PANELA VELHA É QUE FAZ COMIDA BOA? REPRESENTAÇÕES SOCIAIS DE DOCENTES E DISCENTES UNIVERSITÁRIOS ACERCA DO GÊNERO FEMININO E MASCULINO NA MÚSICA SERTANEJA

Abstract

The research aimed to identify the social representations of teachers and students of higher education about the female and male gender in country music, showing whether these representations persist in the subject of/in university education. Country music also deals with the relationships between the feminine and the masculine and reinforces the social representations of gender predominant in Brazilian culture. The epistemological basis of the investigation is based on Serge Moscovici's Theory of Social Representations, on gender studies and researchers in the field of education, as well as on historians who deal with country music. The work is characterized as an investigation of a qualitative nature and the data were collected through the recording of individualized interviews, which were guided by a semi-structured script of questions. Due to the pandemic context, the interviews were recorded via Google Meet, with nine participants, five students and four professors from the Federal University of Mato Grosso do Sul, Naviraí campus (UFMS/CPNV). The data obtained were organized into two topics, namely: a) analysis of some songs indicated by the participants; and b) organization of three categories discussed based on Bardin's Content Analysis. Thus, four country songs were analyzed, one of each of the styles: roots, romantic, university and “sofrência”. Through these songs, it became clear that the lyrics predominate an ideal of men and women who meet heteronormative standards and without much breaking of stereotypes, although in current songs, some changes in gender representations were considered. In the three categories of analysis, the results showed that the musical tastes of the students and teachers interviewed vary between the root, romantic, university and “sofrência” styles, and all participants, whether they like it or not, consume the genre, some with more, others less frequently. It was also evidenced the predominance of an affective bond of the subjects under the influence of a childhood and adolescence experienced in contexts where a lot of country music was consumed, especially in leisure situations, with the presence of family, friends and neighbors, as well as in school performance experiences. In addition, some participants demonstrated that they have social representations of female and male gender that meet normative social standards and others seem to have already managed to go beyond these standards, especially those with a higher level of academic training. Based on the discussions held, it is emphasized that the flexibility and adaptation of country music occur according to the movement of sociocultural behaviors, that customs have been passed from generation to generation and that music can serve as a cultural pedagogy, acting in the education of subjects, because the social representations identified and reproduced are an indication that songs can educate people. It is important to emphasize that this informal education is not sustained only by the artifact of music, but by the communicative whole offered by society and that, through this same education, it is possible to broaden perspectives and build new representations inherent to gender relations in society.