Carimbó do Santo Preto: a presença negra na performance musical da festividade do Glorioso São Benedito em Santarém Novo (PA)
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2016-03-31
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Universidade Estadual Paulista (Unesp)
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O Carimbó é Patrimônio Cultural Imaterial do Brasil desde 2014 e representa, em várias localidades do estado do Pará, um componente fundamental de tradição e identidade do povo paraense. Portanto, esta tese objetiva investigar a presença negra no Carimbó executado na Festividade do Glorioso São Benedito em Santarém Novo (PA), a partir dos seus aspectos originários, etimológicos, religiosos e, sobretudo, musicais. O presente trabalho é o resultado de várias pesquisas realizadas acerca dessa temática no período de 2009 a 2014, tanto bibliográficas quanto empíricas. As informações bibliográficas foram relevantes para definir as bases teóricas e metodológicas necessárias ao entendimento dos aspectos que caracterizam o estudo da presença negra na performance musical do Carimbó executado na Festividade de São Benedito em Santarém Novo, bem como dos assuntos relacionados ao catolicismo popular, à identidade, à tradição, às Irmandades negras no Pará, à religião, entre outros. Com base na abordagem qualitativa, foram adotadas a observação participante e a entrevista não estruturada. Por meio da coleta de dados, almejou-se compreender, analisar e categorizar os dados identificados, as percepções e perspectivas dos diversos sujeitos notadamente envolvidos com o Carimbó e suas próprias formas de entendimento, de acordo com a possibilidade de apreensão de tais sistemas. Logo, a aplicação do método etnográfico propiciou a valorização do conhecimento tradicional em torno do objeto de estudo pesquisado, haja vista os sujeitos envolvidos deterem as bases e concepções do que seja esse ritual. A notação em partitura foi usada em conjunto com outras formas de representação, como as gravações de áudio e vídeo e as fotografias. No que tange aos aspectos originários, verificou-se que tanto autores renomados quanto os tocadores da Irmandade reconhecem a procedência africana do tambor gerador. No tocante aos aspectos etimológicos, admitiu-se nesta tese que a mais procedente é a fonética, a qual, coincidentemente, resgata em seu bojo também a origem africana do termo Carimbó. Em relação ao aspecto religioso, verificou-se que, em Santarém Novo, os laços existentes entre sua Irmandade de Carimbó, São Benedito e sua festividade apresentam características advindas das “Irmandades negras”. No que tange ao aspecto musical dessa manifestação, com o trabalho de campo, constatou-se a importância dos instrumentos de percussão na sua constituição instrumental – sobretudo do seu essencial tambor, demarcador do tempo e do espaço ritualístico dessa festividade; e a presença da “síncope característica” de forma constante, não somente como uma possibilidade rítmica, mas como um provável elemento de identificação. Essa fórmula rítmica – a “síncope característica” – é uma das mais importantes surgidas nas Américas, no século XIX, por intermédio dos escravos africanos (CANÇADO, 1999), dado que valida também a tese aqui defendida. Os resultados obtidos poderão contribuir, mesmo parcialmente, aos estudos etnográficos no campo da música, além de fornecerem subsídios acerca do tema a outras áreas do conhecimento.
The Carimbó is Intangible Cultural Heritage of Brazil since 2014 and represent, in various localities of Pará state, a key component of tradition and identity of the Pará people. So, this thesis aims to investigate the black presence in Carimbó performed at the Festival of Glorioso St. Benedito in Santarém Novo (PA), from its aspects originating etymological, religious and, above all, musical. This work is the result of various researches conducted about this topic in the period of 2009 to 2014, both bibliographic and empirical. The bibliographic information were relevant to define the theoretical and methodological bases necessary for understanding the aspects that characterize the study of black presence in musical performance of Carimbó performed at the Festival of Glorioso São Benedito in Santarém Novo, as well as issues related to popular Catholicism, to identity, to tradition, to black brotherhoods in Pará, to religion, among others. Based on qualitative approach, we adopted the participant observation and unstructured interview. Through data collection, we tried to understand, analyse and categorize the identified data, perceptions and perspectives of the various subjects involved with Carimbó and its own ways of understanding, according to the possibility of understanding of such systems. Therefore, the application of the ethnographic method allowed the valorization of traditional knowledge, since the subjects involved holds the bases and conceptions of that ritual. The music score was used in conjunction with other forms of representation, such as audio and video recordings and photographs. Regarding the originating aspects, it was found that both renowned authors and brotherhood players recognize the African origin of the generator drum. Regarding the etymological aspect, it was assumed in this thesis that the more certain is the phonetics, which, coincidentally, rescues the African origin of Carimbó. Regarding the religious aspects, it was found that, in Santarém Novo, the ties between its brotherhood of Carimbó, St. Benedito and its brotherhood feature characteristics of “black brotherhoods”. Regarding the musical aspects of this manifestation, it was found from the field research the importance of percussion instruments in Carimbó’s instrumental constitution – especially of its essential drum, time path and ritualistic space of this festivity; and the presence of “characteristic syncopation”, not only as a rhythmic possibility, but as a likely element of identification. This rhythmic formula – the “characteristic syncopation” – is one of the most important formula emerged in America in the nineteenth century, through the African slaves (CANÇADO, 1999), which validates the thesis defended in here. The results may contribute, even partially, to ethnographic studies in the music field, in addition to provide subsidies about the subject and other areas of knowledge.
The Carimbó is Intangible Cultural Heritage of Brazil since 2014 and represent, in various localities of Pará state, a key component of tradition and identity of the Pará people. So, this thesis aims to investigate the black presence in Carimbó performed at the Festival of Glorioso St. Benedito in Santarém Novo (PA), from its aspects originating etymological, religious and, above all, musical. This work is the result of various researches conducted about this topic in the period of 2009 to 2014, both bibliographic and empirical. The bibliographic information were relevant to define the theoretical and methodological bases necessary for understanding the aspects that characterize the study of black presence in musical performance of Carimbó performed at the Festival of Glorioso São Benedito in Santarém Novo, as well as issues related to popular Catholicism, to identity, to tradition, to black brotherhoods in Pará, to religion, among others. Based on qualitative approach, we adopted the participant observation and unstructured interview. Through data collection, we tried to understand, analyse and categorize the identified data, perceptions and perspectives of the various subjects involved with Carimbó and its own ways of understanding, according to the possibility of understanding of such systems. Therefore, the application of the ethnographic method allowed the valorization of traditional knowledge, since the subjects involved holds the bases and conceptions of that ritual. The music score was used in conjunction with other forms of representation, such as audio and video recordings and photographs. Regarding the originating aspects, it was found that both renowned authors and brotherhood players recognize the African origin of the generator drum. Regarding the etymological aspect, it was assumed in this thesis that the more certain is the phonetics, which, coincidentally, rescues the African origin of Carimbó. Regarding the religious aspects, it was found that, in Santarém Novo, the ties between its brotherhood of Carimbó, St. Benedito and its brotherhood feature characteristics of “black brotherhoods”. Regarding the musical aspects of this manifestation, it was found from the field research the importance of percussion instruments in Carimbó’s instrumental constitution – especially of its essential drum, time path and ritualistic space of this festivity; and the presence of “characteristic syncopation”, not only as a rhythmic possibility, but as a likely element of identification. This rhythmic formula – the “characteristic syncopation” – is one of the most important formula emerged in America in the nineteenth century, through the African slaves (CANÇADO, 1999), which validates the thesis defended in here. The results may contribute, even partially, to ethnographic studies in the music field, in addition to provide subsidies about the subject and other areas of knowledge.
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Palavras-chave
Performance musical, Ritmo, Carimbó, Irmandade de São Benedito, Presença negra, Musical performance, Rhythm, Brotherhood of St. Benedito, Black presence