As matrizes do samba carioca e carnaval: algumas reflexões sobre patrimônio imaterial
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Data
2009-12-02
Autores
CUNHA, Fabiana Lopes da [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Nosso trabalho busca discutir o samba carioca e o documento produzido pelo Centro Cultural Cartola para registrar as matrizes do samba do Rio de Janeiro como um bem imaterial no Livro das Formas de Expressão criado pelo IPHAN em 2000. Para isso, buscamos compreender as diferentes expressões deste gênero musical e suas transformações narrativas, melódicas e timbrísticas que o transformaram de música marginal a símbolo de brasilidade e que o tornaram o ritmo da maior festa brasileira: o carnaval. Compreendemos que tal processo se deu em consonância com as transformações políticas, sociais e urbanísticas que a cidade do Rio de Janeiro sofreu nas primeiras décadas do século XX e que, o inventário e registro das matrizes do samba carioca é fruto não apenas dos anseios da comunidade de sambistas, mas também do diálogo destes com intelectuais e gestores públicos. Além disso, tal política voltada para a preservação e salvaguarda dos bens imateriais se coaduna com políticas e projetos urbanísticos de transformação de certos espaços citadinos em verdadeiros museus a céu aberto, como é o caso do Museu a Céu Aberto do Morro da Providência e da construção da Cidade do Samba, que expressam uma preocupação com a revitalização da área, a valorização imobiliária e o incremento da indústria do turismo.
This work seeks to investigate the Rio de Janeiro samba and the document produced by the Cartola Cultural Center so as to register the matrices of the Rio de Janeiro samba as an immaterial asset in the Book of Forms of Expression created by IPHAN (The National Institute of Historic and Artistic Patrimony) in 2000. With that in mind, I have sought to understand the various expressions of this musical genre and its narrative, melodic and timbre changes which have converted it from marginal music into a symbol of Brazilianness, and have turned it into the rhythm of the greatest Brazilian celebration: Carnival. I understand that this process took place in consonance with political, social and urban changes undergone by the city of Rio de Janeiro in the first decades of the twentieth century and that, the inventory and register of the matrices of the Rio de Janeiro samba resulted, not only from the desire of the samba dancers community, but also from the community’s exchange of ideas with intellectuals and public administrators. In addition to that, such policy addressed to the preservation and safeguard of immaterial assets merges with urbanistic policies and projects aiming at transforming certain city spaces into actual open air museums. Such is the case of the Open Air Museum of Providence Hill and of the construction of the Samba City, which show a concern with the area’s revitalization, real estate valuation, and the increase of the tourism industry.
This work seeks to investigate the Rio de Janeiro samba and the document produced by the Cartola Cultural Center so as to register the matrices of the Rio de Janeiro samba as an immaterial asset in the Book of Forms of Expression created by IPHAN (The National Institute of Historic and Artistic Patrimony) in 2000. With that in mind, I have sought to understand the various expressions of this musical genre and its narrative, melodic and timbre changes which have converted it from marginal music into a symbol of Brazilianness, and have turned it into the rhythm of the greatest Brazilian celebration: Carnival. I understand that this process took place in consonance with political, social and urban changes undergone by the city of Rio de Janeiro in the first decades of the twentieth century and that, the inventory and register of the matrices of the Rio de Janeiro samba resulted, not only from the desire of the samba dancers community, but also from the community’s exchange of ideas with intellectuals and public administrators. In addition to that, such policy addressed to the preservation and safeguard of immaterial assets merges with urbanistic policies and projects aiming at transforming certain city spaces into actual open air museums. Such is the case of the Open Air Museum of Providence Hill and of the construction of the Samba City, which show a concern with the area’s revitalization, real estate valuation, and the increase of the tourism industry.
Descrição
Palavras-chave
Rio de Janeiro samba- Immaterial Patrimony - Identity, Samba carioca-patrimônio imaterial-identidade
Como citar
Patrimônio e Memória, v. 5, n. 2, p. 34-57.