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A voz do imaginário balcânico : metáfora identitária de um colectivo musical em Lisboa
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Esta dissertação aborda as relações entre música e identidade, num colectivo de bandas que performam música balcânica em Lisboa. Alicerçando-me num quadro teórico e metodológico com base nos estudos sobre identidade na Etnomusicologia, procedi à análise do surgimento dos grupos fundadores deste colectivo - Kumpania Algazarra e Farra Fanfarra - apresentando uma descrição etnográfica dos mesmos. Procuro perceber o porquê da escolha da música balcânica, quais os elementos sonoros utilizados na sua representação, quais os processos de significação musical envolvidos e de que forma este fenómeno balcânico se reflecte nos modos de vida dos performers estudados.
Após observação participante e análise do terreno, verifico a existência de uma construção identitária baseada no imaginário balcânico que os músicos pretendem reproduzir. Traço hipóteses que levam a considerar este colectivo musical enquanto uma comunidade musicalmente imaginada, baseada na partilha de símbolos próprios, verificando-se que a actuação da música na evocação imaginária de identidades pode levar à transformação das identidades individuais e colectivas. Concluo, assim, propondo a análise da música estudada enquanto metáfora de uma identidade social específica, sustentada por um colectivo musicalmente imaginado.
This dissertation addresses the relationship between music and identity, in a collective of bands that perform Balkan music in Lisbon. Supported by a theoretical and methodological framework based on Ethnomusicology studies on music and identity, I proceeded to analyse the emergence of the founding groups of this collective – Kumpania Algazarra and Farra Fanfarra – presenting an ethnographic description of them. I attempt to understand why is the Balkan music chosen, what are the sound elements used in its representation, what are the processes of musical signification and how the Balkan phenomenon is reflected in the lifestyle of the studied performers. After participant observation and fieldwork analyses, I confirm the existence of an identity construction based on Balkan’s imaginary that the musicians aim to reproduce. I trace hypotheses that lead me to consider this collective as a musically imagined community, based on the sharing of symbols of their own, verifying that music’s evocation of imagined identities can lead to the transformation of the individual and collective identities. I conclude by proposing the analysis of the studied music as a metaphor of a specific social identity, sustained by a musically imagined collective.
This dissertation addresses the relationship between music and identity, in a collective of bands that perform Balkan music in Lisbon. Supported by a theoretical and methodological framework based on Ethnomusicology studies on music and identity, I proceeded to analyse the emergence of the founding groups of this collective – Kumpania Algazarra and Farra Fanfarra – presenting an ethnographic description of them. I attempt to understand why is the Balkan music chosen, what are the sound elements used in its representation, what are the processes of musical signification and how the Balkan phenomenon is reflected in the lifestyle of the studied performers. After participant observation and fieldwork analyses, I confirm the existence of an identity construction based on Balkan’s imaginary that the musicians aim to reproduce. I trace hypotheses that lead me to consider this collective as a musically imagined community, based on the sharing of symbols of their own, verifying that music’s evocation of imagined identities can lead to the transformation of the individual and collective identities. I conclude by proposing the analysis of the studied music as a metaphor of a specific social identity, sustained by a musically imagined collective.
Descrição
Palavras-chave
Música balcânica Identidade Comunidade musicalmente imaginada Balkan music Identity Musically imagined community