O projeto Pará Caribe: uma prática musical no contexto da Fundação Cultural do Pará

Abstract

The research presented here focuses on musical practice - an expression now adopted in conceptual terms - in the context of the Pará Caribe Project, carried out in Belém by the Cultural Foundation of Pará from 2015 to 2017. Investigate musical practice in the context of the Pará Caribe Project of the Cultural Foundation of Pará was the main objective of this proposal. The specifics were: providing contextual information about the Pará Caribe Project; expose the processes of musical transmission and describe the musical practices in the Pará Caribe Project, with attention to the relationship between the processes of musical composition and performance in that context. Thus, bibliographic research on musical practice and transmission was implemented, in the light of Ethnomusicology, also seeking theoretical and methodological foundations, especially in Music Education, but also in Anthropology, Sociology, Latin American Studies, Indigenous Culture, History, Professional Orientation and Copyright. Through this way, the research refers to authors such as Sonia Chada (2006; 2007), Alan Merriam (1964), Anthony Seeger (1991; 1997), Bruno Nettl (1983; 1992), Gerard Béhague (1992), Mauricio Costa and Sonia Chada (2013), Paul Sneed (2020), Luciana Prass (2019), Jusamara Souza (2004), Margarete Arroyo (2002), Keith Swanwick (1991), Agenor Vasconcelos Neto (2013; 2020; 2021), Pierre Bourdieu (2007), João de Jesus Paes Loureiro (2002; 2008; 2020), Bibiana Rosa (2018), Timei Assurini (2020), Ana Lucia Bastos (2020), Pedro Paranaguá and Sérgio Branco (2009), in a line of research based on epistemic interfaces between areas of knowledge. Semi-structured interviews were conducted with students, teachers, dancer and choreographic director of the project. The data analysis carried out, took into account syntactic and semantic dimensions of the interviews and also of the lyrics and music created in the classroom by the students. There were recorded in the studio and played in shows and rehearsals. Such procedures allowed the form and content of the analyzed material to be interpretable, considering historical, musical, contextual and cognitive aspects of the musical practice in question. The creative processes and their music making combined with the performance, as well as the results achieved in the project - eleven recorded songs and eighteen concerts performed between the musical creation laboratory and the mixing of the Pará Caribe phonogram - instigated the research presented here. The work results in this dissertation, having as attachments the scores and a CD with two of the songs produced by the students during the project, which were analyzed here. Understanding contexts in which musical creation and performance are possible because they were made at the same time, provided an important key to understanding the creative process in the Pará Caribe Project. In addition, it is concluded that the study of musical practices in Belém, Pará, contributes to the understanding of how such practices form, construct or influence the notions of sound identities in the Brazilian Amazon, by sharing transformed and (re) constructed collective subjectivities beyond the context of national states, a reality present in Latin America and the Caribbean as a whole.