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| Author(s): |
Érica Giesbrecht
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Artes |
| Defense date: | 2011-04-19 |
| Examining board members: |
Lenita Waldige Mendes Nogueira;
Suzel Ana Reily;
Elizabeth Travassos Lins;
Fernanda Carlos Borges;
Claudiney Rodrigues Carrasco
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| Advisor: | Rita de Cássia Lahoz Morelli; Lenita Waldige Mendes Nogueira |
| Abstract | |
The increasing propagation of cultural groups dedicated to the performance of the so called "cultural traditions", has yielded studies and debates in the field of ethnomusicology worldwide. From the ethnography of popular cultural groups based in Campinas - São Paulo, I propose a reflection on the dynamics that distinguish their processes. At the height of the Brazilian coffee economy in the nineteenth century, the city was a production center, gathering a large number of slaves to whom the creation of many musical styles is credited. Meanwhile the agents of the present groups do not necessarily descended from those slaves nor belong to any culturally isolated traditional community. Performing a musical legacy credited to those slaves, these groups - Urucungos, Puítas e Quijêngues, Casa de Cultura Tainã, Jongo Dito Ribeiro and Maracatucá - bring up a question: why would "nontraditional" groups be interested in the so-called traditional repertoires, selecting, researching and recreating their performances? Considering other possible answers, I argue that the performances of these groups engender the intentional incorporation of a "black memory" through their music, thus leading their participants to regain control over their bodies. We use this expression, "black memory", when we don't want to recognize past events that could embarrass us if disclosed. Ambiguously this term also encompasses everything that relates to the memory of the slaves from Campinas in the nineteenth century. Denied by an essentially white city that holds a modernized urban scenery, this memory flourishes from the hairs, clothes, culture, dance and memory of black citizens who redress the black skin through their performances. Empowered by this cultural legacy they revolve the ashes of oblivion, and oppose to the exclusion processes by joining a larger history and memory, thus disclosing a tragic past that shall never be forgotten (AU) | |
| FAPESP's process: | 06/06049-8 - Music and popular culture in Campinas: an ethnomusicological study on identity, space and music |
| Grantee: | Erica Giesbrecht |
| Support Opportunities: | Scholarships in Brazil - Doctorate |