Caio Vitor Gonzaga Padilha

A VOZ E A RABECA DE FABIÃO DAS QUEIMADAS NO SÉC. XIX/XX

Introduction

A voz e a rabeca de fabiÃo das queimadas no sÉc. Xix/xx. Explore a voz e a rabeca de Fabião das Queimadas (séc. XIX/XX). Analisa sua poesia popular, literatura oral e o desejo de desescravizar-se no Brasil.

Abstract

Ao final da década de 1930 algumas narrativas cantadas pelo rabequeiro Fabião das Queimadas (1848-1928) ganham um domicílio gráfico no livro “Vaqueiros e Cantadores”, de Luís da Câmara Cascudo. Suas cantorias de rabeca no estado do Rio Grande do Norte passam a fazer parte do quadro referencial sobre poesia popular e tradicional, associada à valoração literária de repertórios romanceiros no Brasil. Apesar disso, a expressividade sonora, timbrada na autoria vocal do romance sobre o “Boi da Mão de Pau”, por exemplo, ainda não teria sido considerada no âmago de um projeto pessoal em que o cantador afrodescendente desejava desescravizar-se no século XIX. Diante da fortuna crítica de escritores folcloristas/memorialistas interessados em Fabião das Queimadas, consideramos criticamente neste artigo alguns elementos classificatórios que operaram na cantoria de rabeca e em suas políticas da escuta; tanto nos colecionamentos folclóricos quanto nas transcrições de elementos musicais e da chamada Literatura Oral desde então.

Review

The article "A VOZ E A RABECA DE FABIÃO DAS QUEIMADAS NO SÉC. XIX/XX" presents a highly promising and critical re-examination of the significant Afro-descendant rabequeiro Fabião das Queimadas (1848-1928). The abstract clearly outlines how Fabião's work, particularly his *cantorias de rabeca*, became a cornerstone of popular and traditional poetry in Brazil, notably through its documentation in Luís da Câmara Cascudo's "Vaqueiros e Cantadores." This historical contextualization serves as a strong foundation, allowing the article to build upon existing knowledge while signaling a crucial shift towards a deeper, more nuanced understanding of his artistic output. The core strength and originality of this study lie in its compelling argument to consider Fabião's *sonorous expressivity* and vocal authorship as integral to a deeply personal project of "desescravizar-se" (de-enslaving himself) in the 19th century. This innovative perspective moves beyond a purely literary or folkloric appreciation, introducing a vital dimension that connects musical performance directly to agency, identity, and the socio-historical realities of a post-slavery context. By proposing to critically analyze the "classificatory elements" and "politics of listening" embedded within historical folkloric collections and musical transcriptions, the article promises to unearth the power dynamics and potential biases that shaped the reception and legacy of artists like Fabião. This research holds considerable interdisciplinary potential, offering valuable contributions not only to ethnomusicology, folklore studies, and literary criticism but also to critical race studies, performance studies, and the broader history of Brazilian culture. By centering the artistic voice and instrument of an Afro-descendant figure as a site of self-liberation and cultural assertion, the article offers a powerful counter-narrative to traditional interpretations. It promises to enrich our understanding of how sound and oral tradition served as profound tools for resistance, memory, and the construction of identity in a critical historical period. This appears to be a timely and impactful intervention in the field.

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