• Batuque
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PhD Student
Departamento de Comunicação e Arte | Universidade de Aveiro
Campus Universitário de Santiago
3810-193 Aveiro
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Tel: (+351) 234 370 389 (ext. 23700)



Born in Mendoza, Argentina, in addition to being a researcher, he works as bass player, cellist, arranger, conductor and teacher. Master in Ethnomusicology from the Federal University of Paraiba, Specialist in Music Education and Cello Technician from the Federal University of Rio Grande do Norte -both in Brazil- and a Bachelor’s Degree in Music from the Universidad Nacional de Cuyo -Argentina-. He has experience as a musician in several symphony orchestras and music groups in various genres; and as a teacher in social projects, which include: his work in the National Program for Children and Youth Orchestras of Argentina, where he was a founding member of the first orchestra of these characteristics in the province of Mendoza; founding member and conductor of the first orchestra of the PRIMA Project, in Paraíba; and coordinating a project through Davis Projects for Peace in the United States. His area of expertise as a researcher ranges from performative ethnomusicological research, interpretation and performance, to music education; with a focus on Latin American music, and music on transit along the Atlantic corridor, in its various forms of transmission and exchange of knowledge, whether oral or written. He currently plays and coordinated the group ‘Xumbrego de Rabeca’, and is developing a PhD research on the Brazilian Rabeca -a brazilian fiddle- at the University of Aveiro -Portugal-.

Doctoral Project
Decolonial Rabeca: diversities, agency and community of practices of an instrument at Casa da Rabeca

This proposal describes a study on different views, social relations, agency and meeting of knowledge from the community of practices of the rabeca from the context of the Casa da Rabeca, located in Pernambuco, Brazil. The fiddle, a fretted string musical instrument that arrives in this country in times of colonization from Portugal, passing through the archipelagos of Madeira, Azores and Cape Verde (SETTI, 1985) came to consolidate a new history in the last few decades and charting a decolonial course. This is reflected in the multiple and diverse practices, functions and spaces that the fiddle as a musical instrument can achieve, which determines a community of practice. Therefore, I intend to study the fiddle through an organology vivid (HOOSHMANDRAD, 2004), through the concepts of subaltern voice (CARVALHO,2001), agency (BATES, 2012) and communities of practice (WENGER, 2010).