A modelagem na experiência-ritual do santo daime através da performance violonística : um estudo de caso na comunidade daimista Céu da Campina na Paraíba

Abstract

This study aims to investigate the music-ritual practice within the Daimista community of Céu da Campina, located in Paraíba, Brazil. Situated within the religious doctrine of Santo Daime, this community is notable for its deep engagement with musical performance. The research focuses on musical practice during rituals, particularly instrumental performance, aiming to comprehend its efficacy and role within the religious context. A key point of analysis is the guitar performance of musician Clemilson Dantas. Within the ayahuasca music context, Santo Daime adopts a live musical practice where ritualistic performance is dynamic and results from the combination of elements such as the individuals involved, the ayahuasca tea (daime), and its hymns. Theoretical underpinnings for the research include Turino's participatory music practices (2008) and Fiell da Costa's Open Work morphology theory (2016), adapted to Santo Daime's context, considering Daimista hymns as invariant structures underpinning ritual performance. Additionally, Grosfoguel's Situated Knowledges studies (2008) and Nettl's emic/etic approach (2005) are considered, justified by the researcher's involvement as a religion member and participating musician in the rituals. The methodology adopted is ethnography guided by performance, inspired by Junqueira (2020). Thus, this research plays a fundamental role in understanding the intersection of music, ritual, and performance. It offers the opportunity to unravel technical details, musical choices, and interpretations that may have gone unnoticed, contributing to the preservation of Santo Daime's musical tradition. By analyzing the nuances of guitar performance, it's possible to document and understand regional variations, the musician's individual style, and the group's sound, revealing a local sonic identity within Santo Daime music. Research objectives include verifying the efficacy of guitar performance in the ritual, identifying group sound elements, understanding how musical instruments influence ritual quality, and grasping the relationship between hymn texts and sound results.