowadays we must take into account the volatility of these identities. This increasingly volatile nature stems from a flux of social uprooting, constant technological innovation, the physical mobility of goods and ideas – all of which are deeply rooted in late modernity. This volatility is often brought into focus in the plasticity of human beings and the provisional nature of social roles and bonds5. Crane’s perspective on this is6, of course, of the utmost importance. Global music culture, spread through media conglomerates, is mostly centred in English speaking countries, with the repertoires of major labels focusing ever more on a small number of international stars. There is then a renovated model of “media imperialism” based on global capitalism. Simultaneously we thus have globalisation and localisation in a complex web of network flows, showing progressive cultural homogeneity whilst ensuring that identity and specific values are ever more crucial in understanding popular music7. All of this takes place in a progressively more interconnected world, in which people, music and ideas circulate on a scale and at a speed never seen before8, thus moving away from the dichotomy of “monolithic mainstream vs resistant subcultures”9. 3 Let us look now at the case of punk music. From London and New York, punk spread to other cities, countries and regions. It was built gradually as popular geopolitical culture, integrated numerous variations, and spatialised music styles. This double movement of globalisation and localisation emphasises the nature of punk as an assemblage of pieces of cosmopolitan transglobal popular culture in a chaotic and https://journals.openedition.org/mimmoc/4458 2/13 18/08/2020 Women, migrations and rock without borders paradoxical mix. It combines aesthetics, music, images, texts and landscapes and articulates both specificity and hybridism10. As Guerra & Bennett pointed out11, punk rock has become a global mediascape – that is, a gathering of characteristics which mixes practices and configures a certain kind of cultural capital and a habitus which is dominant in the field of popular music12. The global influence of the aesthetics and sounds of rock in the production of music projects on a local scale is a supreme demonstration of the cultural production logic which is characteristic of globalisation13. In different countries, rock has appeared as a reproduction of the styles introduced to them, or as the creation of hybrid styles in which musicians combine local memories and global elements. The construction of these local rock styles is then placed in a strategy that is characteristic of social identity construction processes, in two spaces of cultural practice: the field of popular music and the field of national and local identity14. The Right Place for Flávia in Music 4 Connecting with rock music (and, in particular, punk music) at a young age, often leads to it playing a crucial part in the development of the personality and the establishment of an artistic and counterculture identity. Flávia Couri is a 39-year-old woman and rock musician, originally from Brazil. She has a real passion for music and is extremely aware of the importance music had in the construction of her identity. It was music that opened the door for all her cultural baggage, with which came the counterculture. As she said: I cry listening to music; music really touches me a lot since I was seven or eight years old. For me, as I always felt a little different from normal and my schoolmates, for example, music was totally where I managed to create my whole personality and understand where my discontent and my feeling differently came from. It was through music that I discovered myself as an artist and counterculture. 5 Flávia started listening to music at nine or ten years old, at time when Guns N’ Roses music was playing everywhere, a band that she now describes as “one of the most anti- punk bands of rock n’ roll”, but as young girl she thought their attitude was pretty punk. Then came grunge, which she recons has a very do-it-yourself attitude, as well as punk, and it had a very strong influence on her. As a twelve-year-old she got hooked on Ramones and saw them live, which she signals as an important moment of experiencing new things, of differentiation from her peers and finding her people. When I went to a Ramones concert, I was thirteen, in Rio de Janeiro, the show was packed and there were people hanging from the ceiling, which was a canvas from the circus. […] That’s when I discovered that I wasn’t alone, that it was only at my school that there were no punk people. […] From that day on I said that this is what I wanted to do and twenty-three years later I am here doing it (laughs). This was also the first time that I smoked marijuana, for example, so it was a situation of adolescent experiences and it was a libertarian event, where I met several people. 6 This process of discovering new bands, going out and finding people she could relate with more, was definitely a process of identitary construction grounded up in music15. Also, these habits allowed her to set the foundation on which she would later build her place in life, as a musician in that scene. To make it as a musician, Flávia points out, “it is important to go out, get to know the venues and the people, establishing contacts”. 7 Nowadays, Flávia has an established musical career, having, since a young age, started playing acoustic and bass guitar, formed bands with friends and, through the years, achieving moderate success and later playing for established bands and with famous musicians. When I was seventeen, I started my first professional band. I was the only girl and we began playing at some bars in the university circuit in Rio de Janeiro and band made a name for itself and lasted five years. After that band I was invited to be a side woman, playing bass with a Brazilian composer called China.