Portal de Periódicos da CAPES

“Manifest”: a música como contestação ao Massacre do Carandirú

2017; Volume: 5; Issue: 8 Linguagem: Português

2341-0485

Glauber Barreto Luna,

Brazilian cultural history and politics

EnglishThe aim of this article presented here is to analyze sociologically the poetics of contestation expressed in the music “Manifest” released in the year 1993 in the album titled “Chaos A.D.” by Brazilian rock metal band Sepultura. The said composition concerns the murder of 111 inmates of the Home of detention of Sao Paulo by the military police of the state of Sao Paulo occurred in the year 1992. This event became known as “The Massacre of the Carandiru” and shows the violent actions often perpetrated by public security agents and the degrading treatment to which it is subject part of the inmates in brazilian prisons. Therefore, the compositions are taken here as symbolic elements bearing relevant ethos to a particular society (Geertz, 2014), and, that is why, can be “read” as documents that help in understanding the social reality. Methodologically, the text was inspired by the work of Deena Weinstein (2000) which proposes to analyze heavy metal from three dimensions: Sound Dimension, Verbal Dimension and Visual Dimension. In this sense, beyond the aforementioned song, other elements - album artwork, journalistic interviews with musicians and former musicians of the band - served as data to the research presented here portuguesEste artigo tem por objetivo analisar sociologicamente a poetica de contestacao social expressa na musica “Manifest” lancada no ano de 1993 no album intitulado “Chaos A.D.” da banda de rock metal brasileira Sepultura. A referida composicao versa sobre o assassinato de 111 detentos da Casa de Detencao de Sao Paulo pela policia militar do estado de Sao Paulo ocorrido no ano de 1992. Esse acontecimento ficou conhecido como “O massacre do Carandiru” e evidencia as violentas acoes muitas vezes perpetradas por agentes publicos de seguranca e o tratamento degradante ao qual e submetido parte dos detentos das penitenciarias brasileiras. Para tanto, as composicoes sao tomadas aqui enquanto elementos simbolicos portadores de ethos pertinentes a determinada sociedade (Geertz, 2014), e, por isso, podem ser “lidas” como documentos que auxiliam no entendimento da realidade social. Metodologicamente, o texto inspirou-se no trabalho de Deena Weinstein (2000) que propoe analisar o heavy metal a partir de tres dimensoes: Dimensao Sonora, Dimensao Verbal e Dimensao Visual. Nesse sentido, para alem da referida musica, outros elementos – imagens do encarte do album, materias jornalisticas e entrevistas com musicos e ex-musicos da banda –, serviram de dados ao estudo aqui apresentado