Giving Blood for Music – Isaac Santana Andrade’s review of “Bloody Fee: An Ethnography of Musical Labor in Aracaju”, by João Luís Meneses
João Luís Meneses | Imagem: Author’s collection
Abstract: Cachê Sangrento: uma etnografia do trabalho musical em Aracaju by João Luís Meneses, published in 2022, examines the musical profession in Aracaju, particularly in bars and private parties. Meneses criticizes the inadequate representation of musicians by public institutions and advocates for better working conditions.
Keywords: ethnomusicology, musical work, and working conditions.
Bloody Fee: An Ethnography of Musical Work in Aracaju,” written by João Luís Meneses and published by Criação Editora in 2022, examines the professional music scene in Aracaju and the challenges it faces. Derived from Meneses’ master’s thesis, the book is an ethnographic account in which he demonstrates his deep familiarity with the subject through engaging discussions with musician friends and additional research in ethnomusicology. Meneses aims to explore the dynamics of musical work in two main venues: bars and private parties in the capital of Sergipe. His advisor, José Alberto Salgado Filho, professor at the UFRJ School of Music, emphasizes the originality of the work in the preface, noting Meneses’ direct experience with the challenges of the profession and his connection to a network of musicians, co-producers, contractors, and audiences. He also emphasizes the importance of approaching sensitive labor issues with seriousness, respect, and appreciation.
The collection of in-person and virtual interviews transcribed in the book enriches the text with a rich local vocabulary that facilitates an understanding of “soundscapes” of value and meaning. Through intensive study and dialogue with this specific reality, we gain a broad understanding of the relationship between musicians and their work that transcends the specific case at hand. Meneses sought to answer key questions about how work is organized in these settings and how musicians contribute to the conventions of this productive world.
João Luís Meneses, a musician and scholar, received his bachelor’s degree in music from UFS and his master’s degree in musicology from UFRJ. He is currently a Ph.D. candidate in Musicology at USP and in Ethnomusicology at UNIRIO. His book, supported by the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior – Brazil (CAPES), is divided into an introduction, four chapters, and concluding remarks.
In the introduction, Meneses situates the reader geographically, presenting the physical and ethnographic characteristics of the place within an epistemological framework. He critiques the ineffective and absent interventions of public oversight bodies that are supposed to represent musicians and other artists, and which, he argues, fail to fulfill their roles. The text introduces concepts such as “art worlds” and analytical categories that facilitate the understanding of relationships within music and the psychodynamics of work. The second chapter focuses on the individuals interviewed for the book and their musical groups, defining the scope of the discussion. In the third chapter, “The Burden of Clientelism,” Meneses describes the socio-political context in which musical work in bars and private parties takes place, illustrating the conventions that govern the work of musicians in Aracaju. A notable point is the rule “If you’re not in the scheme, you don’t get in” (p. 98), which highlights the structured nature of musical work at public events. The fourth chapter discusses how interactions between musicians and non-musicians affect working conditions, including disputes over space and artistic advancement, issues of remuneration, repertoire, the lifestyles of the agents involved, and their physical and psychological conditions. In the fifth chapter, the author addresses the subjective aspects of the profession, such as “the joy of making music and the agony of playing. How do musicians deal subjectively with their work? Between the pain of work and the joy of creation.
With a close connection to the subject, Meneses shares many personal experiences common to musicians in Aracaju who work in bars, restaurants and private parties. He dialogues with a group of 14 musicians from his social and professional environment. The central questions posed in the book’s introduction are indeed addressed, and it becomes clear that not only do musicians contribute to the conventions of work in the region, but that external factors beyond musical performance also play a role in the functioning or malfunctioning of this productive chain, such as state interference, business interests, and consumer judgments that define an artist’s social prestige and thus the value of their fee.
Despite his proximity to the reality described, Meneses writes from a privileged perspective, as he notes, “we are mostly white, heterosexual, educated men” (p. 198), a perspective not fully representative of all musical practices among informal workers in Aracaju or the wider Sergipe region.
As a musician from rural Sergipe who has experienced the informal music scene, performing in public and private shows throughout the state with bands in genres such as forró, arrocha, axé and pagode from 2008 to 2013, I can attest that the reality can be even harsher in rural and peripheral areas of the state. Examples include the risk of accidents with band buses, stages that are truck beds, widespread fights that have resulted in deaths, threats to musicians to continue playing, moral and sexual harassment, robbery on the way home, and the lack of lodging for musicians from other cities after late-night shows.
Meneses makes it clear that this book does not aim to fully address the complexity of musicians’ professions in Aracaju, leaving room for extensive future research. He presents “unconsidered epistemological perspectives that represent possibilities for future investigation” (p. 14) and acknowledges some research shortcomings due to feasibility or oversights in defining the scope of the study, such as the absence of gender and race issues (p. 225).
The textual structure of the book balances formal academic writing with colloquial dialogue, enhancing the originality of the speakers’ expressions. However, Meneses frequently uses the term “attempt” to begin explanations of chapters or sections, which could be perceived as a lack of confidence in his writing. Replacing it with “attempt” might be more assertive and more in line with the content unfolding in the chapters. In addition, the use of foreign terms in italics may be familiar to the author but not to the reader, suggesting the need for footnotes explaining these less common terms. Finally, the captions for Figures 29 and 30 (pp. 181-182) are misplaced.
Overall, the book is engaging and accessible, initially presenting a formal academic structure derived from his master’s thesis research, enriched by dialogues in everyday language that lend authenticity to the interactions. It is also commendable that Meneses and his interviewees confront the commercial music system in their professional environment and take risks in their future careers following these revelations (see p.122). The book achieves its stated goals, making it a recommended read for street musicians, performers, and music industry workers, whether or not they have experienced the issues discussed, for a thoughtful analysis of awareness and representation with a critical eye on public policies aimed at informal artists.
Summary of Cachê Sangrento: uma etnografia do trabalho musical em Aracaju
Prefácio
Introdução
1. Ser músico: essência ou vaidade
2. O fardo do clientelismo
3. “Cachê sangrento”: as convenções do trabalho
4. Entre o prazer e o sofrimento: a subjetividade em questão
MENESES, João Luís. Cachê Sangrento: uma etnografia do trabalho musical em Aracaju. Aracaju: Criação, 2022. 235p. Review of: ANDRADE, Isaac Santana. Giving Blood for Music. Crítica Historiográfica. Natal, v.4, n.17, May/Jun, 2024. Available in <Dar o Sangue pela Música – Isaac Santana Andrade’s review of “Bloody Fee: An Ethnography of Musical Labor in Aracaju”, by João Luís Meneses – Crítica Historiografica (criticahistoriografica.com.br)>.
Giving Blood for Music – Isaac Santana Andrade’s review of “Bloody Fee: An Ethnography of Musical Labor in Aracaju”, by João Luís Meneses
01 June 2024
João Luís Meneses | Imagem: Author’s collection
Abstract: Cachê Sangrento: uma etnografia do trabalho musical em Aracaju by João Luís Meneses, published in 2022, examines the musical profession in Aracaju, particularly in bars and private parties. Meneses criticizes the inadequate representation of musicians by public institutions and advocates for better working conditions.
Keywords: ethnomusicology, musical work, and working conditions.
Bloody Fee: An Ethnography of Musical Work in Aracaju,” written by João Luís Meneses and published by Criação Editora in 2022, examines the professional music scene in Aracaju and the challenges it faces. Derived from Meneses’ master’s thesis, the book is an ethnographic account in which he demonstrates his deep familiarity with the subject through engaging discussions with musician friends and additional research in ethnomusicology. Meneses aims to explore the dynamics of musical work in two main venues: bars and private parties in the capital of Sergipe. His advisor, José Alberto Salgado Filho, professor at the UFRJ School of Music, emphasizes the originality of the work in the preface, noting Meneses’ direct experience with the challenges of the profession and his connection to a network of musicians, co-producers, contractors, and audiences. He also emphasizes the importance of approaching sensitive labor issues with seriousness, respect, and appreciation.
The collection of in-person and virtual interviews transcribed in the book enriches the text with a rich local vocabulary that facilitates an understanding of “soundscapes” of value and meaning. Through intensive study and dialogue with this specific reality, we gain a broad understanding of the relationship between musicians and their work that transcends the specific case at hand. Meneses sought to answer key questions about how work is organized in these settings and how musicians contribute to the conventions of this productive world.
João Luís Meneses, a musician and scholar, received his bachelor’s degree in music from UFS and his master’s degree in musicology from UFRJ. He is currently a Ph.D. candidate in Musicology at USP and in Ethnomusicology at UNIRIO. His book, supported by the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior – Brazil (CAPES), is divided into an introduction, four chapters, and concluding remarks.
In the introduction, Meneses situates the reader geographically, presenting the physical and ethnographic characteristics of the place within an epistemological framework. He critiques the ineffective and absent interventions of public oversight bodies that are supposed to represent musicians and other artists, and which, he argues, fail to fulfill their roles. The text introduces concepts such as “art worlds” and analytical categories that facilitate the understanding of relationships within music and the psychodynamics of work. The second chapter focuses on the individuals interviewed for the book and their musical groups, defining the scope of the discussion. In the third chapter, “The Burden of Clientelism,” Meneses describes the socio-political context in which musical work in bars and private parties takes place, illustrating the conventions that govern the work of musicians in Aracaju. A notable point is the rule “If you’re not in the scheme, you don’t get in” (p. 98), which highlights the structured nature of musical work at public events. The fourth chapter discusses how interactions between musicians and non-musicians affect working conditions, including disputes over space and artistic advancement, issues of remuneration, repertoire, the lifestyles of the agents involved, and their physical and psychological conditions. In the fifth chapter, the author addresses the subjective aspects of the profession, such as “the joy of making music and the agony of playing. How do musicians deal subjectively with their work? Between the pain of work and the joy of creation.
With a close connection to the subject, Meneses shares many personal experiences common to musicians in Aracaju who work in bars, restaurants and private parties. He dialogues with a group of 14 musicians from his social and professional environment. The central questions posed in the book’s introduction are indeed addressed, and it becomes clear that not only do musicians contribute to the conventions of work in the region, but that external factors beyond musical performance also play a role in the functioning or malfunctioning of this productive chain, such as state interference, business interests, and consumer judgments that define an artist’s social prestige and thus the value of their fee.
Despite his proximity to the reality described, Meneses writes from a privileged perspective, as he notes, “we are mostly white, heterosexual, educated men” (p. 198), a perspective not fully representative of all musical practices among informal workers in Aracaju or the wider Sergipe region.
As a musician from rural Sergipe who has experienced the informal music scene, performing in public and private shows throughout the state with bands in genres such as forró, arrocha, axé and pagode from 2008 to 2013, I can attest that the reality can be even harsher in rural and peripheral areas of the state. Examples include the risk of accidents with band buses, stages that are truck beds, widespread fights that have resulted in deaths, threats to musicians to continue playing, moral and sexual harassment, robbery on the way home, and the lack of lodging for musicians from other cities after late-night shows.
Meneses makes it clear that this book does not aim to fully address the complexity of musicians’ professions in Aracaju, leaving room for extensive future research. He presents “unconsidered epistemological perspectives that represent possibilities for future investigation” (p. 14) and acknowledges some research shortcomings due to feasibility or oversights in defining the scope of the study, such as the absence of gender and race issues (p. 225).
The textual structure of the book balances formal academic writing with colloquial dialogue, enhancing the originality of the speakers’ expressions. However, Meneses frequently uses the term “attempt” to begin explanations of chapters or sections, which could be perceived as a lack of confidence in his writing. Replacing it with “attempt” might be more assertive and more in line with the content unfolding in the chapters. In addition, the use of foreign terms in italics may be familiar to the author but not to the reader, suggesting the need for footnotes explaining these less common terms. Finally, the captions for Figures 29 and 30 (pp. 181-182) are misplaced.
Overall, the book is engaging and accessible, initially presenting a formal academic structure derived from his master’s thesis research, enriched by dialogues in everyday language that lend authenticity to the interactions. It is also commendable that Meneses and his interviewees confront the commercial music system in their professional environment and take risks in their future careers following these revelations (see p.122). The book achieves its stated goals, making it a recommended read for street musicians, performers, and music industry workers, whether or not they have experienced the issues discussed, for a thoughtful analysis of awareness and representation with a critical eye on public policies aimed at informal artists.
Summary of Cachê Sangrento: uma etnografia do trabalho musical em Aracaju
Prefácio
Introdução
1. Ser músico: essência ou vaidade
2. O fardo do clientelismo
3. “Cachê sangrento”: as convenções do trabalho
4. Entre o prazer e o sofrimento: a subjetividade em questão
MENESES, João Luís. Cachê Sangrento: uma etnografia do trabalho musical em Aracaju. Aracaju: Criação, 2022. 235p. Review of: ANDRADE, Isaac Santana. Giving Blood for Music. Crítica Historiográfica. Natal, v.4, n.17, May/Jun, 2024. Available in <Dar o Sangue pela Música – Isaac Santana Andrade’s review of “Bloody Fee: An Ethnography of Musical Labor in Aracaju”, by João Luís Meneses – Crítica Historiografica (criticahistoriografica.com.br)>.
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The collection of in-person and virtual interviews transcribed in the book enriches the text with a rich local vocabulary that facilitates an understanding of “soundscapes” of value and meaning. Through intensive study and dialogue with this specific reality, we gain a broad understanding of the relationship between musicians and their work that transcends the specific case at hand. Meneses sought to answer key questions about how work is organized in these settings and how musicians contribute to the conventions of this productive world.
Isaac Santana Andrade holds a Master’s degree in Musicology from the Universidade Federal do Estado do Rio de Janeiro (UNIRIO). He has published, among others, Uma Abordagem Sobre a Prática Profissional dos Músicos de Banda no Estado do Rio de Janeiro no Início do Século XX, a Partir de Análise do Acervo Documental do SindMusi e Análise quantitativa das Fichas de Matrícula do Centro Musical do Rio de Janeiro (1907– 1941). ID Currículo Lattes: 3928872046786716 ; ID ORCID: 0009-0001-8612-6709; E-mail: isaac.trumpet@hotmail.com;
