Os cantos de presépios como identidade da comunidade de Pirenópolis

• Ano de defesa: 2020
• Autor(a) principal: Matteucci, Letícia Wayne
• Orientador(a): Oliveira, Vânia Dolores Estevam de
• Banca de defesa: Oliveira, Vânia Dolores Estevam de, Correa Júnior , Sebastião Rios, Curado, João Guilherme da Trindade, Dias, Luciene de Oliveira, Guimarães, Leda
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Programa de Pós-graduação em Performances Culturais (FCS)
• Departamento: Faculdade de Ciências Sociais - FCS (RG)
• País: Brasil
• Palavras-chave em Português: Memória; Pirenópolis; Identidade; Cantos de presépios; Performances; Ritual
• Palavras-chave em Inglês: Memory; Iidentity; Pirenópolis; Songs of cribs; Performances; Ritual
• Área do conhecimento CNPq: CIENCIAS SOCIAIS APLICADAS
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tede/10951

In the present work, we investigate the tradition of songs of cribs that is celebrated by the community of the city of Pirenópolis. It was born in the first half of the XVIII century, in the time called Mines of Our Lady of the Rosary of Meia Ponte, it was in the XIX century that with the name of Meia Ponte, it stood out like cultural cradle Goiano - with the appearance of the band and great masters and of the press, with the emergence of the first Central West newspaper. Today, still influenced by the historical cultural festivities, the traditional houses of the city are surrounded by cribs, tradition and religiousness in the Christmas period. The representations of the tradition of songs of cribs, the mourners and devotees, will be in this production presented and portrayed, through the narrative of who experienced the ceremony and related to the mythical and spiritualized historic city. The intention is to extract from literature, fieldwork, memories and experiences of rezadeiras in the Alto do Bonfim neighborhood in Pirenópolis, subsidies for a description and understanding of the cultural manifestations that make up the city’s festive calendar. The trajectory begins with a journey through time when we produce the rescue of the city’s historicity and the implementation of its churches and religious and cultural festivities. Soon after, a description of the traditions of the songs of cribs and their memories is presented so that, afterwards, they can be debated as rituals, so that we can understand the memories and their transmissions as identity constituent parts of the pyrenopoline community.