Poética oral do samba chula sertanejo: o Grupo Pinote e suas identidades culturais entre trânsitos e fronteiras

Abstract

This dissertation aims to analyze the oral poetics of samba chula sertanejo by Grupo Pinote, from Serrolândia/BA, considering the aesthetic, discursive, and performative elements concerned it, to understand how the processes of construction of the cultural identities of the group and its operation in the surveillance of transits and borders in these identities. In the meantime of these movements, the adopted methodological approach starts from the qualitative approach, following the paths of critical Ethnoresearch, in the perspective of Macedo (2010) and Santos (2017), having as data construction methods: Grupo Pinote presentations observation, questionnaire application, and a discussion. The theoretical framework that supports this research relies on: Brasil (2006), Döring (2016a; 2016b), Exdell (2017; 2018), Vasconcelos (2012), Moreira (2018), Bhabha (1998), Anderson (2008), Halbwachs (2003), Hall (2003), Zumthor (2010, 2014), Glissant (2021), among others, to discuss samba de roda, samba chula, backlands of Bahia, oral poetics, cultural identities, and popular cultures. Through this work, I try to problematize the (non) place of samba practiced in the backlands of Bahia, which several times was placed on the margins of the identity and musical discourse of Bahia that is markedly, and almost exclusively, directed to the Salvador-Recôncavo axis and part of the coast. I involve this theoretical-critical proposal in the conception of sertanidades (VASCONCELOS, 2012), aiming to think about these backlands and their multiple identities, geographies, and cultures inserted in the intersemiotic game articulated to the cosmoperceptions (OYÊWÙMÍ, 2021) of the semi-arid region. Thus, I stress the analytical operator samba sertanejo as a theoretical-critical proposal to designate the samba de roda practiced in the backlands, instead of the already known term “samba rural” (BRASIL, 2006; DÖRING, 2016b), in whose the aesthetics differ from that expressed in the Recôncavo Baiano, by the way, a territory also marked by rurality. I propose the name samba sertanejo as a way of categorically inscribing the backlands in the identity and musical discourse of samba in Bahia and erasing the essentialisms and stigmas forged around this territory, going beyond the countryside, the unknown, the archaic, given the transformations occurred in the semi-arid region in recent times. In the poetic scope of this research, I seek to reflect on the aesthetic and stylistic procedures used in the chulas, in the configuration of a poetic language that takes literariness as its fulcrum at the service of an insurgent discursive construction. In that sense, I conjecture the identities of Grupo Pinote’s sambadores as moving backlands, marked by adjacent elements, although placed on the borders of globalization, converging and diverging between the local and global, in multiple transits that corroborate these “contemporary backlands” (MOREIRA, 2018), allocated in other social scenes, cultural and identity policies to the backlands and sertanejos of Bahia.