A importância de Arlindo Cruz nas transformações do samba a partir da década de 1980

Abstract

Samba played in “backyards” is a tradition present in Brazilian culture since at least the beginning of the 20th century, as the literature reveals (LOPES, 1992; SANDRONI, 2001; VIANNA, 2004). This practice “survived” in the favelas of Rio de Janeiro and remained outside the phonographic industry until the “discovery” of Beth Carvalho and the music producer Rildo Hora in the 1970s, which gave rise to several transmutations in samba, which this work intends to discuss, especially those from Rio de Janeiro singer Arlindo Cruz. From a transdisciplinary perspective, anchored especially in authors such as Stuart Hall (2005), Hobsbawn (1997) and Tagg (1999), the objective is to reflect on the following questions: what are the characteristics of this new language? How do they dialogue with your historical time? In other words, it is intended to investigate, analyze and interpret sound aspects - lyrics, melody, harmony, rhythm and expression - and extra-sound - signs and signs manifested in the speeches, costumes and lifestyles of musicians - from hypothesis that such practices are hybrid constructions resulting from globalization, where different cultures break borders and interrelate creating new “subcultures”. This process is characteristic of what Hall (2005) calls “cultural identity in post-modernity”.