Nos trotes dos cavalos: espaços e tempos das cavalgadas, cavalhadas, vaquejadas e pegas de boi – SE

Abstract

Throughout the Sergipe territory, the maintenance of several cultural manifestations with riding animals occurs in line with the different forms of appropriation, even due to the persistent satisfaction and symbolic meaning given by the participants and, in part, to the growing interest of the private sector and of municipal and state management. In this context, the object of the thesis is the phenomenon in movement through the different forms of appropriation of these cultural manifestations that result in their resignifications translated by (re)inventions, coexistences and overlaps. And it aims to analyze the appropriations and re-significations of the manifestations with riding animals, namely: cavalgada, cavalhada, vaquejda and pega de boi in Sergipe, and specifically: (i) understand the timeline and the meanings of these manifestations; (ii) apprehend the representations and relationships undertaken for their permanence in the state; (iii) investigate the cultural, political and economic relevance of these expressions of culture; (iv) ascertain the different meanings attributed by the representations to these manifestations and (v) discuss the perspectives of the studied manifestations. To this end, a dialogue was established with authors to understand the meanings of appropriations in the dynamics of cultural production: appropriation as a feeling of ownership and belonging, of recognizing something as yours and of recognizing yourself as belonging to something; appropriation inserted in the power game as material property or in the context of the politicalideological manipulation of memory Qualitative research was taken as a path that suggests an integrated analysis of the phenomenon in the context in which it occurs and of which it is part, for this the investigation seeks to 'capture' the forms of appropriation of the manifestations studied through a phenomenological approach, with an ethnogeographic route articulated to the thought of rhizomatic multiplicities. The procedures and instruments adopted were bibliographical and documentary research, observation, field diary, survey and record photographic, questionnaires, interviews and treatment of information through discourse analysis. In this way, the forms of appropriation are identified as determinants for the multiplicity of the process of resignification, invention, reinvention, overlapping and coexistence of cultural manifestations that reveal themselves between essence and appearance in territories and landscapes.