O sopro feminino no sertão: Zabé da Loca e a cultura musical do pífano na escola do campo.

Abstract

The current work, "Zabé da Loca and the Musical Culture of the Fife in a Country School within the scope of Countryside Education in Monteiro-PB," encourages a conversation about how Zabé da Loca's history can be appreciated in an educational setting. In this regard, the research is guided by the following problem: how can the study of Zabé da Loca's life trajectory and the fife culture spread by her be encouraged in countryside schools of Cariri Paraibano? Using a qualitative methodology, the study starts with documentary and bibliographic research and then analyzes audiovisual materials about Zabé da Loca's history and musical output. The research's theoretical underpinnings were first established through a bibliographic review that included writers who address cultural identity, popular music, cultural resistance, and education, including Paulo Freire (1987), Hermano Vianna (1995), Tinhorão (2010), Stuart Hall (2003), and Câmara Cascudo (2000). In order to comprehend Zabé da Loca's path and influence on Northeastern music, documents, interviews, and audiovisual materials about her were also examined. Reports, documentaries, song lyrics, and testimonies were among the sources cited to emphasize her cultural significance. The study also looks into how the fife culture and Zabé da Loca's work are incorporated into Countryside Education's educational framework. An examination of instructional resources and potential documentation of school projects pertaining to Northeastern traditional music was carried out. In order to learn more about how local culture is perceived and valued, questionnaires were given to teachers and students at the Educação do Campo school in Monteiro-PB. Through the use of the fife, a culturally significant instrument with roots in the sertão, this piece highlights Zabé's life and work as an expression of resistance, memory, and identity. The information shows that even though Zabé is regarded as a national and Northeastern cultural icon, her music is still hardly ever covered in the curriculum. In order to promote local knowledge, a sense of belonging, and an appreciation of peasant culture, this study suggests incorporating her work as a transversal theme. In this sense, traditional music serves as a cultural and educational tool and cultural as well, which are crucial for the development of people who understand their identity and history.