Besides music, its collection includes literature, iconography, and (the biggest of them all) photography. In the first place, it should be noted that its music collection is only one of IMS’ four heritage pillars.
#NEGA SONG SAMBA MEANING FREE#
The IMS digital collection not only enables the exercise of cultural diversity expression within an ethnocentric rupture line, by offering an ample collection of various expression forms in Brazil, but also an ethnochronic rupture, since it precisely allows an ample and free access to listening to these “memory capsules” produced in the Brazil of yesterday. Thus, before going further, we should highlight the contribution of the Instituto Moreira Salles (IMS) as an extremely important actor in facilitating access to this musical collection. Resources which, again, and even in the Internet age, become scarcer the further back in time these songs were recorded and phonographically produced. On the other hand, a challenge exists in accessing and understanding the cultural industries and policies linked to the different media resources that provide these songs. The song brings what Valente calls a “memory capsule” – not only individual but collective as well (as we know, there are several examples of striking songs for each specific historical period or social group). Memory appears here as a research challenge and a key concept to comprehend the testimonial value of the song, since the remembrance and/or the recollection triggered off by the lyrics-music combination, beyond the song as a document, are found therein. In these evolving times of ICT (Information and Communication Technology), especially the Internet, we are aware that universal access to these collections has become easier, though it faces a dual challenge: to actually find the song in order to listen to it, and most importantly, in our case, a song that was produced decades before the advent of the vinyl LP ( long play), and which only circulated on 76 or 78 RPM (rotations per minute) records. Valente indeed suggests that the song can be understood as a “testimonial narrative”, not only when the cultural text found in the music carries a register that can have been prevented from taking place in literary, historiographical or even journalistic narratives, but, above all, as the representation of a society’s individual or collective aspect. The songs help to understand different social conjunctures, and their incorporation as research material has been more and more common due to their recognition as “historical documents” as well (Valente 2003: Moraes 2010). It is with this perspective in mind that the present article understands the songs: as forms of a society’s expression of diversity, both from the point of view of the lyrics as from the point of view of the music. Such policies must focus on culture as such, or intend to have a direct effect on the cultural expressions of individuals, groups, or societies, impacting the creation, production, diffusion and distribution of activities, goods and cultural services, as well as access to them. These expressions are passed on within and among groups and societies.Ĭultural diversity is made manifest not only through the varied ways in which the cultural heritage of humanity is expressed, augmented and transmitted through the variety of cultural expressions, but also through diverse modes of artistic creation, production, dissemination, distribution and enjoyment, whatever the means and technologies used.Īccording to items 4 to 6, still in Section III of the CDCE cited above, cultural activities, goods and services refer to those that incorporate or transmit cultural expressions, independently of the commercial value they may have, with cultural industries producing and distributing such goods and services, which themselves need culture-related policies and measures on the local, regional, domestic or international level. The UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions (CDCE) of October 2005, ratified by Brazil in 2007, establishes in its Section III, Definitions, Article 4, the meaning of “Cultural Diversity”: refers to the manifold ways in which the cultures of groups and societies find expression.
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