Cafuas, guetos e santuários – atualização do sagrado num artista iconoclasta: produção, recepção e repercussão da obra de Tom Zé

Abstract

This article focuses on figure of the solitary unusual artists who highlight from the block of artistic movements of dominant or vanguard aesthetic, here illustrated by the musician Tom Zé. The goal is to analyze the purpose of an artistic project that includes in the performance exaggeration of the self references as a procedure to intensify the power of speech. The underlying theoretical thought of this research were obtained in Antonio Gramsci and Nestor Garcia Canclini’s studies; from the first one the systemization of philosophy of Praxis, from the second one Hybrid Culture studies. The two clarify the role of a new type of intellectual and artist interwoven in the following dimensions: the intellectual's organic relationship with the oppressed, when establish empathy from a real line, in which intellectual realizes another power, thereby enhancing know popular conferring identity and struggling for socializing knowledge with a view to show up a new political ethical horizon; on the other hand the work of modern artist includes individual celebrity behavior, immediate conversation of artist's history, the verbalization of social life, both as strategies to expand the reach of speech that here concerns the political and educational achieving. The effort of this article was to leverage the clarifications of the abovementioned theoretical background illustrated with Tom Zé’s work and career, as a kind of complex artist, to pursue to prevail his aesthetic ideal, he assumed the odds of that kind of people who faces and resists to the appeals of the mass culture, which implies in confrontation with the cultural industry and regularly with political and social landscape.