THE VOICE AND FIDDLE OF FABIÃO DAS QUEIMADAS IN THE 19TH/20TH CENTURY

NOTES ON THE EDITORIAL AND AUDITORIAL REGIMES THAT CHARACTERIZED THE SINGING OF AN AFRO-DESCENDANT IN THE SLAVERY CONTEXT

Abstract

At the end of the 1930s, some narratives sung by the Afro-descendant rabequeiro Fabião das Queimadas (1848-1928) found a graphic home in the book "Vaqueiros e Cantadores" by Luiz da Câmara Cascudo. His rabeca songs in the state of Rio Grande do Norte became part of the reference framework for popular and traditional poetry, associated with the literary valorization of romance repertoires in Brazil. The sonic expressiveness, marked by the vocal authorship, about "Boi da Mão de Pau", for example, had not yet been considered at the core of a personal project in which the black singer wanted to free himself from slavery in the 19th century. In view of the critical fortune of folklorist/memoir writers interested in Fabião das Queimadas, we consider some classificatory elements that operated in the rabeca singing and in his politics of listening;