This paper discusses the role of social memory in constructing and maintaining cultural activities. The research focused on the dance of cocos from Creole Caiana, a remnant community of quilombos, located in the State of Paraíba, Northeastern Brazil. Using theoretical concepts from Anthropology, Sociology and Ethnomusicology, this article argues that social memory constitutes a vigorous field for the negotiation, transformation and maintenance of socio-cultural values.
Resumo: O presente artigo trata dos processos performativos na arte da embolada. Partindo da análise do coco-de-embolada "o carão", de autoria dupla de coquistas paraibanas Terezinha e Lindalva, destacamos alguns elementos que consideramos cruciais para o êxito da performance. São eles: as sistematizações e improvisos da palavra cantada, o acompanhamento instrumental e a ideia de "encantamento" envolvendo coquistas e audiência. A metodologia se pauta na pesquisa bibliográfica, buscando dialogar com estudos desenvolvidos por Andrade (2002) Abstract: The presente article describes the embolada performative processes. The embolada comprises a musical-poetic form found in Northeastern Brazil. Based on the analysis of the tune,"o carão", composed by the "emboladoras" (singers) Terezinha and Lindalva, we have highlighted some elements considered crucial to the singers' performance success. These performative processes represent the systematization and improvisation on the song words, the instrumental accompaniment and the idea of 'enchantment', involving both the performers and the audience. The methodology consists of research on the embolada's literature, focusing on studies by Andrade (2002), Vilela (1980), Cascudo (1984, Pimentel (2004), Ayala; Ayala (2000) Travassos (2001), among others; andanalyses of recorded music. We have concluded that these performative processes contribute both to the success of the singers' performance and the preservation of the embolada tradition.
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