Entre corpos e lugares: experiências com a Congada e o Tambu em Rio Claro/SP
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Data
2016-11-01
Autores
Silva, Elisabete de Fátima Farias [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
A experiência, entre 2012 e 2014, com o fenômeno Batuque manifestado pela Congada e pelo Tambu, a partir da com-vivência com o “Grupo Folclórico Congada e Tambu de São Benedito rioclarense” e o grupo/projeto “No Terreiro do Tambu”, de Rio Claro/SP, é aqui descrita no sentindo de compreender a geograficidade (DARDEL, 2011) do fenômeno, entre corpos (MERLEAU-PONTY, 1971) e lugares (RELPH, 2014; TUAN, 1983, 2011). Em Rio Claro/SP, algo chama a atenção: Tambu e Congada tem origens e sentidos diversos, entretanto batuqueiros e lugares em comum, tal peculiaridade justifica a escolha dessa pesquisa que se vale da relação Geografia-Música (PANITZ, 2010) no sentido de compreender os caminhos e encontros que se deram no mundo do Batuque em Rio Claro, a partir da com-vivência com esses dois grupos. Mapeou-se nessa cidade a espacialidade do Batuque entre tempos Passado e Presente a fim de localizar as aproximações e distanciamentos da Congada e Tambu em Rio Claro. Além da experiência geográfica (TUAN, 1983) da pesquisadora nos grupos e lugares, das diversas entrevistas realizadas e do levantamento dos autores que, de algum modo, já abordaram a temática (DEAN, 1977; CASTRO, 2013, 2014; FARIA, 2012; 2014; NASCIMENTO, 2005), buscou-se uma leitura fenomenológica (MERLEAU-PONTY, 1969, 1971, 1996, 2012) da Geografia Humanista (MARANDOLA JR., 2005, 2013, 2014; HOLZER, 2003, 2008, 2011, 2014). No Batuque, tambores e corpos se destacam numa relação existencial, manifestados nos lugares: ao ressoar dos tambores e nos trejeitos dos corpos, a rememoração (HALBWACHS, 2008) dos que primeiro batucaram. O corpo-tambor e o corpo-sujeito se tocam nos lugares e, escolhendo manifestar-se, fazem ser quem são no contato com o outro. Entre trajetos e trejeitos, o divino e o profano, a devoção e o lazer (ELIADE, 2008), o povo clama aos santos negros nas Congadas (ANDRADE, 1959; QUINTÃO, 2007; RABAÇAL, 1976; TINHORÃO, 2012), e umbiga-se celebrando a vida nos Batuques de Umbigada (BUENO et al, 2012; CARNEIRO, 1961; MORETTI, 2012). Em deslocamento (BRANDÃO, 1989) o Batuque se faz entre corpos e lugares: na rua, praça, clube, igreja ou quintal, entre multidões ou para pequenos grupos, em Rio Claro ou em outras cidades batuqueiras. Percebeu-se que na Congada e Tambu pode se haver sentidos diversos em cada manifestação, mas em todas a mesma essência: com-viver pelos tambores. Cada lugar visitado, um contexto, algo a aprender sobre o ritual que envolve o Batuque. Entre várias experiências propiciadas durante pesquisa, escolheu-se descrever as das cidades de Guaratinguetá, Pirapora do Bom Jesus e Aparecida do Norte, algumas das cidades paulistas de fé e Batuque em que o grupo de Congada de Rio Claro se apresentou. Contudo, a transposição da ruidosa e intensa beleza sonora e visual do mundo dos Batuques para o papel foi incompleta, por isso a produção do vídeo realizado (APENDICE) foi uma maneira de trabalhar a questão e compartilhar por outras linguagens a experiência geográfica do fenômeno.
The experience, between 2012 and 2014, with the Batuque phenomenon manifested by Congada and the Tambu, from the with-experience with "Grupo Folklorico Congada and Tambu St. Benedict Rioclarense" and project/group "The Terreiro do Tambu" Rio Claro/SP, is here described the feeling of understanding geographicity (DARDEL, 2011) the phenomenon of bodies (MERLEAU-PONTY, 1971) and places (RELPH, 2014; TUAN 1983, 2011). In Rio Claro/SP, something draws attention: Tambu and Congada has origins and various meanings, however drummers and common places, such peculiarity justifies the choice of this research is worth the relationship Geography-Music (PANITZ, 2010) to understand the ways and meetings that occurred in the world of Batuque in Rio Claro, from the with-experience with these two groups. The spatiality of the Batuque between past and present times was mapped in this city in order to locate the approaches and distances of the Congada and Tambu in Rio Claro. Besides the geographical experience (TUAN, 1983) researcher in the groups and places, the various interviews and survey of authors who, somehow, have addressed the issue (DEAN, 1977; CASTRO, 2013, 2014; FARIA, 2012; 2014; NASCIMENTO, 2005), we sought a phenomenological reading (MERLEAU-PONTY, 1969, 1971, 1996, 2012) of Humanistic Geography (MARANDOLA JR, 2005, 2013, 2014; HOLZER, 2003, 2008, 2011, 2014). In Batuque, drums and bodies stand out in an existential relationship, manifested in places: the clanging of drums and the mannerisms of the bodies, the recollection (HALBWACHS, 2008) who first made the Batuque. The body-drum and the bodysubject touching in places, and choosing to manifest, do be who they are in contact with each other. Between paths and grimaces, the divine and the profane, the devotion and leisure (ELIADE, 2008), the people pray for to black saints, in Congadas (ANDRADE, 1959; QUINTÃO, 2007; rabaçal 1976; Tinhorão, 2012), and umbigam in the celebration of life, in Batuques de Umbigada (BUENO et al, 2012; CARNEIRO, 1961; MORETTI, 2012). In displacement (BRANDÃO, 1989) the Batuque is made between bodies and places: in the street, square, club, church or yard, among crowds or for small groups, in Rio Claro or in other batuqueira cities. It was perceived that in the Congada and Tambu there can be different senses in each manifestation, but in all the same essence: to-live by the drums. Every place visited, a context, something to learn about the ritual that surrounds the Batuque. Among the several experiences that were carried out during the research, we chose to describe the cities of Guaratinguetá, Pirapora do Bom Jesus and Aparecida do Norte, some of the cities of São Paulo and Batuque in which the Congada group from Rio Claro exhibited. However, the transposition of the noisy and intense sound and visual beauty of the Batuques world to the role was incomplete, so the production of the video (APPNDIX) was a way of working the issue and sharing by other languages the geographical experience of the phenomenon.
The experience, between 2012 and 2014, with the Batuque phenomenon manifested by Congada and the Tambu, from the with-experience with "Grupo Folklorico Congada and Tambu St. Benedict Rioclarense" and project/group "The Terreiro do Tambu" Rio Claro/SP, is here described the feeling of understanding geographicity (DARDEL, 2011) the phenomenon of bodies (MERLEAU-PONTY, 1971) and places (RELPH, 2014; TUAN 1983, 2011). In Rio Claro/SP, something draws attention: Tambu and Congada has origins and various meanings, however drummers and common places, such peculiarity justifies the choice of this research is worth the relationship Geography-Music (PANITZ, 2010) to understand the ways and meetings that occurred in the world of Batuque in Rio Claro, from the with-experience with these two groups. The spatiality of the Batuque between past and present times was mapped in this city in order to locate the approaches and distances of the Congada and Tambu in Rio Claro. Besides the geographical experience (TUAN, 1983) researcher in the groups and places, the various interviews and survey of authors who, somehow, have addressed the issue (DEAN, 1977; CASTRO, 2013, 2014; FARIA, 2012; 2014; NASCIMENTO, 2005), we sought a phenomenological reading (MERLEAU-PONTY, 1969, 1971, 1996, 2012) of Humanistic Geography (MARANDOLA JR, 2005, 2013, 2014; HOLZER, 2003, 2008, 2011, 2014). In Batuque, drums and bodies stand out in an existential relationship, manifested in places: the clanging of drums and the mannerisms of the bodies, the recollection (HALBWACHS, 2008) who first made the Batuque. The body-drum and the bodysubject touching in places, and choosing to manifest, do be who they are in contact with each other. Between paths and grimaces, the divine and the profane, the devotion and leisure (ELIADE, 2008), the people pray for to black saints, in Congadas (ANDRADE, 1959; QUINTÃO, 2007; rabaçal 1976; Tinhorão, 2012), and umbigam in the celebration of life, in Batuques de Umbigada (BUENO et al, 2012; CARNEIRO, 1961; MORETTI, 2012). In displacement (BRANDÃO, 1989) the Batuque is made between bodies and places: in the street, square, club, church or yard, among crowds or for small groups, in Rio Claro or in other batuqueira cities. It was perceived that in the Congada and Tambu there can be different senses in each manifestation, but in all the same essence: to-live by the drums. Every place visited, a context, something to learn about the ritual that surrounds the Batuque. Among the several experiences that were carried out during the research, we chose to describe the cities of Guaratinguetá, Pirapora do Bom Jesus and Aparecida do Norte, some of the cities of São Paulo and Batuque in which the Congada group from Rio Claro exhibited. However, the transposition of the noisy and intense sound and visual beauty of the Batuques world to the role was incomplete, so the production of the video (APPNDIX) was a way of working the issue and sharing by other languages the geographical experience of the phenomenon.
Descrição
Palavras-chave
Corpo, Lugar, Batuque, Experiência geográfica, Body, Place, Geographical experience