Ó abre alas que eu quero passar: a mulher no cenário do choro em Sergipe

• Ano de defesa: 2019
• Autor(a) principal: Nou, Alice Dantas Perrucho
• Orientador(a): Ennes, Marcelo Alario
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Programa de Pós-Graduação: Pós-Graduação em Sociologia
• Palavras-chave em Português: Sociologia; Cultura popular; Choro (Música); Sergipe (SE); Mulheres; Feminismo; Trajetória social; Músicos; Participação; Choronas; Desafios; Mulher
• Palavras-chave em Inglês: Feminism; Social trajectory; Musicians; Participation; Challenges; Woman
• Área do conhecimento CNPq: CIENCIAS HUMANAS::SOCIOLOGIA
• Link de acesso: http://ri.ufs.br/jspui/handle/riufs/16739

Woman and Chorinho. On the one hand, the challenges of being a woman in a society still marked by the ideology of machismo. On the other, the hard, restricted musical scenery of a demanding audience and complex rhythm, which requires a lot of dedication like Chorinho. This work arose with the purpose of giving voice to the choronas as an opportunity to report the participation of the woman in the chorinho. In the first phase of the research was carried out a collection of information from great thinkers of classical sociology in their respective contexts, showing how they have been and have been influence for the promotion of feminism, and the main feminist theories and Identity. A brief analysis of Choro in Brazil, its origins and the history of women's daily life was also made, and in the nineteenth and twentieth centuries, when women's participation was timid in order to understand the reflexes in society today. In this research we bring the trajectory of Chiquinha Gonzaga, considered the first woman to be inserted in the cry and Ademilde Fonseca, known as "Queen of Choro", that very influenced the woman to assume other roles beyond what the society attributed to the genre. Through the Interview method, we approached the woman's participation in the chorinho in Sergipe. With different ages and trajectories of schooling and social status, Maria Olívia (first female pianist working in chorinho sergipano), Paula Al'Sant, the only trans chorista woman, Silvina do Choro (musician and nutritionist) and Nancy Alves (mother, housewife and choreographer) to address their challenges in the music scene. It was verified that, with the study of the trajectory of Chiquinha Gonzaga, Ademilde Fonseca and the field work with the group of four agents interviewed, the singularities of each trajectory, the different social origins and the different amounts of capital, do not tend to represent great social distances. On the other hand, even with a large number of regularities and despite the evolution of participation thanks to the participation of great women in the past, the social trajectory is unique because the challenges remain and the struggle, consequently.