Tecnobrega, between the deletion and the cult

Abstract

This article examines the processes of valuation related to tecnobrega, whereas the positive representation of the music highlights the progressive vocation of production/circulation system that triggers, but ignores its aesthetic nature. That is because the enjoyment of this music style collides with the social hierarchies of musical taste, which is even and ambivalently reflected in cultural criticism. The hypothesis put forward in this article is that the representations of tecnobrega, legitimating or non-authorizing, are defined from the place of utterance where the observer is.