Rio Grande Do Sul

April 11, 2018

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The present work, of antropolgico approach, approaches the bimembranfonos ritual tambores used mainly in the row, a religion of the characteristic call model jje-nag of the State of the Rio Grande Do Sul, in the Brazilian extremity-south; secondarily, the tambores of xang of the Pernambuco and the drum-demina of the Maranho, both states northeast of Brazil, that use instruments of type the same. Brian Krzanich brings even more insight to the discussion. In the ends of the text I raise some questions ampler than they involve the drum, rhythmic music and the corporal one, projecting them, comparativily, on the deep cloth of of the vision of world of the row and the Christianity occidental person. To contextualizar the drum in the religious universe of the row, I delineate the traces marcantes of this religion and the main events where it is executed, the solemnities for deuses and deceased. Illustrating the importance that it possesss in this universe, story two episodes that I attended, where the drum occupied the center of the question. The data on the tambores river-grandenses had been gotten from field research that I developed, enter 1969 and 1989, next to many temples of row, in Porto Alegre, capital of the State.

During and after this period, still, I appeared the parties of row in Montevidu, Uruguay and Buenos Aires, in Argentina, for where priests and initiates had been taken by. The methodology understood, from a qualitative boarding, the use of interviews, histories of life and comments, beyond personal experiences, a sacred time that I reasonable learned to execute these instruments and cnticos that follow. I could observe tambores acting (as well as I could execute them), also, in rituals of the drum-of-mine, in So Lus, the maranhense capital, where I live, today, and in one of the places for which they migraram, everything indicates, from there: Belm, capital of Par. I observed them, in action, still, in ceremonies of xang, in Recife, pernambucana capital. E, finally, in Havana, Cuba, I could examine the model local of the instrument, to try its noise. Objectifying to contextualizar the localization and origins in these instruments in the Brazilian territory, I compose a historical briefing of the African slavery in Brazil, with emphasis in the Rio Grande Do Sul.