Os motivos das guitarras amazonenses: diálogos culturais e invenções entre fronteiras

Abstract

In the 1980s, with the phonographic records of Gravasom, and other national record labels, an opportunity was opened to compile and safeguard the sound production of the Amazon musical movement nowadays called Beiradão. This musical movement is permeated by a variety of structural elements derived from a set of possibilities and cultural exchanges that the Amazonian border between the Caribbean, Guyana and other surrounding countries provide, as well as the references present in the national music production. Therefore, it sought to problematize the poetics of the guitarists from the Beira, André Amazonas, Raimundo Magalhães and Ozeas Santos, and for a better understanding of this scenario there was a search for a contextualization of the environment in which the characters of the research began to develop their trajectories in the musical scope, in the festivities of the beiradões, whose sound repertoire was strongly influenced by radio programming according to the report of the research collaborators. The general objective of the research is to understand the socio-cultural and musical relations present in the life trajectories and musical productions of the guitarists of the Beiradão, and specifically the discussion about the socio-cultural relations present in the context in which they found themselves, through the fieldwork there was a record of the reports of the research participants who followed the methodology of oral history. Finally, there was a compilation of phonographic records that provided material for musical analysis based on a literature that involves musical theory and studies of popular music. It is a fact that all the production performed by the three guitarists in the 1980s in the ambit of the phonographic industry sought support in the cultural manifestations that were already established in the festivities of the borders of the Amazon rivers. Therefore, a reflective and analytical view of these practices and their records is pointed out, with the aim of examining their transformative and iventive character, originated from the concrete experience of their creators, which can be seen from the perspective of the concept of Lévi-Strauss’s bricouleurs and Bourdieu's habitus. One of the results obtained along the course of the field and his interviews was given by the quote of the drill concept made by Eliberto Barroncas, a word that names moments of improvisation, ornaments and creations of themes that occurred during the celebrations, as well as the idea of the Amazonian accent present in the execution of the compositions. In this way, we recognize this practice, the music of the beiradões, as a direct result of the actions of the subjects who produce it, with regard to the practical side of knowledge and their willingness to make changes. Through the musical code and historical context / social in which it appears, we unveil one reflection artistic expression of a dynamic Amazon frontier place creator of new signs.