Maracatu New York: Transregional Flows Between Pernambuco, New York, And New Orleans

Cruz, Danielle Maia

doi:10.1080/08263663.2012.11006004

Cited by 4 publications

(5 citation statements)

References 4 publications

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“…York, Berlin, Paris, Stockholm, Edinburgh, Auckland, Manchester, and Melbourne (Courteau, 2008, Cruz, 2012.…”

Section: Shima Volume 11 Number 2 2017 -210 -mentioning

confidence: 99%

Maracatu Nação Noronha: Embodied cultural practice and its sustainability on an isolated Brazilian island

Fitzgerald¹,

Hayward²,

Reis³

2017

Shima

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Fernando de Noronha is situated approximately 430 km from the northeast coast of Brazil, and is the only populated island within a UNESCO World Heritage-listed archipelago of the same name. This article focusses on the contemporary maracatu ensemble based on the island, Maracatu Nação Noronha, and its significance within the local community. Maracatu is a distinctive northeast Brazilian performance genre with historical links to Candomblé, an Afro-Brazilian religion that blends the African practice of worshipping multiple orixás (spirits) with the Catholic practice of worshipping multiple saints. Maracatu has a long history of grassroots performative traditions and is closely connected to Brazilian carnaval. Maracatu ensembles typically include percussionists, singers, dancing orixás and characters representing members of the court within African crowning ceremonies held during the era of slavery. The article examines the development of Maracatu Nação Noronha since 2002, with a particular focus on music, movement and dance. It explores links between Maracatu Nação Noronha's activities and the historical development of maracatu, and examines how the group has adapted to the island's sociocultural environment in the process of connecting with, and educating, local and tourist audiences. It discusses the significance and sustainability of embodied practices and cultural identity development and creation in the context of a small island whose community is still significantly rooted on mainland practices. The article draws on field trips by the authors in 2012 and 2014, as well as interviews with local residents heavily involved with establishment and maintenance of island maracatu.

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“…York, Berlin, Paris, Stockholm, Edinburgh, Auckland, Manchester, and Melbourne (Courteau, 2008, Cruz, 2012.…”

Section: Shima Volume 11 Number 2 2017 -210 -mentioning

confidence: 99%

Maracatu Nação Noronha: Embodied cultural practice and its sustainability on an isolated Brazilian island

Fitzgerald¹,

Hayward²,

Reis³

2017

Shima

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“…Dancers and characters dress and behave as the Portuguese royal court of the Baroque period, mocking the Portuguese court. It was not until the 1990s that this tradition gained national and international visibility (Cruz, 2012). Similar to the other musical traditions approached in the MCCU, maracatu is a highly syncopated type of Afro-Brazilian music that makes use of a call-and-response structure.…”

Section: Mr Anderson's Background and Beliefsmentioning

confidence: 98%

Listening To Their Voices: An Ethnographic Study of Children's Values and Meaning Ascribed to Learning World Music in Elementary School General Music

Vita¹

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The primary purpose of this ethnographic study is to examine the values and meaning children ascribe to learning world music in an elementary school general music program. This research seeks to explore the potential of world music pedagogies for deepening children's understanding of music and its sociocultural context more completely. The participants in this study included fourth-grade students and their music teacher who designed and taught a Music-Culture Curricular Unit on Afro-Brazilian traditions. Data include field notes of music classes collected during seven weeks of observations, focus group and individual interviews with fourthgrade students, audio and video recordings, conversations with the music teacher, documents, and a researcher journal. Children's voices come alive in interview excerpts and narrative descriptions of the music classes. For the children in this study learning world music meant (a) discovering new sonic features, (b) engaging with language and history, and (c) connecting to the world. The values children ascribed to learning world music were (a) making music together, (b) learning about the sonic features of music, and (c) learning about the cultural context of the music. A deeper understanding of the values and meaning children ascribe to music has the potential to promote a holistic music education that features musicianship, creative thinking, and knowledge of history and culture.

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“…Tal fenómeno de brasileños que empiezan a interesarse por manifestaciones culturales brasileñas cuando se mudan al extranjero, no es algo exclusivo del contexto relativo al maracatu; de hecho, esa situación es muy común en los grupos de capoeira y es relatada con frecuencia en el medio e incluso mencionada en algunos estudios (BRITO, 2010). Según los testimonios y también estudios (CRUZ, 2012;DUARTE, 2016), la lejanía del país de origen hace que estas personas busquen este tipo de grupo como forma de disminuir la saudade que sienten por Brasil, así como de socializar y reafirmar su identidad.…”

Section: Maracatu En Inglaterra: De La Pasión Por La Música a Los Community Groupsunclassified

“…El largo trabajo de campo, que incluye no sólo los meses que antecedieron a la escritura de esta tesis, sino también los años en que participé como batuqueira en grupos de percusión y maracatus-nação, sumado a los trabajos en proyectos de investigación al lado de estos grupos, permiten mencionar algunas características acerca de estos sentidos y motivaciones. Además, los trabajos académicos consultados acerca del tema también auxilian en la reflexión (ALENCAR, 2009;CARVALHO, 2007;CRUZ, 2012;ESTEVES, 2008;GONÇALVES, 2014).…”

Section: Los Múltiples Sentidos De Hacer Maracatuunclassified

“…Para algunos en especial, como el extinto Estrela do Norte en Londres o el Cabra Alada en Recife, esta parece ser la principal finalidad. En el caso de Estrela do Norte destaca que para los miembros brasileños debe considerarse la cuestión de la pertenencia a un espacio simbólico que los conecta a su país de origen, detalle que también fue observado por la antropóloga Danielle Maia Cruz (2012) en estudio acerca del Maracatu New York en los Estados Unidos.…”

Section: Los Múltiples Sentidos De Hacer Maracatuunclassified

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Maracatus-Nação y mecado cultural: usos de la cultura pernambucana en escala global

Koslinski

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A mi familia, a Isabel y a Jamesson. 16 "La personalidad del investigador y su experiencia personal, no pueden ser eliminadas del trabajo etnográfico. En realidad, están incrustadas, plantadas en los hechos etnográficos que son seleccionados e interpretados (2008, p.34). 17 James Clifford (2002, p 147) observó que, en el fondo, 'el trabajo de campo requiere una cierta complicidad (…), pero complicidad no es reciprocidad, aunque pueda ser parte de la reciprocidad'. Estamos todos inmersos en un proceso de don y contra-don, pues no todo en una investigación tiene que

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Maracatu New York: Transregional Flows Between Pernambuco, New York, And New Orleans

Cited by 4 publications

References 4 publications

Maracatu Nação Noronha: Embodied cultural practice and its sustainability on an isolated Brazilian island

Maracatu Nação Noronha: Embodied cultural practice and its sustainability on an isolated Brazilian island

Listening To Their Voices: An Ethnographic Study of Children's Values and Meaning Ascribed to Learning World Music in Elementary School General Music

Maracatus-Nação y mecado cultural: usos de la cultura pernambucana en escala global

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