A dança da moda: Luiz Gonzaga como mediador cultural (1946-1954)

Abstract

Este trabalho analisa o desenvolvimento das representações musicais e simbólicas do cantor e compositor pernambucano Luiz Gonzaga do Nascimento, durante a quarta e quinta década do século XX. Através da sua mediação cultural na fase áurea do baião (1946-1954), o sanfoneiro elevou a temática sertaneja a nível nacional e demonstrou trocas de experiências entre utilizações de tradições de origem e aspectos da sua memória afetiva na explosão de um fenômeno sonoro. A elaboração de discursos para a construção de um imaginário de Nordeste, apesar de construídos na metrópole, fez a música gonzaguiana conquistar espaço no mercado fonográfico brasileiro, ao alinhar sua forma inédita de hibridização cultural, divulgando matrizes regionais e renovando urbanamente o gênero musical baião cujas relações tornaramse referências coletivas de representatividade nordestina em negociação identitária com o seu ouvinte. Assim, o início da sua trajetória artística nos permite avaliar alguns contextos no ambientes sociais e políticos que permeiam das primeiras excursões dos primeiros grupos musicais regionais nordestinos até o inovador interesse da indústria cultural na sua produção de viés regionalista, amplamente difundido pelo rádio e pela imprensa carioca, alcançando vários círculos sociais e econômicos. Nesse sentido, a integração pensada entre a comunicação pelo rádio e a cultura popular nordestina transformaram o gênero elaborado por Gonzaga e outros parceiros em afirmação sonora e visual nacional, eternizado como herança musical do artista no âmbito do patrimônio cultural brasileiro.

This work analyzes the development of musical and symbolic representations of Pernambuco singer-songwriter Luiz Gonzaga do Nascimento during the fourth and fifth decades of the 20th century. Through his cultural mediation in the golden phase of baião (1946-1954), the accordion player elevated the northeast outback to a national level and demonstrated the exchange of experiences between the use of traditions of origin and aspects of his affective memory in the explosion of a true sound phenomenon and throughout his career. The elaboration of discourses for the construction of an imaginary of the brazilian northeast, despite being built in the metropolis, made the Gonzaguian music conquer space in the Brazilian phonographic market, by aligning its unprecedented form of cultural hybridization, disseminating regional matrices and urbanly renewing the baião musical genre whose relations became collective references of northeastern representativeness and identification in identity negotiation with its listener. The beginning of its artistic trajectory allows us to evaluate some contexts in the social and political environments that permeate from the first excursions of the first regional northeastern musical groups to the innovative interest of the cultural industry in its production of regionalist bias, widely spread by the radio and the press in Rio de Janeiro, reaching various social and economic circles. In this sense, the integration thought of between mass communication by radio and popular culture in the Northeast transformed the genre thought and elaborated by Gonzaga and other partners into a national sound and visual affirmation, eternalized as their musical legacy within the Brazilian cultural heritage.

This work analyzes the development of musical and symbolic representations of Pernambuco singer-songwriter Luiz Gonzaga do Nascimento during the fourth and fifth decades of the 20th century. Through his cultural mediation in the golden phase of baião (1946-1954), the accordion player elevated the northeast outback to a national level and demonstrated the exchange of experiences between the use of traditions of origin and aspects of his affective memory in the explosion of a true sound phenomenon and throughout his career. The elaboration of discourses for the construction of an imaginary of the brazilian northeast, despite being built in the metropolis, made the Gonzaguian music conquer space in the Brazilian phonographic market, by aligning its unprecedented form of cultural hybridization, disseminating regional matrices and urbanly renewing the baião musical genre whose relations became collective references of northeastern representativeness and identification in identity negotiation with its listener. The beginning of its artistic trajectory allows us to evaluate some contexts in the social and political environments that permeate from the first excursions of the first regional northeastern musical groups to the innovative interest of the cultural industry in its production of regionalist bias, widely spread by the radio and the press in Rio de Janeiro, reaching various social and economic circles. In this sense, the integration thought of between mass communication by radio and popular culture in the Northeast transformed the genre thought and elaborated by Gonzaga and other partners into a national sound and visual affirmation, eternalized as their musical legacy within the Brazilian cultural heritage.