Raízes, tambores e frutos: a escola de arte do instituto cultural tambor de raiz, Conceição da Barra/ES

Abstract

Conceição da Barra is located in the north of Espírito Santo and includes the territory known as Sapê do Norte. Home to many quilombola communities, the local people are connected to ancestral cultural practices: Jongo, Ticumbi, Reis de Boi. In addition, it is a coastal city bathed by the Cricaré River, the scene of battles by the people who formed this society, the indigenous people, Africans who were enslaved and the Portuguese. The paper presents a study on the Art School of the Instituto Cultural Tambor de Raiz, analyzing the motivations for the existence of a school like this in the city, the reasons and the public it serves. For this reason, the research has a qualitative face, using the art school as a source of data collection, as well as the life stories of people who are part of the Institution and who give life to the school. We conducted oral life histories with people who are part of the Institute's activities and thematic oral history with the school's teachers according to the assumptions of Meihy (2015). The important concepts for this research revolve around memory and history. To this end, we focused on theoretical references by Ecléa Bosi (1994), Halbwachs (2003) and Le Goff (1990). Given that we are dealing with issues of ancestral communities, we used Kabelenge Munganga (2004) and Inaicyra dos Santos (2008) as support.Based on the materials collected and the structured research, some factors appear to be important in this study. Collective memory is formed from common interests, relationships and memories (roots); identity is formed from recognition among people and the transmission of knowledge through popular wisdom. These pillars provide the basis for this study and also for the formation of the Art School of the Instituto Cultural Tambor de Raiz, and no less important, resistance, which permeates all areas of the school's formation.This resistance is historic in the region, symbolized by the Sapê grass and the Drums, in the ongoing fight against cultural erasure and territorial appropriation, contextualizing the School of Arts (Fruits) as a space of resistance and identity construction.