Popular Music of Southern Brazil: Identity, Agency, and Trans-local Territoriality in the State of Rio Grande do Sul

Far from mapping the expressive possibilities of "popular music in southern Brazil" as proposed by the recordings of Marcus Pereira in the 1970s, we attempt in this article to discuss three particular situations of popular music practiced in the State of Rio Grande do Sul like "open works". We looked for possibilities of musical and sonorous agency instead of common origins (problem of origin). We recognize the originality of the musical practices of German and African descendants, and "real gauchos", however we call attention to their various levels of connection: local (regional), affective networks and national and international political identity. In this way, every choral event, "black baile" [dance/ball], or native festival is connected to specific network and represents within the State a broader network supported by diversity. However, apart from looking for the "roots" of German choirs, swing, samba-rock of the South or, even, "milonga" (Brazilian or Rioplantense?), we attempt to demonstrate how these social groups were created as parallel inventions: gauchos and the African and German diasporas in the Americas through trade and cultural networks.