“Tenho gatilhos e tambores”: impasses estéticos e engajamento político nas canções de Sérgio Ricardo (1958 - 1967)
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Data
2018-08-31
Autores
Oliveira, Mariana Bueno de [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
A presente pesquisa aborda o engajamento da bossa nova por meio da análise da obra fonográfica de Sérgio Ricardo, momento de impasses de uma geração de artistas que se debateu no limiar do engajamento artístico, da politização das artes e da emergência de uma indústria cultural no Brasil. Temos no período um projeto desenvolvimentista que contempla grande parte da classe média no Brasil, dessa mesma classe média surge um grupo de artistas e intelectuais que estão completamente relacionados com uma dimensão ideológica e política produzida em décadas anteriores, anos 1920, 1930 e 1940 (como o modernismo cultural, literatura regional, etc.) e usam da arte para tematizar questões que a política não consegue resolver. Sérgio Ricardo é um desses artistas que se sensibilizam com essas questões da realidade nacional, dos problemas da desigualdade social, da pobreza, mas eles não são oriundos dessa classe pela qual se sensibilizam. Demonstraremos como a obra de Sérgio Ricardo reflete, concomitantemente, uma síntese e um desajuste fecundo no processo de politização da arte e do artista na passagem das décadas de 1950 e 1960, tendo como referência a questão do nacional-popular e o engajamento de intelectuais e artistas contra a ditadura militar instaurada em 1964. Sérgio Ricardo demonstra através de suas canções que é possível assumir a vertente da bossa nova Nacionalista sem abandonar as formalidades estéticas da bossa nova Intimista. Aproximou-se dos músicos populares, mas nunca negou a influência do jazz ou da música erudita, dialogou com as raízes da música popular brasileira sem abdicar da qualidade poético-musical da bossa nova.
This research addresses the engagement of bossa nova by recording work of Sergio Ricardo’s analysis, deadlocks time of a generation of artists who struggled on the threshold of artistic engagement, the politicization of the arts and the emergence of a cultural industry in Brazil. In this period we have a developmentalist project that contemplates a large part of the middle class in Brazil, from the same middle class a group of artists and intellectuals who are completely related to an ideological and political dimension produced in previous decades, 1920s, 1930s and 1940s cultural modernism, regional literature, etc.) and use art to thematize issues that politics can not solve. Sérgio Ricardo is one of those artists who are sensitive to these issues of the national reality, the problems of social inequality and poverty, but they do not come from this class by which they are sensitized. We will demonstrate how Sérgio Ricardo’s work reflects, simultaneously, a fruitful synthesis and mismatch in the process of politicizing art and the artist in the 1950s and 1960s, with reference to the national-popular issue and the engagement of intellectuals and artists. Artists against the military dictatorship established in 1964. Sérgio Ricardo demonstrates through his songs that it is possible to take on the bossa nova Nacionalista side without abandoning the aesthetic formalities of bossa nova Intimista. He approached the popular musicians, but never denied the influence of jazz or classical music, spoke to the roots of Brazilian popular music without abdicating the poetic-musical quality of bossa nova.
This research addresses the engagement of bossa nova by recording work of Sergio Ricardo’s analysis, deadlocks time of a generation of artists who struggled on the threshold of artistic engagement, the politicization of the arts and the emergence of a cultural industry in Brazil. In this period we have a developmentalist project that contemplates a large part of the middle class in Brazil, from the same middle class a group of artists and intellectuals who are completely related to an ideological and political dimension produced in previous decades, 1920s, 1930s and 1940s cultural modernism, regional literature, etc.) and use art to thematize issues that politics can not solve. Sérgio Ricardo is one of those artists who are sensitive to these issues of the national reality, the problems of social inequality and poverty, but they do not come from this class by which they are sensitized. We will demonstrate how Sérgio Ricardo’s work reflects, simultaneously, a fruitful synthesis and mismatch in the process of politicizing art and the artist in the 1950s and 1960s, with reference to the national-popular issue and the engagement of intellectuals and artists. Artists against the military dictatorship established in 1964. Sérgio Ricardo demonstrates through his songs that it is possible to take on the bossa nova Nacionalista side without abandoning the aesthetic formalities of bossa nova Intimista. He approached the popular musicians, but never denied the influence of jazz or classical music, spoke to the roots of Brazilian popular music without abdicating the poetic-musical quality of bossa nova.
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Palavras-chave
Bossa nova, Arte-engajada, Música, Sérgio Ricardo, Engagement-art, Music