Abstract

RESUMO Este trabalho tem por objetivo discutir a atualidade e a episteme dos estudos bakhtinianos acerca da cultura popular, a partir de teorias da performance e dos estudos culturais. O foco deste estudo são produções culturais de comunidades quilombolas do Estado do Espírito Santo, Brasil, como o Ticumbi, o Jongo e os Reis de Bois. Para efeito de análise destacam-se versos da performance do Ticumbi de São Benedito. Os estudos de Bakhtin sobre a cultura popular lançam um olhar para o potencial transformador e ambivalente de festas populares, cortejos e performances, com destaque para o conceito de carnavalização. Nas ruas da cidade, o riso ambivalente, o hiperbolismo e a subversão das hierarquias e da ordem social estabelecida celebram a possibilidade de reconhecimento e a luta de antigos reinados africanos subjugados pelo peso da Diáspora Atlântica.

Highlights

  • This article attempts to create a dialogue between Bakhtin’s studies on popular culture and the cultural productions of quilombola1 communities from the state of Espírito Santo

  • Elements that are part of the observation and participation, as an audience, in cultural performances produced by quilombola communities in the Northern region of the state of Espírito Santo are incorporated into the text

  • Quilombola celebrations take place publicly in the city of Conceição da Barra, in the community of Barreiras, and in the village of Itaúnas, all located in the state of Espírito Santo

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Summary

Introduction

This article attempts to create a dialogue between Bakhtin’s studies on popular culture and the cultural productions of quilombola communities from the state of Espírito Santo. Quilombola celebrations take place publicly in the city of Conceição da Barra, in the community of Barreiras, and in the village of Itaúnas, all located in the state of Espírito Santo It is a region where the activity of trafficking in human beings during the slavery rule in Brazil was intense for centuries. Since 2005 the Jongo, whose ritual comprises the entire southeast region of Brazil, has been recognized as a Brazilian cultural heritage by IPHAN, and 25 Jongo groups are known in the state of Espírito Santo (MACIEL, 2016) Another element from the quilombola performance highlighted here is the Ticumbi de São Benedito. In the upside-down representation of the world, a fairer and less serious future is projected, bringing to the marketplace the perspective of those who carry the historical weight of slavery in their souls

Popular Culture
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