Na pancada da pedra, no ritmo da roda: feitura de mulheres na poética oral de Quixabeira

Abstract

This thesis has as study object the oral poetics, based on the circle dances groups composed by women of the Quixabeira county, Bahia northwestern and that composes the Territory of Identity Jacuípe Basin, to 300 km from the capital, Salvador. Starting from the understanding that circle dances are a literary aesthetic of an oral tradition, this thesis have been anchored in a linguistic proposal that escapes the western academic standard as an awareness and political position. With the necessary contribution for such use of language in Lélia Gonzalez (1984) and Glória Anzaldua (2000), the beginnings of research are presented with the perspective of authors such as Maria Lugones (2019) Amadou Hampaté-Bâ (2010) and Paul Zumthor (2005; 2010; 2014). In this perspective, the poetic word is materialization of existence and, when it has been singing, the voice reaches other forms of communication. The notion of voice and rhythm from these authors leads to the relationships between body, dance, music, and oral poetics found also in Leda Martins (2003) and Aleida Assman (2011).The construction of circle dances as a literary aesthetic of an oral tradition has been taking, by analogy, in comparison to four other oral productions: 1) cocos presented by Maria Ignez Ayala (1999); 2) xirê described and analyzed by Juracy de Arimatéia Rosa Júnior (2018); 3) samba de roda do recôncavo, by Nina Graeff (2015); 4) work songs by Sandro Santana (2012; 2017). Beyond aspects aesthetics, this research points to an analysis of the women category of outside the hegemonic group found in white, eurocentric feminism. A generalized concept of women excludes black women, old women, women from rural areas, among others, from this category of analysis. In this way, has been analyzed four circle dance songs about International Women’s Day. Has been listing for this study the black, intersectional and decolonial feminism presented by bell hooks (2015; 2017; 2019), Djamila Ribeiro (2017; 2018), Angela Davis (2017; 2018) and Ochy Curiel (2014). In a final analysis, the circle dances are understood as a life project for the old age of her singers; artifice that feeds a collective memory based on their individual memories. Socializing, entertaining and having fun at the wheels are the way found to reorganize life. This is, therefore, a study directed to the understanding circle dance groups in Quixabeira county not only from the perspective of oral tradition, but, being recognized by the community as making women, and analyzed by black feminism.