Abstract
Known as repente music, the viola singing is a traditional activity in the Brazilian Northeast and has as its main characteristics: being an oral artistic production, made improvisationally, under a set of rules regarding form (metric and rhyme), performed by a pair of singers/repentistas. Based on qualitative research, this chapter aims to discuss the subjective and dialogical dimensions of the emergence of the novelty in the poetic dialogue among the singer, his partner and the audience, from the perspective of the first element. As a theoretical anchorage of the creative process, we take the cultural-historical perspective, which privileges the notions of co-creation and distributed creativity (Glăveanu, 2014; Neves-Pereira, 2018; Pinheiro, 2018). The study has as ontological-epistemological reference the Bakhtinian dialogism, based on the notions of axiological position of the author-creator and the alteritarian character of the aesthetic experience, understood as a particular form of impact of the subject by the world (Pinheiro, 2018).
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Notes
- 1.
According to Tavares (2016), the mote corresponds to a number of ready-made lines, provided by another person and which serve as an obligatory reference of theme for the construction of the stanzas, forming their last verses.
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da Silva, N.A., Pinheiro, M.A. (2023). The Birth of Metaphors in the Northeastern Repente Music: A Proposal for Dialogical Analysis in the Study of Creative Processes. In: Neves-Pereira, M.S., Pinheiro, M.A. (eds) A Dialogical Approach to Creativity. Palgrave Studies in Creativity and Culture. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-11760-2_5
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