Objetificação da música chope no quadro da “Primeira Exposição Colonial Portuguesa”- Porto, 1934

Abstract

he cultural objectifiation process is selective, as it implies the recontextualization of certain cultural objects in a diffrent context than the one that generated them, attributing them new signifiance and meanings (Handler, 1984, p. 62). During the First Portuguese Colonial Exhibition (Porto, 1934), this attitude was related to the discourse of invention of the “other”, where the relations between societies are governed by certain hierarchies. Mudimbe (2013, pp. 15-16) designates them as settlers, those who establish a region and dictate the rules; the colonizers, those who explore a territory under the control of the local majority, with a tendency to organize and transform non-European zones into fundamentally European constructions. At the end of this hierarchy, I would add the colonized, that is, those who obey. In the context of the colonial exhibition in Porto (1934), the Chopi music was recontextualized, and new meanings and signifiance were attributed, becoming a symbol of Portuguese national identity. Therefore, the Chopi music during the colonial exhibition of Porto was transformed into practices of surrender and submission of Mozambican communities, and its meanings and signifiance were reduced Revista Lusófona de Estudos Culturais / Lusophone Journal of Cultural Studies, vol. 7, n. 2, 2020, pp. 73-91 https://doi.org/10.21814/rlec.2628 Revista Lusófona de Estudos Culturais / Lusophone