In The Moving Force of Music, Herschmann and Fernandes allow us not only to better understand some of the major challenges faced by creative cities in Brazil, but also to question less visible and lesser-known aspects of these cities.
To do that, the authors walk us through a set of critical reflections on the impacts of different strategies and public policies developed in these territories: for example, projects anchored in tourism and mega-events contrast with the slower pace of everyday musical experiences and social interactions built by the actors (many from minority groups), mostly in the public spaces of these cities. Therefore, the premise that runs through this publication is that there is a leading role played by the street – and by those actors who claim their “right to the city”– in the dynamism of these cities of music. In other words, it is to this place that most of the relevant artivist initiatives converge, which are resilient and re-exist in the off circuits of these territories.
The Moving Force of Music encourages us to reflect on the processes of formulating development models for creative cities, considering in particular the following questions: Whom do these models and projects benefit? Which dynamics and actors are or should be prioritized in these locations? How can we promote more inclusive and democratic spaces that value the less visible musical ecosystems in these territories?
Trying to escape from gloomy or more schematic interpretations, Herschmann and Fernandes seek not only to support the reformulation of democratic and sustainable public policies, but also to underline the relevance of the “sonic-musical territorialities” constructed – in actors’ making-with in these locations – as capable of resignifying urban imaginaries and experiences. After all, as the authors suggest, life is made and remade on the daily, ensuring alternatives and possible paths.

Entrega: Correios e Motoboy (Porto Alegre).

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