A música não é apenas “Boa pra ouvir”, mas também é “boa pra pensar”: o samba de enredo como ferramenta metodológica no ensino de história.

Abstract

Camêlo. Our goal is to think of songs, sambas de enredo, as an interdisciplinary resource in the teaching of History, understanding the historical construction of what we know today as “Samba-Enredo” in Brazil. Presenting sambas that have historical moments in the history of Brazil as the theme of their plot and demonstrating how to use plot samba as a resource in the process of teaching and learning at school. In Brazil, carnival has adapted to each region of the country and so, even though it is just the same party, it is celebrated in different ways. For example, in Salvador there is an emphasis on the trios elétricos, in Recife what stands out is frevo, in São Paulo and Rio de Janeiro what prevails is the rhythm called samba, with the traditional samba schools that enliven the audience with the sambas enredo, telling the story of a personality who performed some outstanding feat or portrays an important historical moment, and their costumes created especially for each parade. Since the 1990s, studies have increasingly focused on the globality of popular music, breaking away from readings that are sometimes partial anchored only in the textual aspect, and proposing new objects of analysis as their means of production. The song in its entirety, the reception, the interpreter, the composer, in short, the studies move towards the search for a Sociology of Music, as it is necessary to remember that in addition to art, and therefore possess a certain poetic freedom in relation to its composition, music is also a song, and these musical parameters such as melody, arrangement, interpretation, composition must also be present in the researcher's approaches. Despite all the progress, we believe that there is still a long way to go in the discussions regarding the use of music and the samba de enredo as documentation. However, our bet is optimistic, we believe that by using this popular resource to make an approach related to the content in the subject through a study of the Sociology of Music, we will be encouraging historical research and cultivating agents of knowledge and not just content recipients. We can thus plant the seed of autonomy and criticality, creating a culture of student researchers from an early age.