“Canta quem sabe cantar”: processos performativos na arte da embolada

Abstract

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.

Calls and Responses

“…10–11), which Garrett Michaelsen also touches on in his contribution to this forum. Call‐and‐response interplay takes many forms: the relationship between the sonero's continuously varied call and the coro's relatively fixed response in salsa,5 the jazz rhythm section's improvised response to a soloist's call (Monson 1996; or conversely, a melodic soloist's response to the call of a pianist's chord reharmonisation or drummer's rhythmic interjection), the ‘answer’ phrase crafted in real time to a first singer's ‘question’ in Brazilian embolada (Souza Santos and Lamara dos Santos Barbosa 2014). 6 What happens if we frame the improvisatory interplay of these kinds of examples in Hasty's projective terms?…”