Da insurgência à ressurgência: uma cartografia do Carnaval de rua de Belo Horizonte entre 2009 e 2020

Abstract

The present investigation aims to understand the socio-spatial transformations that occurred in the street Carnival of Belo Horizonte between 2009 and 2020. The study seeks to comprehend the historical and geographical developments of the Carnival celebration as a transversal object within this longitudinal context, focusing on the appropriation of urban space and the power relations that permeate the city's territory. To achieve its objective, the research employed a methodological triangulation, combining bibliographic review, documentary research, and field research. The documentary research analyzed official reports from the Belo Horizonte City Hall (Belotur), infographics, studies from the Minas Gerais Tourism Observatory, municipal decrees, and public safety event records (REDS). The field research consisted of narrative interviews with sixteen leaders of blocos de rua (street Carnival groups), whose discourses and perceptions were subjected to thematic analysis with the aid of ATLAS.ti software. The elaboration of thematic maps through geoprocessing complemented the spatial analysis. The categories of analysis were structured around the relationship with public authorities, space and the city, and the profile of the blocos, segmented into the periods "before 2009," "2009 to 2012," and "2012 to 2020." The results reveal that, prior to 2009, Belo Horizonte was perceived as a city "without Carnival," but a set of factors such as redemocratization, economic stabilization, and cultural policies (e.g., FIT-BH, Pontos de Cultura) created a conducive environment for the insurgency of the first initiatives. The initial blocos (2009-2012) emerged from a generation of middle-class university students with strong political engagement and a focus on the appropriation of public space. Decree No. 13,798/2009, which prohibited events in Praça da Estação, led to a social response that culminated in the movement known as "Praia da Estação," transforming into a symbol of the struggle for the right to the city and directly connecting with the early years of the Street Carnival. From 2013 onwards, Belo Horizonte's Carnival experienced an exponential "resurgence," with a massive growth in revelers, blocos, and street vendors, according to Belotur data. This phase was marked by the institutionalization of the celebration, with the City Hall seeking to assume a central role in organizing and attracting sponsorships, which generated tensions and disputes, such as the "Catuaba revolution" against commercial monopolies. The festival propelled the "carnivalization of spaces," influencing other urban movements (e.g., CURA, A Rua é Nossa) and promoting new urban vitality and a sense of belonging. The thesis identifies four "generations" of blocos: the first, "Street and Struggle Carnival," focused on political contestation; the "Sonorizing" generation, which sought musical professionalization and the use of trio elétricos (sound trucks); the "Identity- based" generation, arising from demands for representation (racial, LGBTQIA+) and musical diversification; and the "Capital" generation, with a more commercial bias. The growth of the festival also boosted the "musicalization of the city," with the training of thousands of percussionists and the consolidation of a Carnival production chain. In conclusion, Belo Horizonte's street Carnival transformed from an insurgent movement into a complex and multifaceted phenomenon that, despite increasing institutionalization and commercialization, maintains its political roots and capacity for reinvention. The festival not only reconfigured urban space but also became a catalyst for social debates, an economic engine, and a space for "citizenship building," demonstrating the vitality and adaptability of the city and its inhabitants.