As fronteiras dos jardins da razão: o Manguebeat e o espaço da regionalidade no Recife da década de 1990

Abstract

The Manguebeat was a cultural movement of urban character that had as one of its main expressions the music, marked by the hybridization between pop music and the traditional local music. In the city that was the center of discussions around northeast regionality, these artists proposed a breakdown in the traditional ways of dealing with art, questioning the rules of the folklore canon and of the relationship between erudite and popular. Consequently, another limit was put in cause, which was the borders of the own region. In a kind of located cosmopolitism, the mangueboys, how the movement adepts were called, proposed a concept that had as emblem a satellite dish fixed in the mud. This way, from the local experiences repertory, people's sight would wide up for the transnational, going away from the refusal to contaminate the local tradition with foreign factors (as proposed the Movimento Armorial, idealized by Ariano Suassuna). Meanwhile, as they refused the traditional way to think about the locality, the traditional memory of the region, attached to the iberian colonial past, was also at stake. In the vacuum of these representations, they looked at the mangrove image as an inspiration for the new identity to the city. Then, Recife was seen as a result from the mangrove and its rivers, and should, in a moment of poor culture, take from there an inspiration for a necessary renovation. In the analysis of this movement, the central point that trespasses our work talks about a dialogue between Manguebeat and the Armorial (the regionalism representative at the studied moment), and develops itself inside the relationship between the physical space of the city and the brazilian and international phonographic market, something that we found at the newspapers, specialized magazines, musician interviews and in the artistic productions themselves. Inside the market aspects of this new way of representing itself on the biodiversity of that ecosystem (which in terms of culture expresses itself on the preference for the diversity) and the organic relationship between the man and that environment, recurring to the image made by the romancer Josué de Castro of the mangrove as a product and a maker of the habitant. So, we understand the Manguebeat as a movement of identity review, starting by theaspects of the contemporaneity that lead to a revisiting of the local contents through the global elements, resulting on a hybrid product.