“Canta quem sabe cantar”: processos performativos na arte da embolada

O presente artigo trata dos processos performativos na arte da embolada. Partindo da análise do coco-de-embolada “o carão”, de autoria dupla de coquistas paraibanas Terezinha e Lindalva, destacamos alguns elementos que consideramos cruciais para o êxito da performance. São eles: as sistematizações e improvisos da palavra cantada, o acompanhamento instrumental e a ideia de “encantamento” envolvendo coquistas e audiência. A metodologia se pauta na pesquisa bibliográfica, buscando dialogar com estudos desenvolvidos por Andrade (2002), Vilela (1980), Cascudo (1984), Pimentel (2004), Travassos (2001), entre outros; bem como em análises de obras gravadas. Concluímos que esses processos performativos contribuem tanto para o êxito da performance das coquistas quanto para a manutenção da tradição dos emboladores.

“Canta quem sabe cantar”: performative processes in the art of embolada

The presente article describes the embolada performative processes. The embolada comprises a musical-poetic form found in Northeastern Brazil. Based on the analysis of the tune,"o carão", composed by the “emboladoras” (singers) Terezinha and Lindalva, we have highlighted some elements considered crucial to the singers’ performance success. These performative processes represent the systematization and improvisation on the song words, the instrumental accompaniment and the idea of ‘enchantment’, involving both the performers and the audience. The methodology consists of research on the embolada’s literature, focusing on studies by Andrade (2002), Vilela (1980), Cascudo (1984), Pimentel (2004), Ayala; Ayala (2000) Travassos (2001), among others; and analyses of recorded music. We have concluded that these performative processes contribute both to the success of the singers’ performance and the preservation of the embolada tradition.