Ersu maa dun gboye o, yee gboyi sa: música sacra reveladora do dinamismo cultural - uma abordagem etnomusicológica da religião tradicional iorubá em São Paulo

Abstract

The subject under study in this work is the expression of Yoruba religion in São Paulo, Brazil, at contemporary, clearly marked by time and space pertaining to metropolis and its social forming process. The tradition and the dynamism are not oppositive categories, but different interfaces of same reality. We worked with the hypothesis that the music becomes enough analytical category to unveil the legitimate and living cultural dynamism in a religious traditional, the Yoruba traditional religion. There are two great diasporas experiences of the Africans to Americas, therefore Yoruba s also: Olókun Diaspora they were brought to Portuguese America, named third cycle of slavery ; and Oya Diaspora, when they came spontaneously to Brazil. The Yoruba tradition in Brazil can be understood as a continuity form, but we understand that there is no maintenance of a totus imutabilis, since this religion integrates on environment and by living and present persons, even after death. Sound and orality, moving and body expression, music and culture, congregate and constitute an identitary treasure that can turn into power and target of manipulation. This is the secondary hypothesis worked. Finally, the culture reorganizes itself in synchronicity with its parts. This modulating re-elaboration is the only immutable characteristic of the human being, the homo sonorus. It`s possible to affirm that with this operetta we raised the following results: we identified the importance of the sound to the constitutional forming of the human being; the orality as an historical instrument of maintenance of the human knowledge and making; the music as a cultural-historical disclosing singing, present in culture in simultaneity with the culture being; we provided a comprehension of how the legatees of the Yoruba tradition modulated their music-culture all along the time; how new musicians became to sing a new-arrival music from Yorubaland, executing with a differential manner according to the legated multiple musicality; and we also forwarded cognitive-esthetical resources to the understanding of hybrid makings of those who drink in different sources of faith, as a hermetical keys for the exegesis of the cultures-music from the Yoruba cantus firmus. E pari pa!