A Arte da Cantoria
Otacílio Batista & Oliveira de Panelas
1984
Why This Album Matters
A Arte da Cantoria, volume 2: Regras da Cantoria, by Otacílio Batista and Oliveira de Panelas, is a sound document of utmost importance for the understanding and preservation of the tradition of repente and Northeastern cantoria. Released in 1984 by Funarte, this album is not just a musical recording, but an ethnographic and didactic record of the complex poetic and melodic structures that govern this cultural manifestation. It presents itself as a practical lesson, where the viola masters expertly demonstrate the various modalities of improvisation. The album's musical style is the quintessence of cantoria, a genre that combines oral poetry, improvisation, and viola accompaniment, characteristic of the Brazilian Northeast's interior. The work stands out for its authenticity and for focusing on the "rules" of the craft, serving as a fundamental reference for scholars, repentistas, and lovers of popular culture. It is a testament to the richness and vitality of improvised poetry, a pillar of Brazilian cultural identity. The collaboration between Otacílio Batista and Oliveira de Panelas, two revered names in the cantoria universe, lends inestimable artistic and cultural weight to the work. The interaction between the voices and violas of the cantadores offers an immersive experience in the art of repente, revealing the mental agility, mastery of metre and rhyme, and thematic depth that make cantoria a unique and captivating art form.
Context
Otacílio Batista Patriota, born in São José do Egito, Pernambuco, in 1923, was a repentista and popular poet with a long and influential career. His initiation into cantoria occurred in 1940, and he quickly distinguished himself, participating in important performances, such as at the Teatro Santa Isabel in 1946. In addition to being a cantador, Otacílio also became known as a researcher of traditional music, co-authoring the "Antologia Ilustrada dos Cantadores", a reference work. Oliveira Francisco de Melo, known as Oliveira de Panelas, was born in Panelas, Pernambuco, in 1946. Son of a farmer and bricklayer, he dedicated himself to cantoria, developing an exceptional mastery of versification. Before this album, Oliveira de Panelas had already won several first prizes in viola player competitions and participated in caravans and film soundtracks, establishing himself as one of the most active viola players in the country. The recording of this album, therefore, united two exponents of cantoria, each with a rich background of experience and recognition in the art of improvisation.
Recording
The album A Arte da Cantoria, Vol. 2 - Regras da Cantoria was recorded on 29 May 1979, at the Rádio MEC studios, in Rio de Janeiro. The production, research, and authorship of the liner notes were undertaken by Aloysio de Alencar Pinto, a central figure in the appreciation and documentation of Brazilian folklore. The sound engineering was carried out by Mario Lucio Da Costa. The collaboration of Sebastião Nunes Batista is also highlighted in the recording process. The assembly of the material was subsequently carried out at Funarte's studios on 3 November 1983, with sound operation by Jorge Haouila and musical direction by Aloysio de Alencar Pinto. This interval between recording and assembly reflects the care and dedication in refining the record, ensuring fidelity and technical quality for a work that aimed to be a guide to the "rules of cantoria".
Songs
The album is a didactic exploration of the poetic and melodic forms of Northeastern cantoria, with each track dedicated to a specific "rule" of improvisation. The repertoire includes "Sextilhas (Início De Cantoria)", "Gemedeira", "Mourão-De-Sete-Pés (Trocado)", "Mourão-De-Você-Cai (Dez-Pés-Lá-Vai)", "Oito-Pés-A-Quadrão", "Dez-Pés-A-Quadrão", "Martelo-Alagoano" and "Galope-À-Beira-Mar". These modalities represent the essence of the versatility and technical knowledge required of repentistas, who must master not only rhyme and metre, but also the nuances of each structure. The lyrics, improvised in the heat of the moment, address daily themes, reflections on life in the sertão, and even existential questions, as exemplified in "Gemedeira", where one of the cantadores describes the pains and laments of man in various situations. The interaction between Otacílio Batista and Oliveira de Panelas is a highlight, with exchanges of verses demonstrating the sagacity, good humour, and poetic depth of both. The Northeastern violas, with full rule and five double strings, accompany the voices, creating the authentic atmosphere of the cantoria.
Legacy
A Arte da Cantoria, Vol. 2 - Regras da Cantoria established itself as an essential record of Northeastern cantoria. Its re-release on CD, alongside the original LP format, attests to the lasting interest in its content and the importance of its preservation for new generations. Although there is no extensive data on specific sales or awards for this album, its nature as a Funarte document, dedicated to folklore, positions it as a work of inestimable value to Brazilian culture. The album continues to be a reference for those seeking to understand the techniques and depth of improvised poetry. The presence of Otacílio Batista and Oliveira de Panelas, cantadores whose careers are intertwined with the very history of repente in Brazil, ensures the record a prominent place in the popular music catalogue. The work serves as inspiration and study material for repentistas and researchers, contributing to the perpetuation of one of the country's richest and most authentic cultural manifestations.
Rankings
Tracks
Credits
Aloysio de Alencar Pinto
Oliveira De Panelas, Otacílio Batista
Mario Lucio Da Costa
Ciro Fernandes
Books
Analyses
Discogs
A Arte da Cantoria – Discogs
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