Christian masculinities as spaces between the profane and the sacred: an analysis of the performances of catholic priests Alessandro Campos and Fábio de Melo.
Communication; Religion, Discourse; Performance; Music.
This research seeks, among its objectives, to tension the debate around the performances of Catholic priests, especially when they generate engagement beyond their links with Christian narratives. The problem is elaborated on a possible logic of construction of performativity, in which it is necessary to think of a set of ambiguities that allows to recognize Christian masculinities as places of encounter between the sacred and the profane. For this, the analysis is made from two priests, who have their media trajectories crossed by secular songs: Father Alessandro Campos and Father Fábio de Melo. The first, known as the "country priest", when linking with the musical genre in question, incorporates secular musical practices in his masses and performances, with explicitly sexualized performances. The second is currently the Brazilian priest, with the highest number of followers and engagement rates in the digital context, more specifically, on Instagram, Twitter and Youtube platforms, including its various internet content creation tools, standing out for a discourse of intimacy and sensuality. The clipping of this research allows us to understand how the construction of narratives of singing priests that, from the mediation of a male body, pass through the religious and secular spheres, with the interpretation of songs considered non- Christian, and constant presence on digital latforms. For this analysis, we applied performance studies in their communicational dimension, starting from two methodological keys: 1) under discursive bias, contemplating discourse analysis and based on author Dominique Maingueneau (1984), in dialogue with Paul Zumthor (2007), and Richard Bauman (2014). 2) under aesthetic logic, founded by Richard Schechner (2006), Diana Taylor (2013), Clóvis Ecco (2008), Marvin Carlson (2010) and Thiago Soares (2014; 2018). Also including this second bias, we have research on music, media culture, social networks and digital mediation, with David Hesmondhalgh (2013), Jeder Janotti Jr (2019), Simone Pereira de Sá (2019), and Douglas Kellner (2001). Through the articulation of these methodological keys, we will tension the debate around performance, aiming to understand how the construction of these discourses takes place and how they trigger an emblematic position in the current media religious context. To do so, we will resort to studies of religion with authors such as Brenda Carranza (2011), Mircea Eliade (1983, 1992), and Kenneth P. Serbin (2008). The relationship between performance and religion, in this work, is based on reflection on religious media trajectories in different scenarios, pointing to the problem around how Communication, from the point of view of Performance, seeks to understand the corporalities present in religious agents, especially through music. Therefore, it was necessary, therefore, an analysis of the order of the interaction, being selected photos, videos and comments mediated by digital social networks, which complexed our problem, in the temporal design between July 2020 and January 2022, this period, of abundant content on these platforms, due to the pandemic of COVID-19 that plagued Brazil and the world, in addition to a descriptive research, which was also necessary, from the observation, recording and analysis of a live musical show by Father Fábio de Melo, in December 2021, in the city of Recife, Pernambuco.