Romulo Alex Inácio

A GRANDE MÚSICA NEGRA DO ART ENSEMBLE OF CHICAGO

Introduction

A grande mÚsica negra do art ensemble of chicago. Explore o Art Ensemble of Chicago, ícone do experimentalismo musical afro-diaspórico. Conheça sua vanguarda sonora negra, estratégias políticas e práxis criativa.

Abstract

O grupo estadunidense Art Ensemble of Chicago, surgido em meados da década de 1960 é um dos mais influentes representantes do experimentalismo musical e performático afro-diaspórico. São considerados os avatares de uma vanguarda sonora negra, pouco estudados no Brasil mas influentes no meio artístico global. Essa breve revisão bibliográfica concentra o trabalho dos principais pesquisadores dedicados à obra do grupo e tem como objetivo contribuir para o conhecimento das ricas metodologias criativas e estratégias políticas empregadas pelo grupo como uma práxis criativa negra, conciliando os objetivos éticos e estéticos que orientaram os processos de autodeterminação desse conjunto, e que podem servir de horizonte e inspiração para tantos outros processos artísticos.

Review

This article proposes a timely and important exploration of the Art Ensemble of Chicago (AEOC), an influential group whose experimental, Afro-diasporic, and avant-garde contributions are acknowledged globally but, as the abstract notes, remain under-studied within a Brazilian academic context. The evocative title, "A GRANDE MÚSICA NEGRA DO ART ENSEMBLE OF CHICAGO," sets a clear and celebratory tone for an article that positions the AEOC as avatars of a Black sonic vanguard. By focusing on the group's "Black creative praxis" and the interplay of ethical and aesthetic objectives guiding their processes of self-determination, the author signals a commitment to a nuanced and socio-politically engaged analysis of their work. The central strength of this proposed article lies in its explicit aim to bridge a significant gap in scholarship, introducing a crucial avant-garde entity to a Brazilian academic audience. The focus on AEOC's "rich creative methodologies and political strategies" provides a robust analytical framework, promising to illuminate how the group's artistic choices were deeply intertwined with broader socio-political statements and commitments. By concentrating on a bibliographic review of key researchers, the article can serve as a valuable foundational text, consolidating existing knowledge and establishing a basis for further research. This approach has the potential to demonstrate the profound relevance of AEOC's work not just for musicology, but also for performance studies, cultural theory, and the broader understanding of Black artistic autonomy and innovation. While the article's aims are commendable, the description of it as a "breve revisão bibliográfica" (brief bibliographic review) raises questions about the depth and comprehensiveness of the analysis. To truly fulfill its ambitious objective of contributing to the understanding of AEOC's "Black creative praxis" and their capacity to inspire other artistic processes, the article will need to ensure that this "brief review" nevertheless provides a sufficiently robust and critically engaged mapping of existing scholarship. It will be crucial for the author to clearly articulate the selection criteria for the "principais pesquisadores" to ensure methodological transparency and to demonstrate how their chosen sources adequately support the intricate connections between AEOC's ethics, aesthetics, and political strategies. Balancing the foundational nature of a bibliographic review with the article's inspiring aspirations for broader artistic application will be key to its ultimate impact.

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