Delinquentes is a band with thirty years of activity and it's one of the main references in
rock and the underground scene from city of Belem, capital of State of Para, in Amazonia. This
work intends to investigate the representation of this band, which is almost a patrimony to Belem
rock scene, and what's its importance for the artists and fans whose are participating in this scene.
What motivates many people even today to be interested by Delinquentes, for listening to its music
and go to concerts? What made these artists resist three decades in an underground punk rock band
in a scenario like Belem, carved on the margins of great brazilians cultural centers? How relevant is
this band for other artists, veterans and young, and what it means today at this rock scene? The
research begins in the context in which emerged the band Delinquentes in 1985, and later in the
relationship established between the band and the participants of the Belem rock scene. This
research uses theoretical studies of Stuart Hall (2014) on identities published in the book The
Question of cultural identity to trace a recent historical parallel by the popular music in the State of
Para and try to understand how was the formation of a rock tribe in the city of Belem. The research
also passes through the understanding of Michel Maffesoli (2014) in the book Le Temps des Tribus
to try to assimilate the dialogues between the band and other artists, producers and the fans. The
research was conducted through bibliographic records, publications in newspapers, independent
publications, the collection of the band, audiovisual records and interviews with current and former
members of Delinquentes, producers, journalists, artists and fans. I have made an application of the
tripartite methodology by Allan Merriam (1964) to relate these discourses from each author and
build, through the language of ethnographic film, an audiovisual product as a final result of this
research. The research goes of a audiovisual format to build an analytical discourse on the sound
phenomenon. In this research the film is a way to tell the story like an audiovisual research method
taking as theoretical architecture a methodology of ethnomusicology. The visual language of the
film is based on the fanzine narrative, a very important independent publications for subcultures
such as punk. This work proposes a reflection on the importance of Delinquentes band as well as its
extensions in the consolidation of the underground scene of the city of Belem.
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