The sound systems were created on the outskirts of Belém between the years of 1940 and 1950, with simple structures and familiar character. They consist of a sound projector, also known as a "boca-de-ferro", which was connected to one or two turntables. Based in a Communication Science approach, the present work aims to analyze the communicative experience, addressed as an aesthetic experience, present in the intersubjective elements that are shared with during the celebrations of the Super Pop sound system, held in Belém and its metropolitan region. The work was conducted from a phenomenological perspective, through which it seeks to highlight the experience of the researcher’s encounter with the object as a comprehensive and hermeneutic process. The intersubjective materialities are analyzed from the phenomenological approach present in Maffesoli and Schutz’s methodological orientations. In order to do so, I concentrate on the analysis of three events held by Super Pop Live, since, in my view, they contain the elements we observe in the set of such festivals and can thus be understood as syntheses of social forms and experience of the sound system party.
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