Vaqueiros e Cantadores

The Sabugi sertão of Paraiba:Social practices and religious hybridism from prayer practices

“…Ao retomar a obra de Luís da Câmara Cascudo (2012), observamos as características que fazem a religião do povo; dentre elas, nós nos atentamos sobre as múltiplas formas de credos que compõem o sertão e o sertanejo e que se hibridam com o Catolicismo. No universo da religiosidade, como vamos discutindo, o campo dos rituais de cura parte não apenas da ligação da rezadeira com um único tipo de sagrado, ou da crença do enfermo, mas de uma junção de intercessores que agem especificamente para cada doença; a reza, assim como os santos e imagens expostas na casa das rezadeiras, apresentam esse aspecto, pois trazem no viés simbólico uma representação cultural diversa.…”

Distributed cognition in oral poetry improvisation: a semiosis-centered approach

“…This kind of popular improvisational challenge is an ubiquitous phenomenon, manifesting itself under various forms across the world. Câmara Cascudo (2004), a pioneer in ethnographic and anthropological studies of the repente in Brazil, describes the repentista (the practitioner of repente) as a descendent the Greek aedo, the Anglo-saxon gree-man, the Arabian moganis and meris, the armorican bards, the scandinavian skalds, the minstrels, and the troubadours of the Middle Ages. Repente exists in the northeastern region of Brazil, at least since the mid nineteenth century, having emerged in the region of Pajeú, in the state of Pernambuco and Cariri, in the state of Paraíba, in cities such as Itapetim, São José do Egito, and Tabira, in Pernambuco, and Monteiro, and Patos, in Paraíba, among others.…”

Poetry and Oral Collection in the Weaving of Poems of Batata cozida, mingau de cará [Cooked Potato, Yam Porridge] Written by Eloí Bocheco

“…In the sequence, we chose some poems from the collection Batata cozida, migau de cará, written by Eloí Bocheco, whose texture points to the work of using verses from the oral tradition to investigate, when possible, the poetic material that may be the inspiration of poems that are today fixed in verbal text. In addition, we intended to understand how Eloí Bocheco builds her poems, bearing in mind the oral poem (song, nursery rhymes, verses, quatrains or four-line stanzas) or other marks of oralitysuch as popular sayings and other expressions -and the poetry presented by the author, in an exercise of comparison guided by information found in the research of Luís da Câmara Cascudo (1984Cascudo ( , 2006Cascudo ( , 2012, in the studies of Eloí Bocheco (2002), or guided by the principles of poetry for childhood presented in the previous section. Finally, we sketch some words about what is Eloí Bocheco's creative process in the writing activity from poems of orality like.…”