"Ganha mais quem nada faz; menos ganha quem produz": o samba carioca e a crítica à ideologia do fim da centralidade do trabalho

Abstract

The research aims to investigate, in the interconnection between the samba from Rio and the critical sociology of work, to what extent this musical genre acts as opposition to the historical process of usurpation of the human work, more specifically with respect to its potential to criticize the ideological and hegemonic discourse of crisis (or, in certain versions, even end) of labor society. This research problem also concerns, in a broader sense, the investigation of how culture, materially inserted in social relations, constructs counter-hegemonic discourses tending to challenge social inequalities. The research is based on the hypothesis that the samba from Rio (with a special focus on the period related to the neoliberal turn for the last quarter of the twentieth century, as well as its reflections on contemporary production) has the potential to question the ideological discourse of overcoming of the living labor in today s society. And this occurs in a double focus: both by questioning bourgeois abstractions and promises, and by referring more closely to the question of labor and the myth of the denial of capital-labor conflict (whether by the exaltation of truly free labor, or by the ode to rascality, or by explicit denunciation of the exploitation). The first chapter provides a historical rescue of episodes related to the formation and development of the samba in Rio de Janeiro, with special attention to its trajectory of resistance to the constant attempts of the dominant power to persecute, discipline, widen inequalities, erase collective memory and commodify culture. The second chapter is dedicated to the analysis of the ideological discourse of overcoming of the living labor, addressing its emergence in the antiproductivist turn of European social thought, its reception in Brazil and its relation with neoliberalism. The last chapter proposes an interweaving between the previous chapters, concentrating more directly on the investigation of the research problem. For this purpose, the chapter uses the contribution of Bezerra da Silva and Candeia s artistic production, the spirit of the Samba do Trabalhador and the contestatory power of the four days of glory proper to the carnival (including the marchinha, the samba-enredo and the historic parade of 2018 presented by GRES Paraíso do Tuiuti). Finally, the conclusion rescues the hypothesis of research and shares the impressions obtained during the investigation, pointing out ways to the relation between the production of counter-hegemonic discourses by samba, the neoliberalist regime of accumulation and the revolutionary process of material overcoming of the barbarism intrinsic to a mode of production based on the exploitation of the human being by the human being.