Heritage Recognition in the Choro Communities: From the Rodas Encounter to Network Mobilisation
Résumés
Le Choro est considéré comme la première musique urbaine brésilienne encore en existence. Après plus de 150 ans d’histoire, cette musique vient d’être déclarée patrimoine culturel immatériel par l’IPHAN (Institut national du patrimoine historique et artistique). Les auteurs de cette proposition ont coordonné la recherche qui a conduit à cette reconnaissance, un processus intense et largement participatif qui s’est déroulé dans un environnement virtuel pendant près de trois ans, au cours de la pandémie de COVID-19, mobilisant un immense réseau de personnes liées à cette musique (chorões et choronas) du nord au sud du Brésil. C’est la première fois qu’un processus de reconnaissance patrimoniale mené par l’IPHAN a été entièrement réalisé en format virtuel. Dans cet article, nous revisitons ce processus, ses tensions et ses défis, afin de discuter comment, au début du xxie siècle, il nous a fallu à la fois prendre en compte la diversité des manières de jouer et de représenter le Choro dans les différentes régions du pays et le considérer comme un patrimoine culturel immatériel unique, d’envergure nationale, conformément à la vision de l’IPHAN. À cette fin, nous analyserons, d’une part, les enjeux que ce processus a soulevés pour les politiques du patrimoine culturel immatériel au Brésil, et d’autre part, comment sa résonance a mis en lumière des questions de genre et d’ethnicité dans le contexte du Choro.
Entrées d’index
Haut de pagePlan
Haut de pageTexte intégral
- 1 José Ramos Tinhorão, História Social da Música Popular Brasileira, São Paulo, Ed. 34, 1998. Ary Vas (...)
- 2 The roda (“circle”) is the native term used to describe the musical gathering of Choro musicians (c (...)
1Choro is widely regarded as the first Brazilian urban music genre still in existence. According to the historiography of Brazilian popular music,1 its origins are often attributed to the ways in which enslaved Africans in 19th-century Brazil developed innovative approaches to playing European instruments and performing European repertoires. Since then, this predominantly instrumental music has been consolidated as a distinct musical genre, which includes several related genres, whose composers and performers have played a cardinal role in the establishment of the music industry and radio broadcasting in Brazil during the 20th century. Thus, Choro, initially considered carioca music (from Rio de Janeiro), has circulated throughout the country, creating a large community of enthusiasts, developing other repertoires and different ways of playing in the rodas2 (circles) in each region, while preserving a common repertoire that circulated on scores, recordings and national radios.
- 3 The registration process began in 2015, following the analysis and issuance of a technical note reg (...)
2After more than 150 years of history, Choro was officially declared an intangible cultural heritage in Brazil by IPHAN (National Institute of Historic and Artistic Heritage) in February 2024. The authors of the present article played the role of coordinating the research process that culminated in this designation—an intense, participatory initiative conducted virtually over nearly three years during the COVID-19 pandemic.3 This unprecedented effort mobilized an extensive network of individuals connected to Choro (chorões and choronas) across Brazil, marking the first time that a heritage recognition process promoted by IPHAN was conducted entirely in a virtual format.
3This article offers a reflective analysis of the process, collaboratively authored by three researchers who combined their roles as Choro musicians and academics with expertise in ethnomusicology. Our dual engagement with the Choro universe—as practitioners and as scholars—was instrumental in shaping a multifaceted process that demanded continuous mediation between two key spheres: the public domain and IPHAN’s normative frameworks, and sensitive, empathetic engagement with Choro communities’ diverse demands for participation and recognition.
4In this article we revisit the process, exploring its tensions and challenges to reflect on how, at the dawn of the 21st century, we were tasked with simultaneously embracing the diverse practices and representations of Choro across Brazil and framing it as a unified intangible cultural heritage of national significance, as envisioned by IPHAN. Particular emphasis is given to the methodologies that were developed in response to pandemic-related constraints. These included leveraging digital technologies to mobilise chorões and choronas through online seminars, virtual meetings, and individual interviews, enabling us to unite a diverse array of participants under a shared goal.
5The text is organized into four sections. First, we examine the principles underlying Brazil’s intangible cultural heritage policies. Next, we analyze the local meanings of heritage as expressed by Choro communities, contrasting these with institutional frameworks and explaining the solutions developed during the heritage-making process. Finally, we address the gender and ethnic dynamics that permeated the process, highlighting how Choro communities have grappled with emerging demands for dialogue and representation.
Principles of Intangible Cultural Heritage Policies in Brazil
- 4 Regina Abreu, “Patrimonialização das diferenças e os novos sujeitos de direito coletivo no Brasil”, (...)
6Since Brazil’s re-democratisation in the 1980s, significant legislation has been enacted to regulate and universalise rights for the first time in the country’s history. These advancements stem from the Federal Constitution of 1988, which expanded the concept of culture to include the intangible dimensions of heritage, enabling State regulation. Such progress was achieved through the efforts of social movements and civil society. Decree 3551, issued in August 2000, established the Registration of Intangible Cultural Assets as part of Brazil’s cultural heritage, documented in the so-called “Registration Books” (Livros de Registro) maintained by IPHAN (National Institute of Historic and Artistic Heritage). These books include the Books of Knowledge, Celebrations, Forms of Expression, and Places. Safeguarding measures encompass identifying, documenting, promoting, transmitting, and revitalizing intangible cultural heritage to ensure its viability. Brazilian anthropologist Regina Abreu4 argues that these new safeguarding practices are more socially inclusive, contrasting with earlier approaches that were historically dominated by hegemonic perspectives of heritage tied to historical and artistic contexts. Decree 3551 and related legal frameworks have initiated transformative impacts on communities, villages, quilombos, and cities of all sizes throughout Brazil.
- 5 Elaine Monteiro and Martha Abreu, “Patrimônio Imaterial e afirmação negra: a política dos encontros (...)
7Historians Martha Abreu and Elaine Monteiro5 emphasise the importance of recognising and including groups historically marginalised by the Brazilian State. These legislative advancements aim to affirm the cultural and social contributions of Black and Indigenous peoples to Brazilian society while addressing the social inequalities perpetuated by systemic racism. Initiatives such as Pontos de Cultura, the Cultura Viva Program, Quota Laws, affirmative action policies, and the Encontro de Saberes exemplify efforts to align institutional frameworks with the needs and realities of marginalised communities.
- 6 The IPHAN’s registration book for “Forms of Expression” can be accessed on this page: https://bcr.i (...)
8In the evolving field of heritage studies shaped by these legislations, numerous cultural practices associated with music have been safeguarded across different levels of governance in Brazil, including national, regional, and local administrations. Most intangible assets involving musical knowledge are registered in IPHAN’s Book of Forms of Expression.6 These include songs, rhythms, dances, listening practices, instrument crafting, and other sound-related dimensions. Notable examples include the samba de roda from the Recôncavo Baiano, frevo, jongo from the Southeast, foundational samba styles from Rio de Janeiro, the tambor de crioula from Maranhão, the roda de capoeira, the ringing of bells in Minas Gerais, fandango caiçara, carimbó, maracatu nação, maracatu de baque solto, cavalo marinho, caboclinho, ciranda from the Northeast, repente, traditional forró foundations, and, most recently, Choro. Some of these, such as samba de roda, frevo, and roda de capoeira, are also listed as UNESCO cultural heritage.
- 7 Carlos Sandroni, “Samba de roda, patrimônio imaterial da humanidade”, Estudos Avançados, vol. 24, n(...)
9What we call the “intangible turn” in cultural heritage represents a paradigm shift in heritage making, embracing its social dimensions and introducing significant innovations that require specialised expertise and interdisciplinary collaboration. This is particularly evident in the growing need for professionals in the field of music, notably ethnomusicologists. Carlos Sandroni7 examines the mediating role of ethnomusicologists in safeguarding intangible cultural heritage, drawing on his experience with the registration of samba de roda. Researchers are pivotal in fostering expansive networks, ensuring the meaningful participation of heritage bearers, and facilitating their active engagement in the heritage designation process. These efforts underscore the centrality of community agency and the leading role of communities in shaping these initiatives.
- 8 Lúcia Campos, « Le fleuve qui fait résonner le son du tambour : musique et patrimonialisation dans (...)
10Ethnomusicologists can significantly contribute to heritage documentation, community engagement, and the development of essential materials such as dossiers and audiovisual content for heritage promotion. Furthermore, universities can play a critical role in evaluating public policies and supporting the integration of heritage and music education.8
11The concept of “intangible cultural heritage” highlights its immaterial nature while acknowledging the interplay with material dimensions. This framework emphasizes the social, living, and contemporary aspects of heritage, distinguishing it from older categories such as “folklore”. Central to this distinction is the recognition of cultural practices as dynamic and linked to the agency of heritage bearers. Celebrations, expressions, methods, and sites are not merely representative of communities; they also structure local realities and must be safeguarded in ways that respect their specificity. This requires attention to local conceptions of heritage, sustainable preservation strategies, and the articulation of new symbolic dimensions. Heritage practices must be understood not as isolated events but as integral to the communities’ everyday lives.
The Diverse Communities of Choro and the Senses of Heritage
- 9 Howard Becker, Les mondes de l’art, Paris, Flammarion, 1998.
12Choro can be understood simultaneously as certain musical practices, a distinctive musical idiom that characterises these practices, and the network of sociability that sustains them. This network is primarily composed of instrumentalists, instruments, sheet music, recordings, and activities such as rodas (informal jam circles), dances, bands, radio programs, bars, classrooms, and concert halls. It constitutes a complex, diverse, and enduring “art world”,9 characterised by its temporal and spatial existence, present in all regions of Brazil and disseminated in other countries.
13One of the key challenges in the process of recognising Choro as cultural heritage was tied to acknowledging the plural nature of this musical practice. This included addressing the aesthetic differences associated with its performative contexts, the various regional “accents”, the canons attributed by distinct communities of Choro musicians across Brazil, and the differing historical continuities linked to Choro in each context.
- 10 The Casa do Choro Institute, founded in 1999, is a nonprofit organisation dedicated to music educat (...)
14Throughout the research, a central question emerged repeatedly in the accounts of the Choro musicians interviewed: “But isn’t Choro already heritage?” This inquiry reflects the deeply rooted perception among Choro practitioners that this musical genre already possesses an intrinsic heritage value, recognized and celebrated in the communities where it is cultivated, long before its official recognition through public heritage policies. This perception is exemplified in the words of Luciana Rabello, a cavaquinho player and president of Casa do Choro (Rio de Janeiro),10 during an interview conducted as part of the process. Regarding the legitimacy of recognising Choro as Brazil’s cultural heritage, Luciana Rabello states:
- 11 Interview with Luciana Rabello, Testimonies for the Registration Process of Choro as Intangible Cul (...)
It is a wonderful opportunity that Choro is offering the State to do justice to a truth already recognised by the people since its inception. This is a moment of genuine celebration of a culture that is ancestral, forming the foundation of musical creation in Brazil. Choro has always been a true breeding ground for Brazilian musicians and has influenced everything that came after it in the country as we know it today. Therefore, recognising Choro as Brazilian heritage is more than a duty—it is an opportunity...11
15Rabello’s statement is particularly significant for centering the perspective of Choro practitioners in understanding what constitutes “cultural heritage”. This viewpoint underscores that heritage is not merely a state-sanctioned construct, but rather a dynamic process rooted in the lived experiences and identities of cultural communities. For Choro musicians, heritage is actively created and sustained through their daily musical practices, social interactions, and transmission of knowledge, making the State merely one of many actors acknowledging a pre-existing cultural reality.
- 12 José Reginaldo Gonçalves, “O patrimônio como categoria de pensamento”, in Regina Abreu and Mario Ch (...)
16Brazilian anthropologist José Reginaldo Gonçalves12 emphasises the inherent ambiguity and diverse meanings of “cultural heritage” across different social and cultural contexts. This “resonance” of heritage, as he terms it, highlights the need to navigate this category analytically within specific social and cultural worlds. An anthropological perspective demands attention to the diverse meanings attributed to heritage by the individuals and communities who embody it. In the context of intangible musical heritage, such as Choro, these varying perspectives shape distinct canons, inventories, and senses of belonging, connecting individuals and communities to specific musical practices.
17This challenge was at the heart of the process: positioning ourselves as mediators in alignment with the latent “resonance” of Choro among its practitioners and audiences. The aim was to ensure that the process remained dynamic, creative, and legitimate, fostering continuity and expanding the already established and consolidated local conceptions of heritage.
18The technical process of documenting Choro as intangible cultural heritage began in March 2020. Already faced with Choro’s diverse and extensive musical practices and its long history of recordings tied to the advent of phonography in Brazil, a new and unpredictable challenge arose: the onset of the COVID-19 pandemic. Early on, the planned in-person work had to be completely rethought, adapting the research methodology to remote formats. Much as Choro’s history is intrinsically linked to the technological development of phonography in Brazil, its recognition by IPHAN (National Historical and Artistic Heritage Institute) as cultural heritage has been marked by the invention of new research and inventory methodologies tied to technological advancements.
19In view of the limitations imposed by the inability to conduct in-person fieldwork or meetings, we sought to explore alternative approaches. One of the initial and pivotal solutions was the decision to organise not only regional meetings, as initially planned, but also national gatherings—an opportunity facilitated by online platforms. Another significant innovation involved the creation of a remote documentary film, expanding the project’s reach by including representatives of Choro from across the country. Finally, a third crucial measure involved conducting field research and making the collected material accessible through an online platform, effectively transforming the research into a publicly accessible inventory.
- 13 Elizabeth Travassos, “Poder e valor das listas nas políticas de patrimônio e na música popular”, in (...)
- 14 Chiara Bortolotto, “Le trouble du patrimoine culturel immatériel”, in Id. Le patrimoine culturel im (...)
- 15 Elizabeth Travassos, “Poder e valor das listas nas políticas de patrimônio e na música popular”, ar (...)
20As participants in Choro communities across different states and regions, we were mindful from the beginning not to impose one “network” over existing ones. We understood that our goal was rather to identify and mobilise Choro communities and their representatives, as reflected in the “lists” mentioned by Travassos.13 The ethnomusicologist affirms the power and value of lists linking them to pre-existing lists within social groups and musical traditions. Despite the concerns about the notions of “lists” in the patrimonial sphere, as discussed, for example, by Bortolotto,14 Travassos suggests “reflecting on the power of these lists” and observes that “multiple listings emerge from various social contexts. Their producers rely on equally diverse institutional frameworks, which grant them the authority to define their respective selections of people or knowledge”.15 In the case of Choro, these lists materialise in many ways: through existing associations such as Choro clubs, which establish their canons and gather members; through relationships among instrumentalists who define their references in rodas (circles) and performance spaces; through the recording and circulation of compositions; and through studies and research disseminating information via radio programs, publications, and archives that legitimize recognized canons.
- 16 Bruno Latour, Enquête sur les modes d’existence : une anthropologie des modernes, Paris, La Découve (...)
21Fieldwork conducted through interviews revealed the plurality of Choro practices and histories from north to south in Brazil. Shared themes emerged from individual experiences, such as the diverse ways of listening to and learning Choro. Radio and records stood out as indispensable references, contributing to the consolidation of a shared taste for this music and its nationally recognized repertoire. Concurrently, narratives frequently emphasised the roda as a crucial space for learning, as well as the variety of practices and repertoires unique to each region in Brazil. These narratives are invaluable in understanding the “modes of existence”16 of Choro communities, conceptualised as a form of subterranean heritage—little recognised by public policies but intensely cultivated and practiced within their own sociability networks.
22The challenge of recognising Choro as a Brazilian national heritage involved articulating its various dynamics. As ethnomusicologists, our role was to navigate the diverse perspectives on Choro, encompassing those rooted in regional practices and those shaped by national media and the music industry. We aimed to articulate these varied viewpoints throughout the research process. Equally important was documenting and valuing the contextual and everyday musical practices in rodas, celebrations, and among amateur musicians, which sustain Choro’s local presence. This perspective is echoed by flutist Toninho Carrasqueira:
- 17 Jacob do Bandolim, born Jacob Pick Bittencourt on February 14, 1918, in São Paulo and passed away o (...)
- 18 Interview with Antônio Carrasqueira, Testimonies for the Registration Process of Choro as Intangibl (...)
Choro didn’t survive because of the big icons—Jacob, Altamiro, Waldir.17 It survived because of those small groups playing in backyards and on street corners, the great anonymous musicians from the neighborhoods. That’s beautiful, knowing it’s a music that has resisted and is stronger than ever... But it’s wonderful to remember that Choro is a music of camaraderie, of friends, a popular music. You don’t need to be a virtuoso to play it. With just a little skill, you can play and make people happy. Bring nourishment to the group present. It only endured because of anonymous people, those we don’t even know, who kept it alive.18
23The interviews highlighted what unifies and differentiates the listening practices and expressions of Choro across Brazil, what has been widely appropriated through the dissemination of repertoires by radio and records, as well as the distinctiveness and uniqueness of the creations and recreations of this music in each locality and region. Choro emerged as an extensive network of musical practices and sociability—a complex and diverse “art world” that is both enduring and fluid. It has evolved and consolidated itself since the 19th century, shaped by spiraling dynamics of circulation, cultivation, and learning among amateur and professional musicians, continuously adapting, creating and transforming.
Inside the Process: Continuities and Frictions in Heritage Conceptions
24The tension between Choro—widely recognised as a form of “heritage” by its practitioners—and the institutionalised heritage modalities became evident at various points in the process. Until then, the intangible cultural heritage registered in Brazil that involved musical knowledge was predominantly oral, meaning unwritten, and often unrecorded, with little to no direct engagement with the phonographic industry. This is not the case with Choro, which has balanced written and oral traditions throughout its history. Choro has been marked by the circulation of sheet music from its earliest days and has been deeply integrated into the phonographic industry since the early 20th century, playing a pioneering role in Brazil’s recording history.
25For Choro musicians, heritage is a multifaceted concept that encompasses sheet music, recordings, rodas, archives, educational initiatives, and Choro clubs. These deeply entrenched notions of heritage within Choro communities often created friction with and exceeded the boundaries of institutionalised heritage modalities. These tensions and frictions became evident at various moments throughout the process: one example was the issue of copyright associated with Choro composers. One of the requirements for the recognition of an intangible cultural heritage by IPHAN is the production of a documentary—in this specific case, created through interviews with Choro instrumentalists from across the country, conducted online due to the pandemic situation. It would have been impossible to produce a documentary about Choro without incorporating the music of foundational figures such as Pixinguinha and Jacob do Bandolim. However, IPHAN did not anticipate the payment of copyright fees, as all previously recognised cultural expressions were associated with oral tradition, following a folkloristic approach in which the concept of individual authorship was not considered.
26Another critical point that created tension—as previously noted—was that Choro already had its own networks, musical collectives, educational institutions, and even organized sound archive institutions spread across the country. In contrast to other genres more closely tied to rural traditions in Brazil—where the role of IPHAN and the registration process was precisely to organise social movements around the preservation, teaching, and dissemination of the registered cultural assets—Choro already had these networks and movements in place. While this was an advantage in some respects, as it reduced the workload during the process, it was also necessary to demonstrate to IPHAN that Choro already had its own organised social structures. Consequently, the work to be carried out needed to focus much more on mediating between these existing structures and the legal safeguarding requirements established by the Brazilian State.
27The first axis aimed to map the performance venues of “rodas de Choro” across the country. This was undoubtedly the most complex task due to two factors: firstly, the fluid and dynamic nature of “rodas de Choro”. Because of their spontaneous character (usually occurring in bars and public squares), it was extremely difficult to “fix” these performances in an extensive mapping. Secondly, we also sought to record rodas that had historical importance in different localities but no longer exist today—their memory, however, remaining important for chorões and Choronas from different regions of Brazil.
28The second axis aimed to map Choro archives across the country. The greatest challenge in this case was to consider both institutionalised archives in museums and universities, and personal archives which are difficult to access. For each archive, a “file” was created containing the history of its constitution and access conditions. The deficiencies and demands of each archive were also pointed out, in order to draw attention to the need for public policies related to the digitisation and safeguarding of each one, especially those in precarious preservation conditions. In this sense, the research conducted a comprehensive mapping of Choro archives, encompassing both well-curated and extensively documented collections housed within major urban centres—exemplified by the Museu da Imagem e do Som in Rio de Janeiro—and smaller, privately held collections situated in peripheral regions of the country. These latter collections, despite their limited scale, possess significant value in preserving the local historical memory of Choro within specific communities.
29The third axis aimed to map teaching and transmission activities of Choro throughout the country. Traditionally associated with oral tradition, Choro has always been taught informally in popular settings—“rodas de Choro” that took place in bars and public spaces. In recent decades, however, organised educational movements have emerged through both institutes and initiatives organized by chorões and Choronas themselves, such as the Escola Portátil de Música in Rio de Janeiro and the Clube do Choro in Brasília. The research sought to map both these informal approaches and organised movements.
30Finally, Choro clubs and associations organised throughout the country were mapped. Following the same logic as the previous axes, the research sought to map both older, more formal organisations—the “Choro clubs” of various regions of Brazil, some of which were created as early as the 1970s—and more recent movements and collectives, many of which were born in the online environment. For each of these “Choro clubs” or collectives, “data sheets” were created containing information on their history, address, operational mode, and heritage demands.
31As previously highlighted, this entire research process was conducted in close collaboration with individuals, institutions, and collectives across Brazil, facilitated by the research team. This mapping resulted in the identification of 161 archives, 81 teaching activities, 48 Choro associations or clubs, and 141 “rodas” or performance venues throughout Brazil. Following this stage of research, new challenges emerged, which can be summarised in a series of questions: how could we make publicly available the information on venues, archives, teaching activities, Choro clubs and rodas? How could this mapping be continuously “fed” with new data by chorões and choronas from all over Brazil?
- 19 Caroline Landau and Janet Fargion, “We’re all Archivists Now: Towards a More Equitable Ethnomusicol (...)
- 20 Base de Dados Choro Patrimônio: https://acervosvirtuais.ufpel.edu.br/choropatrimonio/.
32At this point, tensions arose with the IPHAN, as the registration process, as legally established in Brazil, did not envisage the public availability of the map data. However, supported by recent ethnomusicological approaches based on the premises of collaborative and proactive archiving,19 the research coordination team understood that the publication of this data would be fundamental as a social return of the research to the Choro communities throughout the country. Through a partnership with the Federal University of Pelotas, the Choro Heritage Database (Base de Dados Choro Patrimônio)20 was created, gathering all the map data collected during the research process for public consultation. Additionally, other items were made available, such as an updated bibliography of academic output on Choro (through consultation of thesis and dissertation databases nationwide), as well as a discography of Choro on 78 rpm records. Most importantly, the Database has an area dedicated to public interaction: a form for individuals from all over the country to complete the mapping data, continuously “feeding” the database.
From Choro Communities to Network Mobilisations: Gender and Ethnic Issues
33The intricate mapping of Choro’s heritage—spanning rodas, archives, educational initiatives, and associations—highlighted not only the richness of its cultural practices but also the importance of community engagement in the safeguarding process. These findings underscored the need for a participatory approach, where Choro communities themselves played a central role in shaping and expanding the networks that support its recognition as cultural heritage.
- 21 The Clube do Choro de Brasília was founded on September 9, 1977, by musicians who gathered at the h (...)
- 22 Patrick Biernacki and Dan Waldorf, “Snowball Sampling: A pilot Study or a New Methodology?”, Social (...)
34The creation of a robust research network for the successful registration of Choro as cultural heritage by IPHAN involved a multifaceted approach encompassing over 700 participants. The initial phase focused on engaging key stakeholders, including representatives from prominent Choro institutions such as the Clube do Choro de Brasília21 and Casa do Choro do Rio de Janeiro. Building upon these initial connections, the research team expanded the network through snowball sampling,22 recruiting musicians and members of Choro communities across Brazil. This multi-tiered approach included national gatherings followed by region-specific meetings in the South, Southeast, Northeast, Center-West, and North.
35This collaborative strategy proved crucial to the project’s success. Following initial presentations, the team actively engaged civil society to identify and recruit chorões and choronas for interviews and discussion panels, recognising their invaluable role as community references. The onset of the COVID-19 pandemic in 2020 necessitated a significant adaptation of research methodologies. The team successfully transitioned to digital platforms, utilising video calls, electronic forms, and live broadcasts to maintain research continuity, expand participant recruitment, and ensure the project’s continued progress.
36To ensure representativeness, we actively sought to diversify the research network by prioritising inclusion across generations, ethnicities, genders, and regions. This commitment to diversity extended to the research team itself, resulting in a balanced group comprising four women and four men of various ages and ethnic backgrounds, all with established connections to the Choro community. This broadened sample of interviewees and researchers proved crucial for comprehensively mapping the diverse landscape of Choro, including groups, venues, collections, and teaching efforts, thereby enhancing the validity of the research findings and democratising access to its outcomes.
- 23 Lúcia Campos, Pedro Aragão and Rafael Velloso, “Mas o Choro já não é patrimônio? Ressonâncias e des (...)
Our research focus for the documentary—that is, the selection of individuals to be interviewed—aimed to balance the premises of the entire study: geographical coverage, with representatives from all regions; gender diversity, with significant participation from women instrumentalists; presence of Black musicians in the development of Choro; the inclusion of performers from different age groups; and the diversity of instruments in Choro.23
37The expansion of the sample was motivated by the understanding that, although Choro has popular and multicultural roots, originating in the Afro-Brazilian communities of Rio de Janeiro’s peripheries, the second half of the 20th century witnessed a process of racial whitening not only of the genre, but of the bulk of the music entering the music industry. Black musicians, historically associated with Choro, were marginalised due to socioeconomic inequalities, losing ground to white musicians. Concurrently, women, despite exceptions such as the conductor Francisca Gonzaga (1847-1935), faced gender barriers that kept them away from Choro, limiting their participation in the music scene, especially during the first half of the twentieth century.
38Cavaquinist Luciana Rabello highlights the lack of female musicians in rodas de Choro, particularly on accompanying instruments:
- 24 Interview with Luciana Rabello, Testimonies for the Registration Process of Choro as Intangible Cul (...)
The only woman present was Dona Ceça, who played guitar but wasn’t from Rio and did not participate in local rodas. There were no women in the regional scene performing as accompanists. Although flutists and many pianists appeared, there was typically no piano in the roda, and it was common for one or two flutists to participate. Guitarists and cavaquinists were excluded, as were bandolinists, despite the latter being solo instruments. Rodas de Choro were entirely male spaces, making it undesirable for young women to join them.24
39Choro draws from both Afro-Brazilian and European traditions; acknowledging the contributions of Black musicians is crucial, particularly for rhythms like Lundu and Maxixe, which are foundational to the genre. Although Afro-Brazilian musicians have made significant contributions, their stories are often overlooked. Researcher Martha Abreu highlights this erasure of Black composers and musicians in Choro and explores how certain roles are assigned to African-descended musicians, who are marginalised and whose contributions remain undervalued, preventing recognition of their pivotal roles in shaping Brazilian culture. According to the author:
- 25 Martha Abreu, “Histórias musicais da primeira república”, ArtCultura, vol. 13, no 22, 2011, p. 71-8 (...)
In Brazil, popular music would be the place of encounters. That’s where its strength, its power comes from. This is a version, an interpretation that, in my view, makes some sense but is largely confused with an ideological production of the Brazilian nation. It hides, silences the presence of Black musicians and racism in the musical field. How is the production of racism manifested in the writing of popular music, in the writing of Brazilian music, because it seems that there is no racism. Music is the place where everyone meets. The party is an expression of that, and how wonderful, that’s how we are Brazilians. Without any questioning, simple. Samba is mixed. The samba played on the radio is basically by white sambistas. The instrumentalists could be Black. The hierarchy placed between Black and white musicians in the national pantheon is a problem because it does not recognise the talent of Black musicians. There is always a white musician who “saved” the Black musician, who found the Black musician, who valued the Black musician, and then brought them to recognition.25
40One of the primary objectives of the research process was to recover the Afro-Brazilian origins of Choro through extensive archival and documentary investigation. In this context, thorough research was conducted on late 19th—and early 20th—century newspapers and periodicals, which documented the association between the term "Choro" and the setting of Afro-Brazilian popular festivities in the outskirts of Rio de Janeiro during this period. Additionally, efforts were made to recover and elevate the contributions of women historically silenced throughout the history of Choro. This included a series of interviews with women who continue to play an active role in the development of the genre to this day.
- 26 Jeanne de Castro, Tia Amélia: O piano e a vida incrível da compositora, São Paulo, Tipografia Music (...)
- 27 Joanice Conceição e Núbia Moreira, “Dobras reveladas: protagonismo de mulheres feirantes seguidoras (...)
- 28 Angely Cruz, “Chiquinha Gonzaga, uma mulher à frente de seu tempo e a formação da música popular br (...)
- 29 Maria Teresa Madeira, Carolina Cardoso de Menezes, a pianeira, 133f, PhD Thesis in music, 2018.
41Both the recognition of Choro’s Afro-Brazilian tradition and the acknowledgment of women’s roles have been consistent themes not only in recent academic works but also in publications, festivals, and musical collectives. New publications, including trajectory studies and biographical research, highlight overlooked narratives in Choro, featuring figures like Tia Amélia,26 Tia Ciata,27 Chiquinha Gonzaga,28 and Carolina Cardozo de Menezes29, all of whom contributed significantly to Brazilian culture.
42Issues of gender and ethnicity in Choro are intertwined, reflecting broader social struggles within Brazilian society. The genre’s transformations are influenced by these dynamics, making it essential for diverse voices to be heard and valued during each change. Recently, new generations and Choro collectives have embraced increased feminine representation among instrumentalists, drawing a new audience to the roda. Pandeirista Roberta Valente, in her interview for the research made for IPHAN, comments on this recent expansion and diversification of both the audience and Choro instrumentalists in São Paulo.
- 30 Interview with Roberta Valente, Testimonies for the Registration Process of Choro as Intangible Cul (...)
When I started going out at night like this here in São Paulo, I began to see a movement that didn’t exist when I stopped playing. It was something that shocked me, including women instrumentalists. They started to appear in droves. How is that? What is this? What is happening? (...) I saw that the scenario I knew deeply had completely changed.30
43In both performance and research, there is a growing need to address and expand discussions around deconstructing social relations rooted in colonialism, slave exploitation, and patriarchy, beginning with the recognition of new stories and protagonists. The mapping presented to IPHAN as part of the registration process underscores this shift in traditional roda spaces.
- 31 Pedro Aragão, Lúcia Campos and Rafael Velloso, “As rodas e as redes de sociabilidade do Choro”, in (...)
In the sense of engagement and valuing identities, rodas have also emerged that seek to stimulate and recognise the participation of women in the practice of Choro, such as Roda das Minas, since 2016 in Curitiba; Abre a Roda, since 2017 in Belo Horizonte; and Chora—Mulheres na Roda, which has been taking place since 2018 in Rio de Janeiro.31
44Ethnic and gender issues, which intersect not only with the history of Choro but also with Brazil’s broader historical trajectory, are crucial topics in contemporary Brazilian public debate. These themes are also central to cultural policies and, consequently, to heritage policies. The heritage registration process, while constrained by the contingencies of the COVID-19 pandemic, simultaneously expanded its scope through the use of new technologies, fostering broader recognition and inclusion within the Choro community. This process provided a vital opportunity to reaffirm Choro as a space of cultural diversity, where the contributions of Afro-Brazilian traditions and the active participation of women were celebrated and solidified as central to its evolving legacy.
Concluding Remarks
45The patrimonialisation process of Choro as an intangible cultural heritage revealed not only its cultural importance but also its ability to mirror and engage with broader societal challenges, such as gender and ethnic inequities. Moreover, the use of digital technologies during the COVID-19 pandemic enabled new forms of participation and representation, creating a vast network of practitioners, researchers, and enthusiasts that extended across regional and social boundaries. These exchanges enriched the patrimonialisation process, reinforcing the understanding of Choro not only as a cultural heritage but also as a dynamic and transformative field of research and practice.
46This process was undoubtedly an opportunity to revisit Choro’s narratives through diverse voices, broadening the reach of each community and promoting intersections, encounters, connections, and openings. On one hand, it involved revisiting origin myths and silenced histories dating back to the 19th century, highlighting the fundamental contributions of Black individuals, including formerly enslaved people, in the construction of this musical culture. On the other hand, it brought to light and critically examined gender issues in Choro practice, such as the historical absence or silencing of female participation, with few exceptions, and the growing prominence of women in contemporary Choro culture.
47Beyond specific communities, the process created an extensive network of research, contacts, and discussions that transcends the idiosyncrasies of each territory. This network aims to democratise the structures of traditional practices while deepening and strengthening the understanding of Choro both as an “art world” and as a rich field of research.
48In addition, the survival of Choro worlds since the 19th century, despite the indifference of public policy, has strained and problematised institutionalised conceptions of intangible cultural heritage.The necessary emphasis on the process and the social conceptions of heritage, in this case, encountered a complex, diverse, and enduring “art world”, ranging from informal gatherings to organised associations and archives, including educational initiatives in various spheres. One remarkable solution to some of the challenges faced was the creation of a database that encompasses and makes all the research conducted publicly accessible, ensuring its continuity.
49Choro’s recognition as intangible cultural heritage in Brazil revealed fundamental tensions between its practitioners’ broad, multifaceted understanding of heritage and the institutionalised framework of IPHAN. Unlike previous registered musical traditions that relied solely on oral transmission, Choro has historically balanced written and oral traditions, with strong ties to the phonographic industry. One of the most significant points of friction was the issue of copyright. Since IPHAN had only dealt with oral traditions in which individual authorship was not a concern, it failed to anticipate the need for copyright payments when incorporating compositions into the required documentary. This highlighted a disconnect between institutionalised heritage policies and the realities of Choro’s long-documented history.
50Another tension arose from Choro’s pre-existing networks, which already encompassed rodas, archives, educational initiatives, and clubs. Unlike other traditional genres that required IPHAN’s intervention to create preservation and dissemination structures, Choro communities had already established these systems independently. This meant that the official recognition process had to shift from constructing new networks to mediating between Choro’s existing structures and the state’s legal safeguarding mechanisms. The research mapped out Choro rodas, archives, teaching activities, and clubs across Brazil, uncovering challenges such as the fluid nature of rodas and the difficulty of cataloging personal archives. While this extensive mapping reinforced the depth of Choro’s existing heritage structures, it also underscored the need for institutional support, especially regarding digitisation and preservation.
51The final and most contentious issue involved the public availability of the research data. While IPHAN’s registration process did not account for making the collected information accessible, the research team, guided by contemporary ethnomusicological perspectives, argued that an open database would provide a necessary return to the Choro community. This led to the creation of the Choro Heritage Database in partnership with the Federal University of Pelotas, making extensive data on archives, rodas, teaching activities, and clubs publicly available while also allowing for community contributions. This initiative expanded IPHAN’s framework but ultimately reinforced a collaborative and evolving approach to Choro’s heritage, challenging rigid institutional modalities.
52As researchers and Choro musicians, our engagement with Choro communities required a high degree of mediation with IPHAN, placing us in strategic positions to develop solutions for the existing tensions. While it is not uncommon for researchers to highlight and criticise the disconnect between public heritage policies and the local experiences of communities, we held this prerogative not only as researchers but also as musicians and active members of these very communities. This unique and challenging position allowed us to anticipate suitable approaches to community demands and transform tensions into innovative solutions in heritage making.
53After completing the registration and recognition of Choro as cultural heritage, we now face the challenge of ensuring the maintenance and expansion of our network of collaborators and research groups, focusing on representation and diversity. In this new phase, with Choro communities recognised by the State as cultural heritage holders, sustaining broader mobilisation is crucial for developing a diverse and representative safeguarding plan.
54The mobilisation context, expanded by virtual interaction during the pandemic, has changed significantly, causing the research team to fragment while seeking new interests after completing the research. In addition to maintaining the registration database and implementing the safeguarding plan, promoting Choro’s recognition in international contexts is essential, highlighting its diverse presence as a heritage that encompasses the practices and musical cultures of many communities across various continents.
Notes
1 José Ramos Tinhorão, História Social da Música Popular Brasileira, São Paulo, Ed. 34, 1998. Ary Vasconcelos, Panorama da música popular brasileira, São Paulo, Livraria Martins, 1964.
2 The roda (“circle”) is the native term used to describe the musical gathering of Choro musicians (chorões), typically bringing together the traditional instruments of the genre—guitars, cavaquinhos, pandeiros, flutes, clarinets, and mandolins—in popular settings such as bars and public squares.
3 The registration process began in 2015, following the analysis and issuance of a technical note regarding the proposal submitted in 2012 by the Clube do Choro de Brasília, which was supported by a petition signed by various musicians from across the country. The note highlighted the national significance of Choro and included support from important institutions, such as the Casa do Choro in Rio de Janeiro, the Conservatory of Music in Recife, the Clube do Choro in Santos, and the Escola de Choro in Porto Alegre, which were later added to the process. After reviewing the technical note, the Advisory Council of IPHAN approved the initiation of the administrative process for registration in 2015. In 2019, a public call for technical instruction was published, in which the proposal from the Cultural Association of Friends of the Edison Carneiro Museum of Folklore was approved, starting the research in March 2020. On February 29, 2024, after three years of research, a favorable opinion was approved for Choro to be registered as a national expression at the 103rd ordinary meeting of the Advisory Council on Cultural Heritage.
4 Regina Abreu, “Patrimonialização das diferenças e os novos sujeitos de direito coletivo no Brasil”, in Cécile Tardy and Vera Dodebel (dir.), Memória e Novos Patrimônios, Marseille, OpenEdition Press, 2015, p. 67-93.
5 Elaine Monteiro and Martha Abreu, “Patrimônio Imaterial e afirmação negra: a política dos encontros para uma educação antirracista”, Cadernos Naui, vol. 9, no 17, 2020, p. 60-88.
6 The IPHAN’s registration book for “Forms of Expression” can be accessed on this page: https://bcr.iphan.gov.br/livros-de-registro/livro-das-formas-de-expressao.
7 Carlos Sandroni, “Samba de roda, patrimônio imaterial da humanidade”, Estudos Avançados, vol. 24, no 69, 2010, p. 373-388. Carlos Sandroni, “L’ethnomusicologue en médiateur du processus patrimonial. Le cas de la samba de roda”, in Chiara Bortolotto, Le patrimoine culturel immatériel. Enjeux d’une nouvelle catégorie, Paris, Éditions de la Maison des sciences de l’homme, 2011, p. 233-252.
8 Lúcia Campos, « Le fleuve qui fait résonner le son du tambour : musique et patrimonialisation dans la folia de reis au Minas Gerais (Brésil) », Transposition, vol. 10, 2019, p. 1-14.
9 Howard Becker, Les mondes de l’art, Paris, Flammarion, 1998.
10 The Casa do Choro Institute, founded in 1999, is a nonprofit organisation dedicated to music education and the preservation of popular carioca music, especially Choro. Since 2000, it has offered the Portable Music School, which, has already trained over 20,000 students with more than 40 teachers. The EPM was recognised in 2011 with a cultural award. In 2015, the Casa do Choro opened a space in Rio de Janeiro, providing classrooms, a studio, and a collection of over 20,000 scores. Since then, more than 2,500 musicians have performed in the auditorium, and the advisory council includes renowned figures from Brazilian music. Online: https://www.casadochoro.com.br/.
11 Interview with Luciana Rabello, Testimonies for the Registration Process of Choro as Intangible Cultural Heritage by Iphan (via Zoom Platform), Rio de Janeiro, 03/19/2021.
12 José Reginaldo Gonçalves, “O patrimônio como categoria de pensamento”, in Regina Abreu and Mario Chagas (dir.), Memória e patrimônio: ensaios contemporâneos, Rio de Janeiro, DP&A, 2003, p. 21-29. José Reginaldo Gonçalves, “Ressonância, materialidade e subjetividade: as culturas como patrimônios”, Horizontes Antropológicos, vol. 11, no 23, 2005, p. 15-36.
13 Elizabeth Travassos, “Poder e valor das listas nas políticas de patrimônio e na música popular”, in Projeto Unimúsica – Festa e Folguedo, Porto Alegre, 2006, p. 8. Online: https://politicadeacervos.wordpress.com/wp-content/uploads/2012/04/elizabeth-travassos-pode-e-valor-das-listas.pdf.
14 Chiara Bortolotto, “Le trouble du patrimoine culturel immatériel”, in Id. Le patrimoine culturel immatériel, op. cit., p. 21-42.
15 Elizabeth Travassos, “Poder e valor das listas nas políticas de patrimônio e na música popular”, art. cit.
16 Bruno Latour, Enquête sur les modes d’existence : une anthropologie des modernes, Paris, La Découverte, 2012.
17 Jacob do Bandolim, born Jacob Pick Bittencourt on February 14, 1918, in São Paulo and passed away on August 13, 1969, was a renowned bandolinist and Brazilian composer, considered one of the greatest interpreters of Choro. Waldir Azevedo was a prominent cavaquinho player, composer, and arranger, born on January 27, 1923, in São Gonçalo, Rio de Janeiro, and passed away on September 20, 1980. He is widely recognised as one of the greatest names in Choro and one of the main figures responsible for the popularisation of the cavaquinho, a string instrument typical of Brazilian music. Altamiro Carrilho was a renowned flutist, composer, and arranger, born on December 21, 1924, in São Paulo, and passed away on August 15, 2012. Considered one of the greatest exponents of the flute in Brazilian popular music, Carrilho stood out in the Choro genre, significantly contributing to its popularisation.
18 Interview with Antônio Carrasqueira, Testimonies for the Registration Process of Choro as Intangible Cultural Heritage by Iphan (via Zoom Platform), São Paulo, 04/08/2021.
19 Caroline Landau and Janet Fargion, “We’re all Archivists Now: Towards a More Equitable Ethnomusicology”, Ethnomusicology Forum, vol. 21, no 2, 2012, p. 125-140. Online: https://www.jstor.org/stable/23271869.
20 Base de Dados Choro Patrimônio: https://acervosvirtuais.ufpel.edu.br/choropatrimonio/.
21 The Clube do Choro de Brasília was founded on September 9, 1977, by musicians who gathered at the home of flutist Odete Ernest Dias, with Avena de Castro elected as the first president. The group included prominent musicians such as Pernambuco do Pandeiro, Bide, Tio João, and Arnoldo Veloso. Since 1993, the club has focused on revitalising Choro by organising events, attracting sponsors, and forming partnerships with educational institutions like the Escola de Choro Raphael Rabello. Today, it has established itself as a cultural reference, promoting shows and musical training for a significant audience both in Brazil and abroad. https://clubedochoro.com.br/.
22 Patrick Biernacki and Dan Waldorf, “Snowball Sampling: A pilot Study or a New Methodology?”, Social Science Research, vol. 10, no 2, 1981, p. 141-153.
23 Lúcia Campos, Pedro Aragão and Rafael Velloso, “Mas o Choro já não é patrimônio? Ressonâncias e desafios do processo de patrimonialização do Choro”, Revista Laborhistórico, vol. 8, 2022, p. 21.
24 Interview with Luciana Rabello, Testimonies for the Registration Process of Choro as Intangible Cultural Heritage by Iphan (via Zoom Platform), Rio de Janeiro, 03/19/2021.
25 Martha Abreu, “Histórias musicais da primeira república”, ArtCultura, vol. 13, no 22, 2011, p. 71-83.
26 Jeanne de Castro, Tia Amélia: O piano e a vida incrível da compositora, São Paulo, Tipografia Musical, 2024.
27 Joanice Conceição e Núbia Moreira, “Dobras reveladas: protagonismo de mulheres feirantes seguidoras de Tia Ciata”, Mosaico Magazine - History Journal, vol. 16, no 1, 2023, p. 30-42.
28 Angely Cruz, “Chiquinha Gonzaga, uma mulher à frente de seu tempo e a formação da música popular brasileira”, Ibero-American Journal of Humanities, Sciences and Education, vol. 8, no 5, 2024, p. 319-338.
29 Maria Teresa Madeira, Carolina Cardoso de Menezes, a pianeira, 133f, PhD Thesis in music, 2018.
30 Interview with Roberta Valente, Testimonies for the Registration Process of Choro as Intangible Cultural Heritage by Iphan (via Zoom Platform), São Paulo, 06/10/2021.
31 Pedro Aragão, Lúcia Campos and Rafael Velloso, “As rodas e as redes de sociabilidade do Choro”, in Choro, IPHAN, 2024, p. 103.
Haut de pagePour citer cet article
Référence papier
Lúcia Campos, Rafael Velloso et Pedro Aragão, « Heritage Recognition in the Choro Communities: From the Rodas Encounter to Network Mobilisation », Sociétés & représentations, 60 | -0001, 137-155.
Référence électronique
Lúcia Campos, Rafael Velloso et Pedro Aragão, « Heritage Recognition in the Choro Communities: From the Rodas Encounter to Network Mobilisation », Sociétés & représentations [En ligne], 60 | 2025, mis en ligne le 17 décembre 2025, consulté le 13 février 2026. URL : http://journals.openedition.org/socrep/1273 ; DOI : https://doi.org/10.4000/15dhc
Haut de pageDroits d’auteur
Le texte seul est utilisable sous licence CC BY-NC-ND 4.0. Les autres éléments (illustrations, fichiers annexes importés) sont susceptibles d’être soumis à des autorisations d’usage spécifiques.
Haut de page


