Caetano Maschio Santos

“NAP CHACHE OUVÈTI” (ESTAMOS BUSCANDO ABERTURA)

Introduction

“nap chache ouvÈti” (estamos buscando abertura). Análise etnomusicológica da produção musical haitiana em São Paulo pela banda BigUp#1. Explore desafios socioculturais da diáspora e a música konpa como recurso cultural.

Abstract

O presente artigo oferece uma análise etnomusicológica da produção musical haitiana na cidade de São Paulo através do estudo de caso da BigUp#1, banda formada por migrantes haitianos dedicada principalmente ao konpa, estilo de música popular de dança haitiana. Através de pesquisa etnográfica participativa em que atuei como segundo guitarrista do conjunto em 2021 e de entrevistas com membros da banda, direciono a análise para questionamentos sobre como a produção de um conjunto musical haitiano na cidade de São Paulo se conecta a questões socioculturais mais amplas da diáspora haitiana no Brasil, principalmente aquelas relativas à “provisoriedade ordinária” (Fernandes e Pachi 2021) que compõe as vidas cotidianas dessa população, a falta de espaços e oportunidades para o desenvolvimento de atividades culturais e a transitoriedade e dificuldade de manter projetos musicais. Adicionalmente, analiso como tais esforços de produção musical (e cultural) demonstram um entendimento da cultura como recurso (Yúdice 2003) por parte de meus interlocutores, através da mobilização da música como forma de prover entretenimento para a comunidade haitiana e de buscar maiores conexões com a sociedade local.

Review

This article, titled “NAP CHACHE OUVÈTI” (ESTAMOS BUSCANDO ABERTURA), presents a compelling ethnomusicological analysis of Haitian musical production within the vibrant urban landscape of São Paulo. Focusing on the case study of BigUp#1, a band formed by Haitian migrants specializing in *konpa*, the research promises to illuminate the intricate connections between musical practice and the broader sociocultural challenges faced by the Haitian diaspora in Brazil. The abstract effectively introduces key thematic concerns, including the concept of "ordinary provisionality," the scarcity of cultural spaces and opportunities, and the inherent transience and difficulties in maintaining musical projects, alongside an examination of culture's role as a strategic resource. A significant strength of this work lies in its robust and deeply engaged methodological approach. The author's direct participation as the band's second guitarist in 2021, coupled with interviews with band members, signals a rich, immersive ethnographic study. This insider perspective is invaluable for capturing the nuanced realities of diasporic cultural production. The theoretical frameworks employed—"provisoriedade ordinária" (Fernandes and Pachi 2021) and Yúdice's (2003) "culture as resource"—are particularly apt, providing powerful analytical lenses through which to understand how music functions both as a means of community cohesion and as a deliberate strategy for seeking greater connection and opportunity within the host society. Ultimately, this article appears poised to make a vital contribution to both ethnomusicology and migration studies. By foregrounding the efforts of a specific musical ensemble, the paper promises to offer fresh insights into how cultural production acts as a dynamic force for identity affirmation, community building, and socio-economic navigation amidst precarious conditions. The exploration of music as a means to achieve "abertura" (openness, opportunity, or a breakthrough) resonates strongly with contemporary scholarship on migrant agency and resilience. This study will undoubtedly be an important resource for scholars interested in the complex interplay of music, migration, and diasporic cultural dynamics, offering a rich and detailed account of artistic endeavor within a specific migratory context.

Full Text

Comments

You need to be logged in to post a comment.