Resumo

Este texto aborda uma performance com práticas musicais do grupo Brô MC’s, de rap indígena, em conjunto com a Orquestra Infantil Indígena Ueze Zahran. Essa performance foi realizada em 2019 no encerramento do XXIV Congresso da Associação Brasileira de Educação Musical. Por meio de abordagens autoetnográficas, o texto discute e concebe performance como micropolítica, segundo as concepções de Suely Rolnik (2019). Enfatiza a necessidade da presença consciente em tais atuações, conforme as concepções de Schechner e Turner (2006). Adota, ainda, a concepção de musicar de Christopher Small (1999)para ampliar as ideias comumente empregadas pela área musical, que relacionam a performance ao ato de cantar ou tocar um instrumento musical. Sugere,também, a ideia de escutas de mundo, em alusão às abordagens de leituras e pronúncias de mundo de Paulo Freire (2019). Dessa forma, se propõe a participar dos debates antirracistas a partir do universo acadêmico.

Tupã: Brô MC’s indigenous rap as micropolitical performance

This article talks about a performance involving the musical practices of the indigenous rap group Brô MC’s together with the Indigenous Children’s Orchestra Ueze Zahran. This performance occurred in 2019 at the closing presentation of the XXIV Congress of the Brazilian Association of Music Education. Using autoethnographic approaches, the article discusses and conceives performances as micropolitics, following the conceptions of Suely Rolnik (2019). I emphasize the need for a conscious presence during the performances, following Schechner & Turner (2006). I also adopt the concept of musicking proposed by Christopher Small (1999) as a tool to expand music practitioners’ commonly held ideas, which relate performance to the act of singing or playing a musical instrument. I also suggest using the idea of “world listening”, referring to the approaches of world reading and pronunciations proposed by Paulo Freire (2019). Therefore,the participation of antiracist debates from an academic standpoint is defended.