Decolonial considerations on the systemic oppression of dissidente bodies in the musico of Fortaleza’s Belle Époque

Abstract

This article aims to discuss the systemic oppression of dissident bodies through the dissemination of the idea of popular culture propagated in the music of the Belle Époque of Fortaleza. We believe that this practice is configured as a form of silencing of the most sophisticated coloniality of power, which goes through the process of judgment and attempted tutelage of the other to deprive him of his own locus of enunciation and epistemic authority for the elaboration of his own historical experiences. We used as references the songs that were recorded in scores and 78 rpm records from the collections of Miguel Ângelo de Azevedo and the Banda de Música da Polícia Militar do Ceará; correspondence, music books, collections of chronicles and periodicals. We understand, first of all, the Belle Époque as a discourse that operates within the logic of coloniality, imposing a pattern of domination developed by modernity that, in turn, affects the reality of bodies placed in dissent in relation to power structures. In this sense, we reflect on these issues based on decolonial thinking. We believe that this type of analysis works as a provocation that intends and enriches our agenda of problems of History Theory and History of Historiography.