"Não me altere o samba tanto assim" : a criação artística de paulinho da viola como crônica social

Abstract

This work seeks to sociologically analyze the artistic creation of Paulinho da Viola as a social chronicle of its context, Brazilian society, its social and political circumstances from 1968 to 1979, the time frame of the research. The choice to analyze Paulinho da Viola's artistic creation as a social chronicle of its context was made possible by the interest in investigating two of the main objectives that guide this work: Samba as a form of recording the universe of samba and Paulinho da Viola's artistic creation as a representation and creation based on the dense social context of the years 1968-1979, selected for the research. To this end, two categories of analysis were worked on throughout the research: Samba as a chronicle of samba and Paulinho da Viola's artistic creation as a chronicle of the social and political context. The methodology used in this research was documentary and content analysis of records, books, articles, newspapers, magazines and audiovisual content. As a samba player and composer, Paulinho da Viola presents in songs and records his perspective on the way of doing samba, the tradition in which the samba player is inserted, the composers, spaces for maintaining this cultural expression, as well as the possibility of composing in his samba a form of reflection on certain social circumstances, which affect peripheral communities. Problems arising from Brazilian social inequality and structural racism are portrayed in songs by the composer and samba partners he recorded, such as the composers from Portela, a samba school in Madureira, in the North Zone of Rio de Janeiro, where Paulinho da Viola is bulwark, godfather, producer and member of his Old Guard.