OH, WHAT A GREAT DANCE PARTY!

Abstract

Under the media's understanding of it as a variant of forró, piseiro emerges today as a fluent expression in discourses representing popular and globalized culture, both Northeastern and national. Its use tends to supply images, imaginaries, and symbolic values ​​that nourish the cultural industry more than the emic identifiers of tradition held by its practitioners and aficionados. Its transitory, emblematic, and politically articulated character for mass consumption reveals the decolonial problematic (QUIJANO 2005) that surrounds its emergence and use. Resulting from a collaborative ethnographic methodology, under the domains of a dialogical ethnomusicology, this article contemplates a reflective approach based on the intersection of testimonies and accounts that structure the sonic discourses of piseiro music.