O negro e a música nos trópicos: o embranquecimento histórico do padre José Maurício Nunes Garcia
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Data
2021-03-11
Autores
Vaccari, Pedro Razzante [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
A questão concernente deste trabalho é a análise, sob o viés antropológico, da historiografia a respeito do compositor negro padre José Maurício Nunes Garcia, desde o primeiro documento sobre ele, datado de 1836, assinado por Manoel de Araujo Porto-Alegre. A análise segue considerando uma biografia manuscrita anônima de 1897, e adentrando o século XX com Taunay, Renato Almeida, Mário de Andrade, Rossini Tavares de Lima, Luiz Heitor, Bruno Kiefer, Vasco Mariz, Mauro Gama, Cleofe Person de Mattos e alcançando o século XXI, onde uma nova geração de musicólogos, como Marcelo Hazan e Marc Hertzman, efetivamente investigaram a música de José Maurício sob uma perspectiva racial, antropológica e abrangendo outras áreas do conhecimento, como a biologia e a sociologia, especialmente Hazan. Dentro dessa análise crítica, verificou-se que houve, senão um deliberado e consciente processo de embranquecimento histórico, por meio da iconografia e da narrativa histórica que tentou se perpetuar sobre o padre-compositor, pelo menos um anseio de grande parte da musicologia dos séculos XIX e XX, de torná-lo protótipo de mestiço brasileiro, a fim de alçá-lo como expoente da música colonial situado no nacionalismo da Era Vargas. Esse processo embranquecedor contou com as teorias raciais que haviam se delineado desde a década de 1880 na Europa, e o termo “eugenia” com o significado de “bem nascer”, forjando-se um ambiente propício para a disseminação de ideais científicos e o uso equivocado das ideias de Darwin. As teorias eugenistas como o darwinismo social e a antropologia cultural dariam o escopo necessário para a formação de uma pátria que, de acordo com teóricos como Silvio Romero e Raymundo Nina Rodrigues, em algumas gerações seria “plenamente branca”. Acompanhando essa evolução social e histórica, as biografias sobre o padre Maurício, em maior ou menor grau, procuraram, por meio de iconografia ou uma espécie de revisionismo histórico embranquecedor, converter e transmudar a vida do biografado, alinhando-o cada vez mais com um modelo saturado de gênio caucasiano europeu ocidental. Neto de escravizadas africanas, luta-se até hoje para o reconhecimento de José Maurício enquanto compositor negro, patrimônio nacional, sem os eufemismos que lhe foram emprestados desde o século XIX de “mulato”, “pardo” e “mestiço”, alcunhas que muitas vezes prestam um desserviço à própria condução e aprimoramento da história.
The problem here defined is to analyze, from the perspective of Anthropology, the historiography that concerns black brazilian composer father José Maurício Nunes Garcia, since its remote age, that is, in the figure of Manoel de Araujo Porto-Alegre. After this, we passed through an anonymous biography from 1897, and in the following Century we researched the works by Taunay, Renato Almeida, Mário de Andrade, Rossini Tavares de Lima, Luiz Heitor, Bruno Kiefer, Vasco Mariz, Mauro Gama, Cleofe Person de Mattos, reaching XXI Century where a new generation of musicologists, such as Marcelo Hazan and Marc Hertzman, finally proposed to investigate José Maurício´s music under a racial survey, based more on Anthropology and gathering other knowledge fields, such as biology and sociology, especially Hazan. Inside this critical analysis, it was verified that happened, if not intentional and concious historical whitening process, through iconography and historical narrative that was tried to perpetuate about the father-composer, at least a desire of big part of Centuries XIX and XX musicology, for becoming him a brazilian mestizo prototype, with the aim of raising him as Brazilian Colonial Music symbol of the Era Vargas nationalism of the 1930s. This whitening process would count on racial thories that were delimited themselves since the 1880 in Europe, with the word Eugenics meaning “well born”, then, the perfect environment for diffusion of pseudo-scientific ideas and Darwin's misuse was set. The eugenics theories such as social darwinism and cultural anthropology, embased the movement´s needing to a country´s development that, with writers such as Silvio Romero and Raymundo Nina Rodrigues, in some generations would be a “completely white” one. Following that historical and social evolution, father Maurício’s biographies, in greater or lesser degrees, have searched, through iconography itself or through narrative, a kind of whitening historical revisionism, to change and rewrite Maurício´s life, making him even more similar to an old conceived white model of the romantic western european genius. Grandson of african slaves, we struggle until nowadays to reach the Father´s recognition as a black composer, part of National Patrimony, without the nicknames that have been lent to him since the 19th century by “mulatto”, “brown” and “mestizo”, nicknames that often do a disservice to the very conduct and improvement of history.
The problem here defined is to analyze, from the perspective of Anthropology, the historiography that concerns black brazilian composer father José Maurício Nunes Garcia, since its remote age, that is, in the figure of Manoel de Araujo Porto-Alegre. After this, we passed through an anonymous biography from 1897, and in the following Century we researched the works by Taunay, Renato Almeida, Mário de Andrade, Rossini Tavares de Lima, Luiz Heitor, Bruno Kiefer, Vasco Mariz, Mauro Gama, Cleofe Person de Mattos, reaching XXI Century where a new generation of musicologists, such as Marcelo Hazan and Marc Hertzman, finally proposed to investigate José Maurício´s music under a racial survey, based more on Anthropology and gathering other knowledge fields, such as biology and sociology, especially Hazan. Inside this critical analysis, it was verified that happened, if not intentional and concious historical whitening process, through iconography and historical narrative that was tried to perpetuate about the father-composer, at least a desire of big part of Centuries XIX and XX musicology, for becoming him a brazilian mestizo prototype, with the aim of raising him as Brazilian Colonial Music symbol of the Era Vargas nationalism of the 1930s. This whitening process would count on racial thories that were delimited themselves since the 1880 in Europe, with the word Eugenics meaning “well born”, then, the perfect environment for diffusion of pseudo-scientific ideas and Darwin's misuse was set. The eugenics theories such as social darwinism and cultural anthropology, embased the movement´s needing to a country´s development that, with writers such as Silvio Romero and Raymundo Nina Rodrigues, in some generations would be a “completely white” one. Following that historical and social evolution, father Maurício’s biographies, in greater or lesser degrees, have searched, through iconography itself or through narrative, a kind of whitening historical revisionism, to change and rewrite Maurício´s life, making him even more similar to an old conceived white model of the romantic western european genius. Grandson of african slaves, we struggle until nowadays to reach the Father´s recognition as a black composer, part of National Patrimony, without the nicknames that have been lent to him since the 19th century by “mulatto”, “brown” and “mestizo”, nicknames that often do a disservice to the very conduct and improvement of history.
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Palavras-chave
Padre José Maurício Nunes Garcia, Embranquecimento, Historiografia, Eugenia, Estigma racial