Bateria ritmo forte do G.R.E.S. Unidos da Piedade : um estudo a partir da atual geração de ritmistas às antigas batucadas

Abstract

This dissertation studied the relationship between the present and the past, whose focus was on the trajectory of the Ritmo Forte Battery of Grêmio Recreativo Escola de Samba - G.R.E.S. United of Piety, from its origins, the old Batucadas of the 1950s. The object of study led to the rhythmic development of drumming at the time of the first Drum Master Aloízio Parú, the transformation of artistic practices and how it is conceived by the current generation of rhythmist. In this context, the investigation was inclined towards the transmission of knowledge, tradition and identity, in view of the innovation that is intended by the new generation of drummers. Among the issues, it is worth highlighting: innovations and their identity implications, in which the themes 'tradition x innovation' were opposed. With that, the research was extended to another Samba School, G.R.E.S. Chega Mais, specifically to the Battery Chegada Mais Quente, in order to investigate occurrences, about the innovation, which had been investigated in the Bateria Ritmo Forte and which was confirmed, being a constant, also, in other Drums of Schools of Samba. This required a comparative analysis. The overall objective was to analyze the trajectory of the G.R.E.S. Unidos da Piedade from the current generation of drummers to the old Batucadas of the 1950s. The specific objectives were: to investigate elements of a musical order inherited from the old Batucadas; verify the means of oral transmission of knowledge between the Master and his rhythmists and proceed to a comparative analysis regarding the problematization of the concepts of identity and tradition. The methodology adopted a qualitative character, carried out in three complementary phases: observation, participant observation (as a rhythmist) and semi-structured interviews. The interviewees are three Drum Masters, being: Denis Guimarães, known as Mestre Sapo; Jackson Luiz Mourão, Mestre Jackson and Genivaldo Monteiro Alves, Mestre Genivaldo. The theoretical framework included authors who dealt with Escola de Samba e Batucada, among them: Cavalcanti (1995; 1999); Amorim (2014) and Sodré (1998). As for the role of the Drum Master, focusing on identity, rhythm and musical instruments, there were: Mestrinel (2009, 2018), Silva (2014) and Siqueira (2012). Historical, political, cultural and social issues were supported by authors such as Oliveira (2011) and Carvalho (2000). The results showed changes, be it in the way of conducting the drums, musical instruments, rhythmic innovations (bossas) and others. Hence it was understood that the implications around identity and tradition do not depend on the current generation of rhythm musicians, but are managed by the system that governs the parade that comes from the time of the Batucadas