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Isso aqui é o Brasil! : uma etnografia sobre músicos brasileiros em Lisboa
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Esta dissertação procura explorar as formas como os músicos brasileiros desenvolvem suas carreiras em Lisboa, articulando o potencial de circulação da música brasileira, entendida como um bem cultural, à experiência migratória. Partindo de um intenso trabalho etnográfico, reflito sobre a experiência profissional e subjetiva que a inserção no mercado da música ao vivo nos bairros boémios do centro de Lisboa proporciona. Deste modo, alego que o desenvolvimento de práticas musicais imprime singularidades aos seus percursos de migração. Proponho realizar uma análise multidimensional, ancorada em três dimensões que se sobrepõem e informam o modo de «ser músico em Lisboa» vivido pelos meus interlocutores. São elas a forma como os bens culturais brasileiros fazem-se presentes em Portugal ao longo do século XX; o modo como suas práticas musicais inscrevem-se na cidade; e as implicações da condição migratória às suas experiências profissionais. Ao combinar estas três camadas de análise revelo as intrincadas relações entre a forma como este bem cultural está historicamente presente em Portugal, influenciando suas práticas de consumo e a emergência de um circuito de música brasileira ao vivo no centro da cidade. Os músicos em questão articulam o capital simbólico deste bem cultural para ocupar espaços centrais na cidade, desafiando a precariedade e a subalternidade que caracterizam sua condição migratória. A cidade, o bem cultural e a migração engendram-se de forma a assegurar um lugar para a prática musical, e esta revela-se como um ofício levado a cabo pelos sujeitos da pesquisa, projetando-se em suas percepções sobre carreira, experiência e formas de ser e estar no mundo. Pretendo, com este trabalho, contribuir com o debate sobre as migrações contemporâneas e seu entrecruzamento com as práticas culturais expressivas desenvolvidas pelos migrantes em diferentes contextos.
This dissertation aims at exploring the ways Brazilian Musicians develop their careers in Lisbon, articulating the potential circulation of Brazilian music – as a cultural asset – with migration experiences. Based on an intense ethnographic study, I examine professional and subjective experiences derived from the insertion of Brazilian migrants in the live music market around the bohemian neighbourhoods of Lisbon. Thus, I claim that the development of musical practices draws on singularities to the migration paths of my interlocutors. I propose a multidimensional analysis embedded in three overlapped dimensions, which inform the way of «being musicians in Lisbon» as experienced by Brazilian migrants. They are: the ways Brazilian cultural assets have been present in Portugal throughout the twentieth century; how Brazilian musicians’ practices are inscribed in the city; and the implications of the migratory conditions to their professional experiences. When combining these three levels of analysis I reveal the intricate relations between these cultural assets historically present in Portugal, influencing consumer’s practices, and the emergence of a Brazilian live music circuit in the centre of Lisbon. These musicians relate to the symbolic capital of this cultural production in order to gain visibility in central places in the city, challenging the usual precariousness and subordination attached to the migratory condition. The city, the cultural goods and migration are engendered in a way to assure a place for the musical practice. And such practice reveals itself as a craft accomplished by the subjects of this research, projected on their perceptions of career, on their experiences and on theirs ways of being in the world. I intend with this research contribute for the debate on contemporary migrations and its entanglements with expressive cultural practices developed by migrants in different contexts.
This dissertation aims at exploring the ways Brazilian Musicians develop their careers in Lisbon, articulating the potential circulation of Brazilian music – as a cultural asset – with migration experiences. Based on an intense ethnographic study, I examine professional and subjective experiences derived from the insertion of Brazilian migrants in the live music market around the bohemian neighbourhoods of Lisbon. Thus, I claim that the development of musical practices draws on singularities to the migration paths of my interlocutors. I propose a multidimensional analysis embedded in three overlapped dimensions, which inform the way of «being musicians in Lisbon» as experienced by Brazilian migrants. They are: the ways Brazilian cultural assets have been present in Portugal throughout the twentieth century; how Brazilian musicians’ practices are inscribed in the city; and the implications of the migratory conditions to their professional experiences. When combining these three levels of analysis I reveal the intricate relations between these cultural assets historically present in Portugal, influencing consumer’s practices, and the emergence of a Brazilian live music circuit in the centre of Lisbon. These musicians relate to the symbolic capital of this cultural production in order to gain visibility in central places in the city, challenging the usual precariousness and subordination attached to the migratory condition. The city, the cultural goods and migration are engendered in a way to assure a place for the musical practice. And such practice reveals itself as a craft accomplished by the subjects of this research, projected on their perceptions of career, on their experiences and on theirs ways of being in the world. I intend with this research contribute for the debate on contemporary migrations and its entanglements with expressive cultural practices developed by migrants in different contexts.
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músicos brasileiros práticas musicais migrações contemporâneas espaços urbanos ofício Brazilian musicians musical practices contemporary migrations urban spaces craft