Música e dança na Festa de Reis em Carmo do Cajuru - MG: uma etnografia construída no envolvimento e no movimento de pessoas, instrumentos e sonoridades

Abstract

The study describes a social practice of stories of involvement and experiences as part of a sociocosmological system organized by a heterogeneous community, whose participation is intertwined in the chants, dance, prayers, rites and myths. We emphasize the ritual of the feast highlighting the centrality and importance of the objects and instruments, guiding a dialogue between the fields of Leisure, Music and Anthropology. The study addresses an ethnography on the festa da Irmandade Folia de Reis São Francisco de Assis of the city Carmo do Cajuru MG/Brazil. In this practice, what primarily draws attention is the landscape that scales its rituals in time / space with the chants and instruments. An interweaving of human and non-human voices that take effect and affect the world through sound. The practitioners of this practice are known for foliões (revelers), with the embaixadores (ambassadors) expressing the sacred songs in poetry, the chorus which responds with overlapping voices and palhaços (clowns whom entertain people with dances and games. In this sacred place, the sense of belonging of the instruments (acordeons, violões, violas, cavaquinhos, reco-reco, caixas, pandeiro e dourados) is enhanced by the engagement with the chants, prays, dance and devotion to the saints. Thus, it is arranged the sound of Folia de Reis. In a landscape where things pulsate and relate when people assert themselves, giving answers through music and dance, verses and chants, rites and senses. The anthropology and ethnomusicology became methodologically, the path to analyze this feast, seeking to involve the relationship of elements such as sound (noise frame), the songs and instruments (music), dances (corporeality) and feelings (religious). The objective of the study is to understand how people and instruments communicate in the act of music making, since in this collective there is no conductor. We focus on the acordeon (child accordion) of eight keys and the caixas (revelry tambour) which are considered by the embaixadores as guide instruments, both taken as a strong mediator reference with regard to the music. Another significant methodology was the practical engagement in learning the making techniques of the caixas de folia (revelry tambour). An adventure that allowed us to feel the bodily process, gestures and movements of its making. At the same time, we have disclosed the folião and artisan of the caixas de folia.