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Identidades e culturas do mundo do metal: 40 anos e metálico: um estudo sociológico a partir da situação portuguesa
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Abstract(s)
Nesta dissertação investiga-se de que forma a subcultura do metal está presente na vida de determinados indivíduos, assumindo um papel crucial na sua socialização e na construção da sua identidade, manifestando-se como uma produção social fundamental no fazer a sociedade. O principal objetivo é o de identificar e compreender quais as razões que levam à manutenção e à reprodução deste mundo social, por membros que acompanharam os inícios deste movimento em Portugal.
Como terá surgido o gosto por este género musical em particular? Porquê fazer parte de uma subcultura pouco apreciada pela cultura dominante? O que representa o metal para estas pessoas? Qual o papel que tem atualmente nas suas vidas?
Privilegiando a entrevista como técnica de recolha de dados, procuramos dar voz aos nossos interlocutores, o que nos permite materializar a investigação empírica, ao mesmo tempo que percebemos o seu engajamento com as práticas culturais, que lhes estão associadas, e a sua lealdade para com o género musical, ao longo das décadas.
Da música em si, identificamos o prazer sensorial que daí advém e um claro sentimento de realização individual associado ao envolvimento neste género musical, bem como uma forma terapêutica de mitigar sentimentos negativos. As perspetivas e as práticas sociais e culturais da maior parte dos subgéneros metal contrariam as normas sociais e culturais dominantes, pressupondo um anticonformismo que as tornam extremamente atrativas. No entanto, a subcultura não deixa de ser uma manifestação do corpo social. A participação feminina neste mundo social reflete, por um lado, o sexismo dominante das sociedades contemporâneas e, por outro, a influência do feminismo e da emancipação das mulheres, acompanhando desta forma as grandes transformações societais da contemporaneidade. No seio da subcultura, ocorrem profundas relações interpessoais, distinguindo-se claramente uma necessidade de afirmação pessoal, na procura da produção de si, enquanto indivíduos socialmente constituídos, e ao mesmo tempo a necessidade de uma pertença grupal, intimamente interligadas. Ao longo dos anos, a subcultura tornou-se multigeracional e num estilo de vida para a maioria dos seus membros, sempre em torno daquilo a que chamam «a melhor música do mundo».
This dissertation investigates how the metal subculture is present in the lives of certain individuals, assuming a crucial role in their socialization and in the construction of their identity, manifesting itself as a fundamental social production in the making of society. The main objective is to identify and understand the reasons that lead to the maintenance and reproduction of this social world, by members who followed the beginnings of this movement in Portugal. How did the taste for this particular musical genre arise? Why be part of a subculture little appreciated by the dominant culture? What does metal represent to these people? What role do it currently assume in their lives? By privileging the interview as the data collection technique, we seek to give voice to our interlocutors, which allows us to materialize the empirical investigation, at the same time that we perceive their engagement with the cultural practices, associated with them, and their loyalty to the musical genre over the decades. From the music itself, we identify the sensory pleasure that comes from it and a clear feeling of individual achievement, associated with the involvement in this musical genre, as well as a therapeutic way to mitigate negative feelings. The social and cultural perspectives and practices of most metal sub-genres run counter to dominant social and cultural norms, presupposing an anti-conformism that makes them extremely attractive. However, the subculture is still a manifestation of society at large. Female participation in this social world reflects, on one hand, the dominant sexism of contemporary societies and, on the other, the influence of feminism and women's emancipation, thus accompanying the great societal transformations of contemporaneity. Deep interpersonal relationships occur within the subculture, clearly distinguishing a need for personal affirmation, in the search for self-production, as socially constituted individuals, and at the same time, the need for a group belonging, intimately interconnected. Over the years, the subculture has become multigenerational and a way of life for most of its members, always around what they call «the best music in the world».
This dissertation investigates how the metal subculture is present in the lives of certain individuals, assuming a crucial role in their socialization and in the construction of their identity, manifesting itself as a fundamental social production in the making of society. The main objective is to identify and understand the reasons that lead to the maintenance and reproduction of this social world, by members who followed the beginnings of this movement in Portugal. How did the taste for this particular musical genre arise? Why be part of a subculture little appreciated by the dominant culture? What does metal represent to these people? What role do it currently assume in their lives? By privileging the interview as the data collection technique, we seek to give voice to our interlocutors, which allows us to materialize the empirical investigation, at the same time that we perceive their engagement with the cultural practices, associated with them, and their loyalty to the musical genre over the decades. From the music itself, we identify the sensory pleasure that comes from it and a clear feeling of individual achievement, associated with the involvement in this musical genre, as well as a therapeutic way to mitigate negative feelings. The social and cultural perspectives and practices of most metal sub-genres run counter to dominant social and cultural norms, presupposing an anti-conformism that makes them extremely attractive. However, the subculture is still a manifestation of society at large. Female participation in this social world reflects, on one hand, the dominant sexism of contemporary societies and, on the other, the influence of feminism and women's emancipation, thus accompanying the great societal transformations of contemporaneity. Deep interpersonal relationships occur within the subculture, clearly distinguishing a need for personal affirmation, in the search for self-production, as socially constituted individuals, and at the same time, the need for a group belonging, intimately interconnected. Over the years, the subculture has become multigenerational and a way of life for most of its members, always around what they call «the best music in the world».
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Keywords
Identidade Subcultura Sociologia da música Metal