Lucas Wink is a PhD candidate in Ethnomusicology at the University of Aveiro, where he conducts a research funded by the Portuguese Science and Technology Foundation (FCT). He is a researcher of the “EcoMusic - Sustainable practices: a study of the pos-folklorism in Portugal in the 21st century” project. Graduated in Music from the University of Aveiro (2017, Portugal, Musicology area) and earned a Bachelor degree in Music from the Faculdade Cantareira (2012, Brazil). In 2017 he attended the Master of Music Education program at the University of Aveiro. He has published and presented papers in Spain, Portugal, Brazil and England. In 2008 he received the award for “Best Instrumentalist” at the Music Festival of the University of Santa Cruz do Sul (Brazil). In 2015, he received the “Prémio nas Nuvens” at the congress of the same name organized by the Graduate Program in Arts of the Minas Gerais State University (Brazil) and the Graduate Program in Music of the Federal University of Minas Gerais (Brazil).
He also develops intense performative activity as a drummer. He is currently a member of the Bamba Social Orchestra and plays the drums for the Portuguese singer and composer Tiago Nacarato. In both Portugal and Brazil, he has performed alongside artists such as Rosa Passos, Marcelo D2, Miguel Araujo, Tatanka, Janeiro, Os Quatro e Meia, António Zambujo, Salvador Sobral, Joyce Candido, Gilson Peranzzetta and Os Cariocas.
“Este som que se sente cá dentro!”: conexão, subjetividade e memória social na prática dos bombos.
This is a research supported by the theoretical framework of Ethnomusicology, Anthropology and Sound Studies and which takes as universe of observation, participation and analysis the context of bombos, a social practice repeatedly cultivated in different localities of Portugal. The study focuses mainly on ethnographic fieldwork carried out with two groups: (i) Grupo de Bombos Regional de São Simão Os Completos; (ii) Grupo de Bombos da Casa do Povo do Paul.In both localities, bombos have been marking events and memories for about 80 years, justifying the maintenance of artisanal builders, the intergenerational transmission of knowledge associated with this practice and the regular gathering of groups for rehearsals and performances.
Considering (i) the significant presence of bombos in Portugal and the scarcity of systematic studies; (ii) the set of derogatory judgments around percussion and, in particular, the bombos and their practice; (iii) the possibility of the delineation of new narratives brought by the transdisciplinary area of Sound Studies regarding, for example, the poetics and politics of social relations, the intersubjectivity and the expressive human behaviors, challenges are posed in the studies of musical practices and musical instruments in Portugal. In this sense, paying attention to the contexts mentioned above, this project aims to contribute to the reflection, discussion and development of approaches focused on the study of sound within the scope of Portuguese popular musical practices and instruments. This research has the following specific objectives: i) understand the values, meanings and processes of participation in the practice of bombos in the contexts under observation; (ii) identify the relations established between means of production and performative results; (iii) understand the articulation between music, sound and space in the performance of bombos.