@article {Snyder106, author = {Andrew Snyder}, title = {From Nationalist Rescue to Internationalist Cannibalism}, volume = {56}, number = {1}, pages = {106--129}, year = {2019}, doi = {10.3368/lbr.56.1.106}, publisher = {University of Wisconsin Press}, abstract = {In Rio de Janeiro, the emergent street carnival revival of the past twenty years has come to rival in importance the city{\textquoteright}s {\textquotedblleft}traditional{\textquotedblright} carnival of the samba school parades. This article explores the diverse repertoire choices of Rio{\textquoteright}s alternative brass band movement, which originated in the street carnival revival. I show how the movement, drawing on what I call the alternative carnivalesque, has transformed from a dominant preoccupation with cultural nationalism to embracing a belief that carnival should be a spontaneous space {\textquotedblleft}to play anything,{\textquotedblright} including a wide diversity of international genres. I explore how musicians have drawn on Brazilian tropes and ideologies from the past century regarding international engagements, such as {\textquotedblleft}rescue{\textquotedblright} and {\textquotedblleft}cannibalism.{\textquotedblright} With this example, I argue for local and historicized theorizing of musical circulation rather than relying on generic theories that miss what is important to musicians in their local context.No Rio de Janeiro, o {\textquotedblleft}carnaval de rua,{\textquotedblright} uma manifesta{\c c}{\~a}o popular que emergiu nos {\'u}ltimos vinte anos, alcan{\c c}ou um patamar de igualdade em import{\^a}ncia com o carnaval {\textquotedblleft}tradicional{\textquotedblright} das escolas de samba. Este artigo explora as diversas escolhas de repert{\'o}rio dos movimentos alternativos das fanfarras carnavalescas do Rio. O artigo demonstra como os ideais subjacentes a este movimento, baseado no {\textquotedblleft}carnavalesco alternativo,{\textquotedblright} transformaram-se de uma preocupa{\c c}{\~a}o predominante com o nacionalismo cultural para uma cren{\c c}a de que o carnaval deveria ser um espa{\c c}o espont{\^a}neo para {\textquotedblleft}tocar qualquer coisa,{\textquotedblright} abrangendo uma grande diversidade de g{\^e}neros musicais internacionais. O artigo explora como os m{\'u}sicos se basearam em tropos e ideologias brasileiras do s{\'e}culo passado, como o {\textquotedblleft}resgate{\textquotedblright} e o {\textquotedblleft}canibalismo.{\textquotedblright} Defendo a teoriza{\c c}{\~a}o local e historicizada da circula{\c c}{\~a}o musical ao inv{\'e}s de confiar em teorias gen{\'e}ricas que n{\~a}o levam em considera{\c c}{\~a}o o que {\'e} verdadeiramente importante para os m{\'u}sicos em seu contexto local.}, issn = {0024-7413}, URL = {https://lbr.uwpress.org/content/56/1/106}, eprint = {https://lbr.uwpress.org/content/56/1/106.full.pdf}, journal = {Luso-Brazilian Review} }