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The invented tradition of forro: A '...

Loveless, Megwen May.

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The invented tradition of forro: A 'routes' ethnography of Brazilian musical 'roots'.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The invented tradition of forro: A 'routes' ethnography of Brazilian musical 'roots'./
作者:	Loveless, Megwen May.
面頁冊數:	504 p.
附註:	Source: Dissertation Abstracts International, Volume: 71-07, Section: A, page: 2522.
Contained By:	Dissertation Abstracts International71-07A.
標題:	Anthropology, Cultural. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3415419
ISBN:	9781124090993

The invented tradition of forro: A 'routes' ethnography of Brazilian musical 'roots'.
Loveless, Megwen May.

The invented tradition of forro: A 'routes' ethnography of Brazilian musical 'roots'. - 504 p.

Source: Dissertation Abstracts International, Volume: 71-07, Section: A, page: 2522.

Thesis (Ph.D.)--Harvard University, 2010.

Framed as a traditional Brazilian music that represents a rural and bucolic past, forro is actually a dynamic style that has been transformed over years of creative refractions and has developed into several different genres in both rural and urban settings. My project seeks to explore the phenomenon of a roots revival as it relates to the migratory cycles of increasingly mobile communities. I argue here that, like many cultural products throughout 20th century Latin America, forro music and dance have become an ideological tool, accessed by Brazilians in the context of a post-modern and deterritorialized urbanity with increasing influences from abroad. The narratives common to the forro music-scape represent an imagined community through which Brazilians build bridges to access an imagined past in the hinterlands, untouched by modern mass media and the intimidating forces of globalization. Ironically, it is through a masterful network of mass media that contemporary citizens access this turn inward toward an imagined pre-modern community. Seen through the lens of the iconic folds of the accordion, the music of forro suggests that an increasingly cosmopolitan and globalized Brazil is creating a discourse which makes it possible to participate in a global economy while maintaining a tightly-knit sense of place.

ISBN: 9781124090993Subjects--Topical Terms:

735016
Anthropology, Cultural.

The invented tradition of forro: A 'routes' ethnography of Brazilian musical 'roots'.
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500 $a Adviser: Kimberly Theidon.
502 $a Thesis (Ph.D.)--Harvard University, 2010.
520 $a Framed as a traditional Brazilian music that represents a rural and bucolic past, forro is actually a dynamic style that has been transformed over years of creative refractions and has developed into several different genres in both rural and urban settings. My project seeks to explore the phenomenon of a roots revival as it relates to the migratory cycles of increasingly mobile communities. I argue here that, like many cultural products throughout 20th century Latin America, forro music and dance have become an ideological tool, accessed by Brazilians in the context of a post-modern and deterritorialized urbanity with increasing influences from abroad. The narratives common to the forro music-scape represent an imagined community through which Brazilians build bridges to access an imagined past in the hinterlands, untouched by modern mass media and the intimidating forces of globalization. Ironically, it is through a masterful network of mass media that contemporary citizens access this turn inward toward an imagined pre-modern community. Seen through the lens of the iconic folds of the accordion, the music of forro suggests that an increasingly cosmopolitan and globalized Brazil is creating a discourse which makes it possible to participate in a global economy while maintaining a tightly-knit sense of place.
520 $a My multi-sited research demonstrates that at this exciting crossroads to the new millennium, forr6 music in Brazil has become emblematic of how nations are confronting the post-modern concerns brought by intensified globalization --- and that popular music has become a lexicon through which Brazilians position themselves within local, regional, national, and international identities. The reverberations of forro's zabumba drum can now be heard from rural Pernambuco to outdoor shows in Rio to underground clubs in New York City. Though forro artists across these far-flung sites are perpetually composing and creating new content, a few treasures of the genre continue to be re-interpreted in a standardized canon of forro which, when replicated, allows a post-modern Brazil free admission to its traditional roots.
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