“ . . . those who align with Pernambucan discourses of cultura [culture] [. . .] are not simply elevating themselves by excluding massively popular, commercial genres like swingueira from the category of cultura, but their ability to evaluate and define cultura is a sign and source of power” (pg. 99).
My dissertation, “Composing Cultura: Musical Democracy and Multiculturalism in Recife, Brazil,” examines how a constellation of musicians, bureaucrats, and audiences objectify and commodify local culture in Pernambuco’s capital city, Recife. The dissertation contributes to anthropological and ethnomusicological studies that analyze how musical practices are interactionally embedded in debates over power and meaning. Specifically, the dissertation argues that while participants in Recife’s state-sponsored music scene were creating new multicultural and democratic understandings of ‘culture,’ they were simultaneously reconfiguring social stratification. Page ninety-nine is part of the second chapter’s introduction. The chapter is organized around the musical rivalry between Pernambuco and the neighboring state of Bahia. It examines how members of a state agency committee and other participants in the state-sponsored music scene invoke pop music from Bahia as the antithesis of Pernambucan “cultural” music. I show how these actors interpret Bahian pop music as kitschy and disposable, but more importantly, how they discursively employ these qualities to depict its performers/consumers as lower-class and (implicitly) racially marked. As the quotation above suggests, these discourses are important because they are themselves a sign of power and a tool for (re)producing it. When I conducted the majority of my fieldwork research from 2009-2011, many of my consultants interpreted these problematic discourses as evidence that new policies and idioms centered on socio-political inclusion were not as effective as they seemed. Yet, while these were significant concerns, they existed within a broader understanding that Brazilian society was progressing. However, now in 2016, such hopes seem even more remote. Brazilian citizens are currently coping with instability caused by corruption scandals, economic decline, the impeachment of Dilma Rousseff, and the new federal administration’s elimination of government ministries and programs focused on minimizing poverty, racism, and other forms of inequality. The issues I discuss on page ninety-nine and throughout the dissertation therefore seem more relevant now. Accordingly, as I develop my book project, I will focus on how musicians and other residents of Recife are negotiating the dramatic changes they have experienced during the past five years.
Falina Enriquez. “Composing Cultura: Musical Democracy and Multiculturalism in Recife, Brazil.” Phd diss, University of Chicago, 2014.