Music Scenes and Migrations

Description

Essays by Brazilian and European scholars on musical place and transnationalism across the Atlantic triangle connecting Brazil, Africa and Europe

‘Music Scenes and Migrations’ brings together new work from Brazilian and European scholars around the themes of musical place and transnationalism across the Atlantic triangle connecting Brazil, Africa and Europe. Moving beyond now-contested models for conceptualizing international musical relations and hierarchies of powers and influence, such as global/local or centre/periphery, the volume draws attention instead to the role of the city, in particular, in producing, signifying and mediating music-making in the colonial and post-colonial Portuguese-speaking world. In considering the roles played by cities as hubs of cultural intersection, socialization, exchange and transformation; as sites of political intervention and contestation; and as homes to large concentrations of consumers, technologies and media, Rio de Janeiro necessarily figures prominently, given its historical importance as an international port at the centre of the Lusophone Atlantic world. The volume also gives attention to other urban centres, within Brazil and abroad, towards which musicians and musical traditions have migrated and converged – such as São Paulo, Lisbon and Madrid – where they have reinvented themselves; where notions of Brazilian and Lusophone identity have been reconfigured; and where independent, peripheral and underground scenes have contested the hegemony of the musical ‘mainstream’.

List of Illustrations; Acknowledgements; Introduction, David Treece; Part 1 Colonial and Postcolonial Transnationalisms, Migrations and Diasporas; Chapter 1 The Cimboa and Cape Verdean Transcultural Heritage, Luiz Moretto; Chapter 2 Lundus , Street Organs, Music Boxes and the ‘Cachucha’: Early Nineteenth- Century Transatlantic Crossings between Europe and Rio de Janeiro, Martha Tupinamb á de Ulhôa; Chapter 3 Música caipira and Rooting, Ivan Vilela; Chapter 4 Lusofonia as Intervention: Postcolonial Intercultural Traffic in Lusophone Hip Hop Events, Bart Paul Vanspauwen; Chapter 5 ‘A Piece of Brazil in Lisbon’: Brazilian Musical Practices in the Portuguese Capital, Amanda Fernandes Guerreiro; Chapter 6 ‘Calentando la Ciudad’: Intimacy and Cosmopolitanism among Brazilian Musicians in Madrid, Gabril Dan Hoskin; Part 2 Relocating Rio de Janeiro; Chapter 7 Samba, Its Places and Its City, Cláudia Neiva de Matos; Chapter 8 Between Temple Yards and Hillsides: Rio de Janeiro’s Samba, Its Spaces, Humour and Identity, Fabiana Lopes da Cunha; Chapter 9 The Construction of a Canonical Space for Samba and Choro within the Brazilian Social Imaginary, Micael Herschmann and Felipe Trotta; Chapter 10 The National Arts Foundation and the Monumentalization of Rio de Janeiro’s Popular Music as National Heritage, Tânia da Costa Garcia; Chapter 11 Samba, Anti-Racism and Communitarian Politics in 1970s Rio de Janeiro: Candeia and the Quilombo Project, David Treece; Chapter 12 Samba, Pagode and Mediation: From Backyard to Disc, Waldir de Amorim Pinto; Part 3 Demetropolitanizing the Musical City: Other Scenes, Industries, Technologies; Chapter 13 Brazilian Post- Punk in the Catalogue of the Independent Record Company Baratos Afins, Marcia Tosta Dias; Chapter 14 M ú sica Pesada Brasileira: Sepultura and the Reinvention of Brazilian Sound, Jeder Silveira Janotti Junior; Chapter 15 Digital Culture, Music Video, and the Brazilian Peripheral Pop Music Scene, Simone Pereira de Sá; Chapter 16 An Introduction to the New Social Place of Brazilian Rap: The Work of Emicida, Daniela Vieira dos Santos; Chapter 17 Another Music in a Diff erent (and Unstable) Room: A Route through Underground Music Scenes in Contemporary Portuguese Society, Paula Guerra; Notes on Contributors; Notes; References; Index.

Sujets

• MUSIC
• Latín
• Multiple signal classification
• Ethnomusicology
• Indigenous peoples
• Cultures
• Latin

Informations

• Publié par: Anthem Press
• Date de parution: 30 juin 2020
• Nombre de lectures: 3
• EAN13: 9781785273865
• Langue: English

Extrait

Music Scenes and Migrations
Music Scenes and Migrations
Space and Transnationalism in Brazil, Portugal and the Atlantic
Edited by David Treece
Anthem Press
An imprint of Wimbledon Publishing Company
www.anthempress.com
This edition first published in UK and USA 2020
by ANTHEM PRESS
75–76 Blackfriars Road, London SE1 8HA, UK
or PO Box 9779, London SW19 7ZG, UK
and
244 Madison Ave #116, New York, NY 10016, USA
© 2020 David Treece editorial matter and selection; individual chapters © individual contributors
The moral right of the authors has been asserted.
All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.
Library of Congress Cataloging-in-Publication Data
Library of Congress Control Number: 2020936470
ISBN-13: 978-1-78527-384-1 (Hbk)
ISBN-10: 1-78527-384-1 (Hbk)
This title is also available as an e-book.
Contents
List of Illustrations
Acknowledgements
Introduction
David Treece
Part 1 Colonial and Postcolonial Transnationalisms, Migrations and Diasporas
Chapter 1 The Cimboa and Cape Verdean Transcultural Heritage
Luiz Moretto
Chapter 2 Lundus , Street Organs, Music Boxes and the ‘Cachucha’: Early Nineteenth-Century Transatlantic Crossings between Europe and Rio de Janeiro
Martha Tupinambá de Ulhôa
Chapter 3 Música caipira and Rooting
Ivan Vilela
Chapter 4 Lusofonia as Intervention: Postcolonial Intercultural Traffic in Lusophone Hip Hop Events
Bart Paul Vanspauwen
Chapter 5 ‘A Piece of Brazil in Lisbon’: Brazilian Musical Practices in the Portuguese Capital
Amanda Fernandes Guerreiro
Chapter 6 ‘Calentando la Ciudad’: Intimacy and Cosmopolitanism among Brazilian Musicians in Madrid
Gabril Dan Hoskin
Part 2 Relocating Rio de Janeiro
Chapter 7 Samba, Its Places and Its City
Cláudia Neiva de Matos
Chapter 8 Between Temple Yards and Hillsides: Rio de Janeiro’s Samba, Its Spaces, Humour and Identity
Fabiana Lopes da Cunha
Chapter 9 The Construction of a Canonical Space for Samba and Choro within the Brazilian Social Imaginary
Micael Herschmann and Felipe Trotta
Chapter 10 The National Arts Foundation and the Monumentalization of Rio de Janeiro’s Popular Music as National Heritage
Tânia da Costa Garcia
Chapter 11 Samba, Anti-Racism and Communitarian Politics in 1970s Rio de Janeiro: Candeia and the Quilombo Project
David Treece
Chapter 12 Samba, Pagode and Mediation: From Backyard to Disc
Waldir de Amorim Pinto
Part 3 Demetropolitanizing the Musical City: Other Scenes, Industries, Technologies
Chapter 13 Brazilian Post-Punk in the Catalogue of the Independent Record Company Baratos Afins
Marcia Tosta Dias
Chapter 14 Música Pesada Brasileira: Sepultura and the Reinvention of Brazilian Sound
Jeder Silveira Janotti Junior
Chapter 15 Digital Culture, Music Video, and the Brazilian Peripheral Pop Music Scene
Simone Pereira de Sá
Chapter 16 An Introduction to the New Social Place of Brazilian Rap: The Work of Emicida
Daniela Vieira dos Santos
Chapter 17 Another Music in a Different (and Unstable) Room: A Route through Underground Music Scenes in Contemporary Portuguese Society
Paula Guerra
Notes on Contributors
Notes
References
Index
ILLUSTRATIONS
Figures
1.1 Pascoal Fernandes playing the cimboa . (Photograph: Luiz Moretto)
2.1 Paradigmatic comparison between ‘Maria Cachucha/Maria Caxuxa’, and ‘Lá no largo da Sé’. (Provided by the author)
4.1 ‘How long? Shall they kill our prophets while we … stand aside and look? (Bob Marley)’. Graffiti by Slap Slapsktr, in reference to the hunger strike by Luso-Angolan rapper (Ikonoclasta) Luaty Beirão in 2015. (Photograph: Bart Vanspauwen)
6.1 An advert for the Mais Brasil FM carnival festivities, Madrid. (Sourced by the author)
6.2 Fabio Goiano and partner performing at El Rodeo, Madrid. (Provided by the author)
6.3 An advert for the Brazilian-themed bar El Rodeo, Madrid. (Sourced by the author)
13.1 Cover of the album Akira S e as Garotas que Erraram by Akira S e as Garotas que Erraram. (By kind permission of Baratos Afins Discos)
17.1 Mão Morta Gig at the Cinema Império, Lisbon, 10 October 1987. (By kind permission of José Faisca)
Table
13.1 Albums and Artists: Baratos Afins Label, 1980s–Post-Punk
ACKNOWLEDGEMENTS
We gratefully acknowledge the support of King’s College London, for making awards from its International Partnerships Fund, Arts and Humanities Faculty International Collaboration Fund and Modern Languages Research Initiatives Fund, to make possible the symposium ‘City to City: Urban Crossroads in the Music of Africa, Brazil and Portugal’ (2016), which gave rise to this publication; and for the award of a publication subvention by the Faculty of Arts and Humanities.
We thank the anonymous peer reviewers for their comments on the draft of this book, and the editorial team at Anthem Press for bringing the volume to fruition.
Finally, we thank the following for their work on the translation of texts from the Portuguese:
Ana Oliveira and Lucy Robinson, respectively, for the translation and for the revision of Chapter 17 ; Chris McGowan for the translation of Chapter 2 ; Ingrid Bejerman for the translation of Chapter 14 ; Julia Felmanas for the translation of Chapters 8 , 10 , 12 , 13 and 16 ; Saulo Adriano for the translation of Chapter 3 and Simone do Vale for the translation of Chapter 15 .
INTRODUCTION
David Treece
In his interdisciplinary account of black culture, religiosity and territoriality, The Temple Yard and the City ( O Terreiro e a Cidade , 2002), Afro-Brazilian scholar Muniz Sodré opens his discussion of space and modernity by recalling how, in classical antiquity, music had a special, symbolic value in defining the boundaries of the city:

Broadly speaking, […] the pre-Socratics (especially the Pythagoreans) see space as that entire ambit inside which the inhabitants of a community move about. The myth of Linus [the inventor of melody, rhythm and songs], the son of Apollo, founder of Athens, can bring some clarification to the matter. It is said in the myth that, when Linus died, the people, trees and animals wept. The Athenean space extended as far as the echoes of their laments, as far as the music was able to resound. (Sodré 2002 , 22) 1
By imagining the constitution of urban space in these terms, as the sonic, material projection of our humanity into the environment we inhabit, the myth of Linus eloquently draws attention to the unique capacity of music to give temporal and spatial form to our collective inner lives, and so to ‘gather up and reveal to us the structures of the internal and external social worlds and the relations obtaining between them’ (Shepherd and Wicke 1997 , 129). It is this articulatory, relational power, intensifying our shared sense of being and identity in time and space, which gives music its distinctive social meaning, as Micael Herschmann and Felipe Trotta remind us in the pages of this book: ‘However individualized musical experience may have become today […] it is still largely an experience of encounter , based on the setting up of social (and communicative) relationships […]. Since that sociability is achieved through music, it must be in verbal and non-verbal sonic communication that we will find the key to the sharing of worldviews, thinking and values that suffuses musical experiences’ (see Chapter 9 ).
Much has been written in recent years on the topic of music, space and place. 2 But what special challenges are posed by the phenomenon of popular music-making within the multi-continental spatial field occupied by Portuguese-speaking peoples and territories, that of the so-called Lusophone world?
Evidently, this is a space articulated by shared, violently disruptive and exploitative colonial and postcolonial histories, by the distinctive movements, migrations and crossings within, between and beyond the territories that are a product of those histories, and by the diverse cultural, social and political identities which have been constructed, in part, through the activity of music-making in various kinds of space and location, whether national, regional, urban, cosmopolitan, Atlantic or virtual. As this book will demonstrate, far from demanding a single, unifying model for theorizing this field, the best recent scholarship has drawn on, and contributed to, the variety of approaches produced in the last three or four decades to make sense of the complexity of musical place, space and movement in this context, not least in its articulation between the local and the international.
All the contributions here, while acutely conscious of the profound, far-reaching impact and legacy of the colonial experience, are equally sceptical, whether implicitly or explicitly, of earlier centre-periphery models for conceptualizing the historical consequences