A carregar...
Publicação
Lazer, Cultura Popular e Colonialismo em Luanda : sociabilidades e resistências translocais numa história sobre música e automóveis (1957-1975)
| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 8.78 MB | Adobe PDF |
Autores
Orientador(es)
Resumo(s)
Esta investigação sobre o lazer durante a fase terminal do Império português focou-se em dois laboratórios de análise principais: o do desporto automóvel ‒ e de uma perspetiva mais ampla, o do carro ‒ e o da música. Estes lazeres encontraram-se, entre finais dos anos cinquenta e a queda do regime colonialista português, entre os mais populares de Luanda. Estes dois artefactos da cultura popular e símbolos da modernidade da cidade colonial são aqui abordados sob um prisma que acolhe várias perspetivas. Por um lado, observando como motivaram usos e perceções sociais, práticas e imaginários, dinâmicas culturais, espaciais e políticas. Por outro, procurou-se compreender de que forma os agentes destes dois campos se relacionaram com o mosaico de relações de poder que configurava a Luanda colonial, nomeadamente como interagiram e reagiram no quadro das suas relações com as rígidas estruturas sociais de uma sociedade construída sob princípios de exclusão, segmentação social e violência (racial e social), e no quadro das políticas culturais e desportivas do Estado Novo e das instituições sob a sua alçada. Neste período, as autoridades procuraram controlar e vigiar estas práticas de lazer. Mesmo quando elas adquiriram uma relativa autonomia, o Estado tentou apropriar-se da sua popularidade para fins políticos. Neste âmbito, as práticas de lazer e os consumos culturais permitiram às populações locais adequarem-se, distanciarem-se ou subverterem o programa lusotropicalista. A cultura automóvel e a cultura musical (definida pela força do pop-rock e do semba) tanto reproduziram a ordem colonial como a destabilizaram. Esta tese explica esses processos, as suas diferenças, e como foram negociados nos diferentes espaços da cidade (de Luanda, mas também fora dela). Por fim, importava demonstrar como estes lazeres se relacionaram com processos sociais mais gerais, como disputas políticas (anti-)imperialistas translocais e transnacionais. A estratégia empregue para alcançar estes objetivos foi amplamente sustentada pelo recurso às memórias orais de pilotos, músicos e dos habitantes da cidade, desde o centro à periferia.
This research on leisure during the last phase of the Portuguese Colonial Empire focused on two main observatories: the field of motor sport - and from a broader perspective, that of the car ‒ and the field of music. In Luanda, between the end of the fifties and the fall of the Portuguese colonial regime, these leisure activities were among the most popular. These two artifacts of popular culture and symbols of urban colonial modernity are hereby approached from various perspectives. First, to observe how they motivated practical and imaginary social uses, perceptions, and their role in shaping a set of cultural, spatial and political dynamics. Secondly, to understand how agents within the two fields related with the power relations framework that constituted colonial Luanda; namely, how they interacted and reacted in a society marked by a rigid social structure built under principles of exclusion, segregation and violence (racial and social), and also how they differently cope with the cultural and sports policies of the Estado Novo and the institutions under its domain. During this period, the authorities sought to control and monitor these leisure practices. Even when they acquired relative autonomy, the colonial state tried to ride on its popularity for political purposes. In this context, leisure practices and cultural consumption allowed local populations to adapt, distance themselves or subvert the luso-tropical program. Car culture and musical culture (defined by the strength of pop-rock and semba) both reproduced the colonial order and destabilized it. This thesis explains these processes, its differentiations, and how they were negotiated in distinct spaces of the city (in Luanda, and beyond). Finally, we try to demonstrate how these leisure activities related to broader social processes, such as translocal and transnational (anti-) imperialist political disputes, and how relevant this was to the outcome they had. The strategy employed to achieve these goals was largely supported by oral memories of pilots, musicians, and city dwellers, from the centre to the suburbs.
This research on leisure during the last phase of the Portuguese Colonial Empire focused on two main observatories: the field of motor sport - and from a broader perspective, that of the car ‒ and the field of music. In Luanda, between the end of the fifties and the fall of the Portuguese colonial regime, these leisure activities were among the most popular. These two artifacts of popular culture and symbols of urban colonial modernity are hereby approached from various perspectives. First, to observe how they motivated practical and imaginary social uses, perceptions, and their role in shaping a set of cultural, spatial and political dynamics. Secondly, to understand how agents within the two fields related with the power relations framework that constituted colonial Luanda; namely, how they interacted and reacted in a society marked by a rigid social structure built under principles of exclusion, segregation and violence (racial and social), and also how they differently cope with the cultural and sports policies of the Estado Novo and the institutions under its domain. During this period, the authorities sought to control and monitor these leisure practices. Even when they acquired relative autonomy, the colonial state tried to ride on its popularity for political purposes. In this context, leisure practices and cultural consumption allowed local populations to adapt, distance themselves or subvert the luso-tropical program. Car culture and musical culture (defined by the strength of pop-rock and semba) both reproduced the colonial order and destabilized it. This thesis explains these processes, its differentiations, and how they were negotiated in distinct spaces of the city (in Luanda, and beyond). Finally, we try to demonstrate how these leisure activities related to broader social processes, such as translocal and transnational (anti-) imperialist political disputes, and how relevant this was to the outcome they had. The strategy employed to achieve these goals was largely supported by oral memories of pilots, musicians, and city dwellers, from the centre to the suburbs.
Descrição
Palavras-chave
colonialismo Luanda automóvel música urbana cultura popular colonialism cars urban music popular culture