De tocaia com o meu som: banda Tocaia da Paraíba e a construção de uma paisagem sonora híbrida no Alto Sertão paraibano (1995-2010)

Abstract

This work objective to historicize the composition of new soundscapes in Alto Sertão paraibano, particularly through the musical hybridisms undertaken by the band Tocaia da Paraíba, between 1995 and 2010. Therefore, it is understood that the group is the result of a complex alternative music scene formed in the city of Cajazeiras (Paraíba), in the late 1980s. In this rhythm, as an branch of this local musical culture, the band Tocaia da Paraíba became one of the main exponents of the musical circuit of Paraíba during the 1990s and 2000s, especially, for two reasons: first, by the hybrid structure of its sonority, that, established in the middle of Alto Sertão paraibano, brought to its cultural practices new musical references from rock to the bands of pífano, from jazz to coco de roda, from samba to repente sertanejo, uniting the local and global spheres and leading the group to compose authorial songs that tensioned the traditional conceptions of northeastern musicality, particularly the sound space of the sertão paraibano; then, for the notoriety conquered in the musical events to which participated, spread to practically all regions of the national territory, as well as the appearance in journalistic articles of prominent national press. In view of this theme, the present historical analysis seeks to understand the cultural practice that this group proposed from its aesthetic conceptions and the configuration of a hybrid soundscape, positioned by an attitude of artistic independence alternative to the musical mainstream. As sources, are used the CD insert (cover, back cover) and songs inserted in the albums Tocaia (2000) and Botando pra quebrar (2005), as well as periodicals that reported the group (such as Folha de S. Paulo, Tribuna da Imprensa and Gazeta do Alto Piranhas), blogs, physical dissemination materials (pamphlets and posters of the shows), photographic records, audiovisual recordings and interviews - both with the band Tocaia and other groups of the local alternative scene (Gonzalez, 2013). Regarding the theoretical basis, it is carried out from the operationalization of the concepts of: soundscape, spatil perspective built by Murray Schafer (2011a; 2011b) and Tim Ingold (2015); sertões, discussed by Janaína Amado (1995) and Durval Muniz de Albuquerque Júnior (2014); popular song, instrumentalized by Marcos Napolitano (2002), José Geraldo Vinci de Moraes (2000), Adalberto Paranhos (2015) and Luiz Tatit (2012); and cultural hybridity, worked by Néstor García Canclini (2019) and Peter Burke (2003).