Música além da música: uma etnocartografia dos afetos e das coletividades na cena rock de Fortaleza- CE

Abstract

The present thesis has established sociological links between rock music, its affections and its collectivities in Fortaleza, Ceará (Brazil). Through the methodological experiment of ethnocartography and insider approach, it investigated how a musical passion owes a profusion of actors and social networks. 563 original bands shared the desire to make rock reverberate at events (concerts, festivals, tours). Thus, since the late 1980s, cultural production collectives have emerged with unique goals (political, commercial, and playful) and methods (of organization, promotion, and negotiation), which I have called “rockollectives”: groups that view rock as a collective action. Cooperating, but also competing and conflicting, rockers (re) signify their existence and expectations in metropolitan polyphony and on the Internet, where rockollectives orchestrate exchanges of affects, signs and artifacts. The objective was to understand how rock engenders what the interlocutors called “independent scene”, unveiling its logistic backstage by its interdependencies. For this, speeches, images and sounds of the most long-lived and influential rock music of Fortaleza, the Ceará’s Cultural Association for Rock (ACR). An interdisciplinary arrangement was played to interpret the affects (psychosocial effects on subjectivities) at stake. The theoretical framework includes sociologists/musicians such as Becker and Hennion, as well as musical thinkers such as Deleuze and Wisnik. The investigation’s results reflect data collected between 2014 and 2018 by techniques such as participant observation, observant participation, interview and field diary. They captured power relations, actors and territories that govern the affectivities and sociabilities of the Fortaleza’s rock scene.