A voz (de levante) na ágora (do agora): análise dialógica de enunciados de Poetry Slam
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Data
2022-05-30
Autores
Oliveira, Simony Alves de [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Poetry Slam, ou apenas slam, são batalhas de poesia falada que surgiram em Chicago na década de 80 e chegaram ao Brasil em 2008, por meio da atriz-MC Roberta Estrela D’Alva. Desde a sua criação, o slam possui características de uma cultura que o antecede: a cultura hip-hop. Neste trabalho, entendemos que o Poetry Slam e todos os seus desdobramentos integram essa cultura e as batalhas, em especial, relacionam-se diretamente com o fruto de um de seus elementos: as letras de rap escritas pelos MCs. Consideramos que tanto o Poetry Slam quanto a cultura hip-hop constituem um movimento que abre espaço para que sujeitos que vivem à margem tenham suas vozes ouvidas e não silenciadas. Não nos ateremos ao slam enquanto movimento porque nos interessa, nesse momento, discorrer sobre uma parte dele, que são as batalhas de poesia falada, em especial os vídeos postados na internet. Desde a chegada do slam no Brasil, têm-se formado grupos, autodenominados “comunidades”, que organizam e realizam essas batalhas mensalmente. Tornaram-se comuns nas batalhas as filmagens de vídeos de poetas declamando os poemas, com sua posterior divulgação em redes sociais e em plataformas digitais. Considerando o interesse crescente pelo slam e a sua relação com os Objetivos de Desenvolvimento Sustentável (ODS), apoiados pela Organização das Nações Unidas (ONU), devido aos seus recorrentes temas acerca das desigualdades sociais, esta pesquisa toma por objetivo examiná-lo e, para tanto, analisa quatro vídeos postados no canal do Slam da Guilhermina, no YouTube. A escolha pelo YouTube se deu devido à facilidade do acesso nessa plataforma e a escolha pelo Slam da Guilhermina por se tratar da primeira comunidade de slam a acontecer na rua e da segunda comunidade a ser criada no país. Os vídeos são os quatro mais visualizados do canal. O nosso objetivo principal é, com o recorte desses vídeos, examinar o Poetry Slam, analisando os valores sociais que são afirmados e negados, depreendendo, enfim, o embate de vozes nesses excertos de batalha. Fundamentamos nossa pesquisa no quadro teórico-metodológico dos estudos bakhtinianos. Nesse sentido, tomamos os vídeos como enunciados concretos e, desse modo, esse conceito, junto à relação dialógica entre eu-outro e ao conceito de cronotopo, representam o cerne teórico da nossa discussão. Os resultados apontam que há nos vídeos certa regularidade temática, visto que as desigualdades sociais, especificamente feminismo e racismo, são temas que os constituem, além de o “eu” nos vídeos ora defender valores que visam ao grupo, ora defender valores pessoais. O trabalho detalha os modos como esses valores são apresentados nas batalhas, sempre “encarnados” pelo sujeito que toma a palavra. O eu-poeta se endereça ora ao que chamaremos de “seus” ora a um outro que se opõe. Essas vozes sociais que constituem as batalhas, em meio ao levante de vozes que tem sido o slam, têm rompido com o silêncio imposto pelos grupos antagônicos que sempre estiveram no poder e, apesar deles, o Poetry Slam continuará (re)existindo.
Poetry Slam, or just slam, are spoken poetry battles that emerged in Chicago in the 1980s and arrived in Brazil in 2008 through "atriz-MC" Roberta Estrela D’Alva. Since its inception, slam has had characteristics of a culture that precedes it: hip-hop culture. In this work, we understand that the Poetry Slam and all its ramifications are part of this culture and the battles, in particular, are directly related to the fruit of one of its elements: the rap lyrics written by the MCs. We consider that both Poetry Slam and hip-hop culture constitute a movement that opens space for subjects who live on the margins to have their voices heard and not silenced. We will not stick to the slam as a movement because we are interested, at this moment, in discussing a part of it, which are the spoken poetry battles, especially the videos posted on the internet. Since the arrival of the slam in Brazil, groups have been formed, called “communities”, that organize and carry out these battles monthly. Video footage of poets reciting the poems became common in battles, with their subsequent dissemination on social networks and digital platforms. Considering the growing interest in slam and its relationship with the Sustainable Development Goals (SDGs) supported by the United Nations (UN), due to its recurring themes about social inequalities, this research aims to examine it and, therefore, analyzes four videos posted on the channel "Slam da Guilhermina" on YouTube. The choice for YouTube was due to the ease of access on this platform, and the choice for "Slam da Guilhermina" because it is the first slam community to take place on the street and the second community to be created in the country. The videos are the four most viewed on the channel. Our main objective is, with the clipping of these videos, to examine the Poetry Slam, analyzing the social values that are affirmed and denied, inferring, finally, the clash of voices in these battle excerpts. We approach our research on the theoretical-methodological framework of bakhtinian studies. In this sense, we take the videos as concrete statements and, in this way, this concept, together with the dialogic relationship between self-other and the concept of chronotope, represent the theoretical core of our discussion. The results show that there is a certain thematic regularity in the videos, since social inequalities, specifically feminism and racism, are themes that constitute them, in addition to the “I” in the videos sometimes defending values aimed at the group, sometimes defending personal values. The work details how these values are presented in battles, always “incarnated” by the subject who takes the floor. The poet-self sometimes addresses what we will call “his” and sometimes another who opposes himself. These social voices that constitute the battles, during the uprising of voices that has been the slam, have broken with the silence imposed by the antagonistic groups that have always been in power and despite them, Poetry Slam will continue to (re)exist.
Poetry Slam, or just slam, are spoken poetry battles that emerged in Chicago in the 1980s and arrived in Brazil in 2008 through "atriz-MC" Roberta Estrela D’Alva. Since its inception, slam has had characteristics of a culture that precedes it: hip-hop culture. In this work, we understand that the Poetry Slam and all its ramifications are part of this culture and the battles, in particular, are directly related to the fruit of one of its elements: the rap lyrics written by the MCs. We consider that both Poetry Slam and hip-hop culture constitute a movement that opens space for subjects who live on the margins to have their voices heard and not silenced. We will not stick to the slam as a movement because we are interested, at this moment, in discussing a part of it, which are the spoken poetry battles, especially the videos posted on the internet. Since the arrival of the slam in Brazil, groups have been formed, called “communities”, that organize and carry out these battles monthly. Video footage of poets reciting the poems became common in battles, with their subsequent dissemination on social networks and digital platforms. Considering the growing interest in slam and its relationship with the Sustainable Development Goals (SDGs) supported by the United Nations (UN), due to its recurring themes about social inequalities, this research aims to examine it and, therefore, analyzes four videos posted on the channel "Slam da Guilhermina" on YouTube. The choice for YouTube was due to the ease of access on this platform, and the choice for "Slam da Guilhermina" because it is the first slam community to take place on the street and the second community to be created in the country. The videos are the four most viewed on the channel. Our main objective is, with the clipping of these videos, to examine the Poetry Slam, analyzing the social values that are affirmed and denied, inferring, finally, the clash of voices in these battle excerpts. We approach our research on the theoretical-methodological framework of bakhtinian studies. In this sense, we take the videos as concrete statements and, in this way, this concept, together with the dialogic relationship between self-other and the concept of chronotope, represent the theoretical core of our discussion. The results show that there is a certain thematic regularity in the videos, since social inequalities, specifically feminism and racism, are themes that constitute them, in addition to the “I” in the videos sometimes defending values aimed at the group, sometimes defending personal values. The work details how these values are presented in battles, always “incarnated” by the subject who takes the floor. The poet-self sometimes addresses what we will call “his” and sometimes another who opposes himself. These social voices that constitute the battles, during the uprising of voices that has been the slam, have broken with the silence imposed by the antagonistic groups that have always been in power and despite them, Poetry Slam will continue to (re)exist.
Descrição
Palavras-chave
Poetry Slam, Relações dialógicas, Enunciado, Vozes sociais, Cronotopo, Dialogical relations, Utterance, Social voice, Chronotope