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"Ser fadista é maior que ser cantor": Intersubjectividade, voz e o ethos da memória
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Resumo(s)
A presente tese é uma proposta de reflexão etnográfica a partir de um momento da vida do fadista e músico Ricardo Ribeiro. Fundamentada em trabalho de terreno realizado entre 2013 e 2016, a aproximação biográfica que aqui se propõe configura um modo de olhar, desenvolvendo-se de forma episódica e não seguindo o telos orientador. Seguindo as diferentes trajectórias de Ricardo e premiando todas as dimensões da sua voz, propõe-se um olhar multidimensional e polifónico para o momento cultural e político actual. Nascido em 1981, a experiência e vida de Ricardo Ribeiro foram intersectadas por particularidades do seu momento histórico e dialogam com as dinâmicas da trajectória democrática, das práticas culturais, das formas de imaginação histórica e cultural, e de aproximação ao momento actual. De modo mais localizado, Ricardo atravessa anos de importantes transformações no fado tendo em conta as suas sociabilidades, economias, dimensões institucionais, orientação social, posicionamento na indústria fonográfica, papel nas políticas alargadas da cultura e configuração musical. Encontrando-se numa encruzilhada de mudança geracional, o seu trabalho caracteriza-se por um lado, por um forte sentido de enraizamento na tradição do fado e, por outro, pela exploração de novos caminhos criativos e sonoridades dentro e à margem do fado, trazendo importantes contributos reflexivos ao binómio tradição/ inovação. Esta tese lida em particular com as formas de imaginação musical da prática de Ricardo e do fado que convocam uma geografia imaginada mediterrânica, compreendendo-a na articulação entre a criatividade e regimes discursivos alargados. Uma abordagem da reflexividade dos músicos no que concerne a tradição revela-se como o terreno de exploração. Vista a partir da prática, a tradição inscreve nuances que contrariam e acrescentam às visões teóricas do conceito, nomeadamente aquelas que descrevem formas de produção de historicidade e os modos de relação com os aparatos da modernidade. Partindo do trabalho que mantém em colaboração com o compositor e alaudista libanês Rabih Abou-Khalil, é possível aceder a um discurso de filiação a um ideário de tradição que contempla a inovação como meio de manutenção das práticas culturalmente construídas, uma visão que premeia a agentividade, a subjectividade e intersubjectividade. Neste quadro, a memória surge como elemento central nas aproximações às possibilidades expressivas. O recurso à memória como modo de conhecimento intrínseco da prática por um lado- que descrevo como ethos da memória- e a uma ‘memória imaginada’ como modo de localizar o fado no seio de uma história genealógica da nação, são pilares discursivos criando condições de inovação. Procurando compreender o sujeito na sua dimensão ontológica e localizada, esta tese lida com as dinâmicas intersubjectivas que o formam, particularmente os processos relacionais e dialécticos de construção da subjectividade: a relação com os outros; a relação com a estruturas sociais alargadas; a relação com o que o universo do fado estabelece com tradição; e a relação com a diferença cultural, na proposta de reactualização do paradigma cosmopolita em direcção ao que entendo como empatia cultural.
The current dissertation proposes an ethnographic reflection based on a specific moment of the life of the singer Ricardo Ribeiro. Based on fieldwork developed between 2013 and 2016, the biographical approach here proposed comprises a way of seeing which develops episodically and not following a guiding telos. Following different trajectories of Ricardo’s life, and valuing all the dimensions of his voice, it is proposed a multidimensional and polyphonic look to the current cultural and political moment. Born in 1981, the life experience of Ricardo Ribeiro was intersected by the historical forces affecting his lifetime and, this way, dialogues with the dynamics of the democratic trajectory, the cultural practices, the forms of historical and cultural imagination and of approaching the present moment. Ricardo’s life takes place throughout years of important changes in fado’s sociabilities, economies, institutional dimensions, social orientation, positioning in the recording industry, role in broader cultural policies and musical configuration. Being positioned at a crossroads of generational change, his work is characterized on the one hand by a strong sense of rooting in fado’s tradition, and on the other by exploring new creative paths and sounds in and at the margins of fado, bringing important reflexive contributions to the binomial tradition/ innovation. This dissertation deals in particular with the forms of musical imagination surrounding Ricardo’s practice and fado’s, which summon a Mediterranean imaginative geography. This geography is understood as an articulation of creativity and broad discursive regimes. The musicians’ reflexivity around/ on “tradition” is the main field of ideas to be explored. Viewed from practice, tradition inscribes certain nuances which contradict and theoretically add to the concept. Amidst these nuances are those which who describe the production of historicity and modes of relationship with apparatuses of modernity. Based on the work of collaboration between Ricardo and the composer and lute player Rabih Abou-Khalil it is possible to have access to a discourse of filiation and to an idea of tradition which contemplates innovation as the means of preservation of culturally constructed practices, a view that prizes agency, subjectivity and intersubjectivity. In this framework, memory emerges as a central element in the approaches to expressive possibilities. The use of memory as a mode of intrinsic knowledge of practice, on one hand— which I describe as ethos of memory— and as an “imagined memory”—as a mode of localizing fado within the history of the nation— are discursive pillars which create conditions of innovation. Aiming at understanding the subject in his ontological and localized dimension, this dissertation deals with the intersubjective dynamics which shape the subject, particularly the relational and dialectical processes of constructing subjectivity: the relation with others; the relation with broader social structures; the relation that the universe of fado establishes with tradition; and the relation with cultural difference conceived as a proposal of renewal of the cosmopolitan paradigm in direction to what I term as cultural empathy.
The current dissertation proposes an ethnographic reflection based on a specific moment of the life of the singer Ricardo Ribeiro. Based on fieldwork developed between 2013 and 2016, the biographical approach here proposed comprises a way of seeing which develops episodically and not following a guiding telos. Following different trajectories of Ricardo’s life, and valuing all the dimensions of his voice, it is proposed a multidimensional and polyphonic look to the current cultural and political moment. Born in 1981, the life experience of Ricardo Ribeiro was intersected by the historical forces affecting his lifetime and, this way, dialogues with the dynamics of the democratic trajectory, the cultural practices, the forms of historical and cultural imagination and of approaching the present moment. Ricardo’s life takes place throughout years of important changes in fado’s sociabilities, economies, institutional dimensions, social orientation, positioning in the recording industry, role in broader cultural policies and musical configuration. Being positioned at a crossroads of generational change, his work is characterized on the one hand by a strong sense of rooting in fado’s tradition, and on the other by exploring new creative paths and sounds in and at the margins of fado, bringing important reflexive contributions to the binomial tradition/ innovation. This dissertation deals in particular with the forms of musical imagination surrounding Ricardo’s practice and fado’s, which summon a Mediterranean imaginative geography. This geography is understood as an articulation of creativity and broad discursive regimes. The musicians’ reflexivity around/ on “tradition” is the main field of ideas to be explored. Viewed from practice, tradition inscribes certain nuances which contradict and theoretically add to the concept. Amidst these nuances are those which who describe the production of historicity and modes of relationship with apparatuses of modernity. Based on the work of collaboration between Ricardo and the composer and lute player Rabih Abou-Khalil it is possible to have access to a discourse of filiation and to an idea of tradition which contemplates innovation as the means of preservation of culturally constructed practices, a view that prizes agency, subjectivity and intersubjectivity. In this framework, memory emerges as a central element in the approaches to expressive possibilities. The use of memory as a mode of intrinsic knowledge of practice, on one hand— which I describe as ethos of memory— and as an “imagined memory”—as a mode of localizing fado within the history of the nation— are discursive pillars which create conditions of innovation. Aiming at understanding the subject in his ontological and localized dimension, this dissertation deals with the intersubjective dynamics which shape the subject, particularly the relational and dialectical processes of constructing subjectivity: the relation with others; the relation with broader social structures; the relation that the universe of fado establishes with tradition; and the relation with cultural difference conceived as a proposal of renewal of the cosmopolitan paradigm in direction to what I term as cultural empathy.
Descrição
Palavras-chave
Fado Ethos da Memória Voz intersubjetividade Ricardo Ribeiro Voice Intersubjectivity Memory ethos