Banca de DEFESA: Ada Dias Pinto Vitenti

Uma banca de DEFESA de DOUTORADO foi cadastrada pelo programa.
STUDENT : Ada Dias Pinto Vitenti
DATE: 14/10/2022
TIME: 14:30
LOCAL: PPGHIS
TITLE:

“The crossings of the vissungos: stories, memories and trajectories of a Bantu musicality in Brazil (1928 – 2019)”

KEY WORDS:

history, memory, identity, musicality, African diaspora, decoliniality

PAGES: 191
BIG AREA: Ciências Humanas
AREA: História
SUMMARY:

The following thesis analyzes the trajectories of the vissungos in Brazil during the 20th and 21st centuries based on their traces. The vissungos are understood here as a cultural practice, a philosophy, an episteme, a way of being and conceiving the world, transmitted through songs. These songs, which present characteristics of Central African cultural/musical practices, were sung by enslaved men and women on various occasions and in public spaces in the mining region of Diamantina, Minas Gerais, during the 19th century. They were collected among the descendants of the enslaved of the region mentioned above, especially in the localities of Quartel do Indáia, São João da Chapada, Milho Verde and Serro. The first researcher to record the lyrics and melodies of the vissungos in sheet music was Aires da Mata Machado between the 1920s and 1930s. Between 2001 ̸2002, the researcher Lúcia Valéria do Nascimento, traveling through the region of Diamantina - MG, found only 14 vissungos preserved in the memory of the singers, of the 65 recorded by Aires da Mata Machado Filho . After that, however, new songs and narratives about burial rituals were found. Between 1928 and 1970, the vissungos did not sound or become known beyond the mountains of Minas Gerais, except for some academic research and the recording of five vissungos by Luiz Heitor Correa de Azevedo in 1944. In 1974/1975, an essential modern black music group, the "Grupo Vissungo," was formed in Rio de Janeiro. In 1982, the LP "O canto dos escravos" was recorded in Rio de Janeiro, where fourteen vissungos appear. In the 21st century, documentaries about the vissungos appeared, as well as new interpretations of them by Brazilian musicians. The vissungos constitute a way of being in the world, a language and an episteme that informs the population linked to the African diaspora in Brazil. That is why we build the analysis with theoretical/methodological reflections from Cultural History and cultural studies, theories on history and memory, and the principles of Discourse Analysis and decolonial studies, among others. Thus, we weave the thesis seeking to bring into dialogue the various reconfigurations of vissungos by the black population during the twentieth and twenty-first centuries. In doing so, we argue that the transformations, re-readings and appropriations of vissungos in the 20th and 21st centuries in Brazil demonstrate how this way of seeing and being in the world connected (and connects) people in different places. In this sense, the vissungos are a sign of an identity constitution that has, among others, African ancestry as support.

BANKING MEMBERS:
Externa à Instituição - MIRANICE MOREIRA DA SILVA
Interno - 2554178 - ANDERSON RIBEIRO OLIVA
Interno - 2191429 - ANDRE CABRAL HONOR
Interna - 1891798 - ELOISA PEREIRA BARROSO
Externo à Instituição - MARCOS FABRÍCIO LOPES DA SILVA