(Im)permanência da rabeca no Cavalo Marinho Infantil do Bairro dos Novais: reintegração, prática e performance do instrumento sob ótica da rabequeira brincante

Abstract

The Cavalo Marinho Infantil Sementes do Mestre João do Boi, Mestra Tina e Brincantes is a traditional folk group rooted in the Bairro dos Novais, in the city of João Pessoa (PB). Since the 1970s, it has mainly included children and young people from the region, constituting itself as an effective means of expressive development, education and social inclusion of its members in the community and the universe of traditional folk culture. This context provides appreciation for folk manifestations, the teaching and learning of music, dance and theater, as well as the maintenance of a tradition based on the affection and interpersonal relationships of its members in exchange for the social, political and economic exclusions they suffer. It is also configured as a Cavalo Marinho group, a traditional Brazilian folk practice found essentially in the states of Paraíba and Pernambuco, being a traditional space for rabeca/fiddle music in these states. However, over the years, the rabeca performances in the group have been irregular, due to the shortage of rabeca players in the metropolitan region of João Pessoa and the loss of those who once existed. In this context, this study aimed to investigate, analyze, and reflect on the process of reintegrating the rabeca and the practical and interpretative possibilities of this instrument within the Cavalo Marinho Infantil of Bairro dos Novais, from the perspective of the researcher herself, who acted as a rabeca player in the group between 2022 and 2025. This qualitative research employed the Life History method, collecting data through participant observation methodology, interviews, and audiovisual records. The study was complemented by sound-documentary investigation, as well as musical transcriptions of melodies sung by the group, and the production of an EP with sound recordings of the performance. Through this, the research sought to reflect on the the rabeca's performance, its interpretative possibilities, and its re-signification within the context of the play, considering the mutual influence between the rabeca player, the Master, and the performers (brincantes), as well as the social and cultural dimensions involved. The investigation was grounded in epistemological and practical approaches anchored in the sensitive and lived experiences of its participants.