Between Nostalgia and Apocalypse

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Daniel B. Sharp. Between Nostalgia and Apocalypse

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Between Nostalgia and Apocalypse

Between Nostalgia and Apocalypse

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As the musicians professionalized, they faced an idiosyncratic play of social inclusion and social exclusion. Being placed on a pedestal as the symbolic essence of their region did not inevitably translate into the material power of cultural citizenship, in which political enfranchisement and the positive recognition of social difference are all of a piece. The musicians sustained efforts to abrir um espaço (open a space) for other, more nuanced stories of their region to compete with well-worn stories that erased modernity and cast performers in a mythic register. Yet despite their successes, as they reached audiences beyond their region the musicians continued to find themselves ensnared in and sometimes reproducing the very discourses of heritage and folklore they sought to transform. They worked toward broader recognition while fighting against being treated as “ghostly fetishes of culture loss” (Ivy 1995, 10–11), hovering between the center and the margins.

I see this book as part of a broader movement in the last decade away from polarized celebratory and anxious discourses surrounding music and globalization that were common around the turn of the millennium. I hope to contribute to the “finer-grained historical ethnographic approaches to global music circulation” (Stokes 2004, 48). This story chronicles the movement of samba de coco from local pastime to staged performance projected into national and international circuits. Throughout I focus on what happens when people and commodities move between disparate institutions for support as their music circulates beyond their hometown.

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