A nômade história cultural do lundu: o batuque viajante no atlântico negro

Abstract

This work is devoted to the analysis of the continuous discourses around Lundu in the last quarter of the eighteenth century and in the course of the nineteenth century, which reproduced a colonial, racial and ethnocentric perspective of this cultural and musical phenomenon. What is proposed in this work is to think Lundu as a phenomenon inscribed in a cultural circularity, through social relations understood as "Atlantic", focusing more on movement and transits, than his supposed origins. The sources, from which we illustrate these colonial discourses, were chosen among the travelers accounts of the Atlantic, as well as the bibliography of "folklorists" and "interpreters" of the lundu. The main hypothesis of the work is that there is a continuity of these ethnocentric discourses that seek a "pure" Lundu origin in a mythical Africa and therefore would have been "acculturated", or those who sought to construct Lundu as the first genuinely Brazilian musical genre. In this way, the sources talk with part of the written production about lundu dance and song, and in that last one, it looked at Domingos Caldas Barbosa, writer and musician mulato and born in Rio de Janeiro that took the lundu to Portugal, understanding it like a "subversive musician" and as an example that transcends the visions of a static, dual and binary culture between colonized and colonizers. The postcolonialist proposal of Lundu's understanding as a hybrid cultural phenomenon and gestated in the "Black Atlantic" is an alternative to canonical production in the lundu narratives.