Abstract
De que maneira os museus enquanto lugares da memória de Luiz Gonzaga representam sua participação no processo de mediação cultural das danças regionais – xote, xaxado e baião –para o restante do país? A fim de responder a esta questão, nosso objetivo foi analisar o papel dos museus que tematizam a biografia de Luiz Gonzaga como instrumento de preservação histórica das danças do Sertão do Nordeste brasileiro. Para tanto, tomamos como conteúdo cinco matérias, oito fotos, um filme e uma letra musical encontradas em três museus nas cidades de Exu, Serra Talhada e Recife no estado do Pernambuco – Brasil. Além das fontes documentais, valemo-nos da entrevista semiestruturada para captar a visão dos dirigentes dos museus. Concluímos que as matérias sobre Luiz Gonzaga nas fontes documentais cumprem a função pedagógica do ensino destas danças através de suas ações de preservação, contribuindo para o processo de expansão das danças regionais no resto do país.
Highlights
Dance has assumed a particular role in societies over time due to several factors, whether spiritual, recreational, ritualistic, theatrical and/or cultural
This cultural contingent directly influenced the elaboration of the dances, since it is characterized by the representativeness of the actions that occur in daily life and the sensations that they awaken in the body of the dancing individual
How do museums as places of memory of Luiz Gonzaga represent his participation in the cultural mediation process of regional dances – xote, xaxado and baião – for the rest of the country? In order to answer this question, our goal was to analyze the role of museums that addressed Luiz Gonzaga’s biography as an instrument for the historical preservation of the dances of the sertão of Northeast Brazilian
Summary
Dance has assumed a particular role in societies over time due to several factors, whether spiritual, recreational, ritualistic, theatrical and/or cultural. Being a human historical-cultural creation, it becomes an integral element of the daily lives of individuals in society. Ergo, it is part of the corporal practices of humanity as a cultural product of different countries, among which Brazil and its dances deserve special attention. The dances reproduce the history of the people through the reproduction and renewal of the senses and meanings of dancing expressed by different groups and subjects This cultural contingent directly influenced the elaboration of the dances, since it is characterized by the representativeness of the actions that occur in daily life and the sensations that they awaken in the body of the dancing individual. We observe that “dance accompanies our lives in different ways, at different times and with different meanings; we can see it from different corners of the world” (Brasileiro, 2010, p. 137)
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