The idea of a caipira cultural region was established thanks to a conservative historiography, linked to the patriotic spirit of intellectuals from São Paulo, who wanted to define a certain territory for the 'Paulista race'.

But it was Joaquim Ribeiro, in his work Folklore dos Bandeirantes, from 1946, who proposed that Paulistania was his term, a neologism created "to designate the living space of the old paulists", a noun to be used, from then on, to make reference to the region that, in his opinion, was "one of the fundamental cells of the territorial formation of Brazil."

From the fixation to the soil, the São Paulo region emerged; [citation needed] of this, Paulistania; and then, its people, culture, experience history.

Although administratively and politically, the boundaries and boundaries of this Paulistânia were being changed, reconfigured over time, to unfold in what are now the states of São Paulo, Paraná, Minas Gerais and Goiás, Mato Grosso do Sul and parts Mato Grosso, it can be assumed that the region formed by the "large territory invaded by the bandeiras and entradas" preserved an expressive cultural unit, unified by a common body of understandings, values and traditions in which everyone participated, in a reality in which the variations regional ones never came to threaten the essence of the whole.

Even with the mitigating factor that it would not be his fault to be like this, Lobato's redneck is presented as a "'Mumbava', dirty and bad" man, slow, simple, backward, synonymous with the agrarian past to be overcome.

In Candido, adjectives give way to less valuable nouns: the caipira culture is that of sociability marked by a certain form of moral conduct in everyday life, ratified by practices of solidarity predominantly based on obtaining the minimum vital for the subsistence of families, something coherent and consistent with the rusticity and lack inherited from its peripheral condition in the territorial and social formation.

Setting itself up as a spokesperson for this musicality, the instrument spread throughout Paulistania and, having its identification with the first inhabitants of the region as time passed, it reached the point of making the violeiro an individual of great importance in communication.

These include: the cururu, the catira/cateretê and the xote, which are originally danced forms, with singing often improvised; the toada and moda de viola, only vocal genres, and the caipira pagode, initially a type of solo instrumental music, of great virtuosity, performed on the viola caipira, and which started to be presented also in the sung version.

[8] Paulistania is the space where the Guarani and the Portuguese met, through the São Paulo flags and the establishment of human settlements, some temporary, others permanent, where both the reciprocal assimilation of the habits of the two social groups took place, as well as differences that, however, they did not erase the common traits, claimed to be fundamental to caipira cuisine.