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Home , Brazilian diaspora, Forro in the Dark, Music of Brazil, Pagode

Expressive Culture: Sounds Morse Academic Plan (V55.0730.001‐007) University Fall 2011 Tuesday/Thursday 11:00‐12:15pm Silver Center 320

Instructor: Dr. Jason Stanyek Office Hour: Wednesday 2:00‐3:30 or by appointment Office: Waverly Building, Room 268 Email: [email protected] Office Phone: 212‐998‐8314

Teaching Assistants: Siv Lie You Nakai Recitation 002 (F 9:30‐10:45, Silver 218) Recitation 004 (F 11:00‐12:15, Silver 318) Recitation 003 (F 11:00‐12:15, Silver 218) Recitation 005 (F 12:30‐1:45, Silver 218) Office Hour: Th 12:30‐1:30 or by appointment Office Hour: Tu 12:30‐1:30 or by appointment Office Hour Location: 268 Waverly Office Hour Location: 268 Waverly Email: [email protected] Email: [email protected]

Lauren Sweetman Recitation 006 (M 9:30‐10:45, Silver 218) Recitation 007 (M 11:00‐12:15, Waverly 365) Office Hour: Th 10:00‐11:00 or by appointment Office Hour Location: 268 Waverly Email: [email protected]

Course Description You might be in a café, or riding in an elevator, or eating in a restaurant, or buying clothes in a shop, and, perking up your ears, you notice that there’s a suave, soft sound infusing the aural environment; it’s , serving at this moment as background that’s perfectly in place, so in place, that you really have to pay attention to notice it. You might be walking along 14th Street and out of a third‐story window you hear the rhythms of a twangy string‐ instrument; there’s clapping too, and percussion, and call and response vocals (and if you ascended the stairs and peered in, you’d see 2 jogadores—players—in the middle of a circle of bodies, trading kicks, and feints, all the while mixing back‐bending, gravity‐defying acrobatic moves into the flow of the “game” of ). You might find yourself on the corner of Varrick and , on a Saturday evening, and you see a line of people stretching down the block. You hear —music with a relentless buoyancy from —seeping out from the club (you notice that SOB’s is written on the club’s sign, but you’re not aware that the acronym stands for “Sounds of ”). Or, most monumentally, you might be on 6th Ave between 42nd St. and Central Park during the Sunday of Labor Day weekend. There are a million other people with you, and non‐Brazilians alike, all participating in the annual “Brazilian Day” celebration that, since 1984, has marked Brazil’s independence from in the early 19th century. It’s almost impossible to live in the area and not come into contact with Brazilian music and dance. From the large Brazilian enclaves in Astoria and Newark to, seemingly, almost every café, restaurant, and shop in the city, from the clubs that feature local for weekly “Brazil Nights,” to the large‐venues like Madison Square Garden and the 2

Nokia Theater that play host to visiting superstar groups and artists from Brazil, the music and dance of the world’s fifth most populous nation seems to be everywhere. This is a course that tracks the ubiquity of Brazilian culture in the New York City region. We will use the varied music and dance traditions of Brazil to not only help us unravel that country’s complex social and political history but also to provide a lens through which we can examine the unprecedented emergence of large‐scale Brazilian diasporic communities beginning in the mid‐1980s. One of our principal aims will be to consider how various forms of identity (racial, gender, class, religious) are constructed and negotiated within diasporic contexts of sonic and kinesthetic performance (at informal gatherings, in the mass media, during carnival, on stages and in concert halls, in recording studios, within cultural institutions, etc.). We will be spending a good deal of time examining the transnational forces that have given Brazilian cultural forms such as bossa nova, capoeira, and samba a significant presence in New York. Indeed, one of our main goals will be to place a variety of Brazilian musical and cultural forms within what we might call a “local/national/global nexus,” a shifting terrain of relations between local communities in Brazil, the Brazilian nation, and the rest of our terra.

Course Objectives This course has a number of intersecting goals. Students will become conversant in Brazilian history and culture, and will obtain a rich understanding of Brazilian music and dance styles and genres. Through close analyses of texts, students will gain exposure to the (the world’s sixth‐ranked language by number of native speakers). Yet, this course is not just about Brazil; it is also about New York City. We’ll see what we can learn about this immense urban campus of ours if we peer deeply into the cultural production of one of the region’s major immigrant groups (by some estimates, more than 250,000 Brazilians live in the New York City area). Perhaps most importantly, this course will function as a vast collaboration, with all the members of the class working together to create a website that will serve as a repository of an oral history of Brazilian music in New York City. Collectively, we will engage in and transcribe over 100 interviews with practitioners of Brazilian music and dance living in the New York metropolitan region. In this regard, the course will be product‐driven; that is, we’ll be working toward a collective goal, and by the end of the semester we’ll have tangible evidence of our work. It is my hope that the website will not only become a useful research portal for those looking to delve further into Brazilian diasporic culture, but will also serve as a model for the pedagogical possibilities of doing digital oral history in a large lecture class such as ours. Given that the collection of oral history data will be one of our primary concerns, students will learn about interview and transcription techniques and, more broadly, about the ethic and politics of doing oral history.

A Note on the Syllabus Given the large number of guests we will be hosting, this syllabus needs to be taken as a flexible document. While expectations for the course will not vary in any great measure from what is given here, the order of classes might change drastically if a given guest cancels or reschedules. In other words, this syllabus is very much a work in progress and there is a distinct possibility that it will be tweaked or modified during the course of the semester (think of it as providing a provisional structure to the collaborative work will undertake in the class). I will provide ample forewarning if any major modifications are made to the course schedule.

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Required Texts A collection of assigned essays will be available as PDFs through New York University’s Blackboard system. Bibliographic information for the required readings (and due dates for the completion of reading assignments) are given below in the class schedule. To access these PDFs:

1. Go to: http://home.nyu.edu 2. Log in. 3. Click on the tab labeled “Academics.” There you’ll find a link to the course Expressive Culture: Sounds (MAP‐UA.730.1‐001‐007.FA11). Click on the link. 4. Once you’re in the site for the course click on the tab labeled “Course Documents.” 5. Click on the folder labelled “Readings (PDFs).” 6. Find the book excerpts or articles that you need (they are organized by week).

Audio examples will be also be available on Blackboard. To access these go to the Blackboard page for our course (as described above for accessing the PDFs), click on the button labeled “Course Documents” and then on the folder labeled “Audio.”

Grading • Short Response Papers: 20% (to be submitted electronically before most Thursday lectures) • Midterm Examination: 15% (formal take‐home essay, due in lecture on Tuesday, November 1) • Oral History Interview: 25% (final version due electronically by Thursday, December 1) • Report on Brazilian Music or Dance Classes: 10% (due in lecture on Tuesday, December 13) • Attendance, Participation, Quizzes and Other Assignments: 15% • Final Examination: 15% (In Class, Tuesday, December 20)

Grading Scale 97‐100 A+ 87‐89 B+ 77‐79 C+ 67‐69 D+ 59‐below F 94‐96 A 84‐86 B 74‐76 C 64‐66 D 90‐93 A‐ 80‐83 B‐ 70‐73 C‐ 60‐63 D‐

Examination and Assignment Policy There are no makeups for missed exams or assignments except under the most unusual circumstances. To request a makeup exam or an extension for an assignment a legitimate excuse must be submitted in writing no later than one class period after the exam is given or the assignment is due, and must be accompanied by written evidence. For example, if you were sick, you must provide a note from a doctor, with his/her name, address and phone number.

Academic Integrity Plagiarizing (or other forms of academic dishonesty) can result in an “F” for the course and can lead to further disciplinary action by the University. For more information please see the section entitled “Academic Integrity” in the College of Arts and Science Bulletin, available at: http://cas.nyu.edu/page/ug.academicintegrity

Methods of Evaluation Grades will be based on the short response papers, midterm and final examinations, a report on Brazilian music and dance classes, your oral history interviews and quizzes and/or other assignments. Attendance—for both lecture and recitation—will also be crucially important and will figure into your final grade. 4

Short Response Papers As a participant in this course you are required to do fifteen weeks of critical thinking on Brazilian music and dance in New York City. To this end, you will be expected produce writings that will provide tangible evidence that you are indeed engaging in the process of working through some of the core issues that we will be dealing with in this course.

We will require you to submit short response papers electronically before most Thursday class meetings. Your writings will typically consist of responses to the reading and listening/viewing assignments and will address questions that are broached in lecture. We will always give specific prompts for particular these assignments. Response papers will not be required when you have other assignments due.

While your response papers need not be overly formal, we do expect that you will cite page numbers and authors for any quotes or paraphrases that you incorporate from the required readings (it’s a good idea to include at least a few references to the readings for each response paper). The most important thing is that you write on a regular basis (see below for how to post entries). Grades will be based upon your level of engagement with the course materials and the critical acumen you bring to your interpretations of the readings and the listening and film examples.

Posting Response Papers All response papers must be submitted electronically through New York University’s Blackboard system. Your papers are due on most Thursdays before lecture. We will be extremely clear about due dates for all assignments.

As mentioned above, we do not expect your response papers to be overly formal. Providing personal (and, perhaps, experimental) interpretations of the course materials is what this assignment is all about. You do need to write on a consistent basis though. The pedagogical point of the journal assignment is to make sure that everyone in the class is moving through the same material at the same pace. Please be conscientious about doing these assignments in a timely fashion.

I would suggest writing your response papers on your own computer and pasting or uploading them into Blackboard. In other words, don’t write them directly in Blackboard. Keep all of your submissions clearly labeled and organized in their own folder on your personal hard drive or in one of the accessible regions of the cloud. This way, if there’s a problem you will have a backup copy. We will not accept hard copies of your response papers.

A few important notes: (1) you can only submit these papers up until the time lecture meets on Thursday. After that, you lose not only the ability to access the assignment but also the credit for that assignment. (2) You can only submit your assignment a single time. Once you hit “submit” it is sent to us and you cannot get it back in a form that can be edited.

To submit journal entries:

(1) Go to: http://home.nyu.edu (2) Log in. (3) Click on the tab labeled “Academics.” There you’ll find a link to the course Expressive Culture: Sounds (MAP‐UA.730.1‐001‐007.FA11). Click on this link. (4) Click on the “Assignments” button in the top left corner. (5) Click on the appropriate assignment. 5

(6) Upload (as an attachment) or paste in your response. (7) Log out.

Report on Brazilian Music or Dance Class You will be expected to attend two Brazilian music or dance classes (these could be with one teacher or with two different ones). NYC is teeming with Brazilian culture and the point of this assignment is to get you involved in a direct way. A preliminary list of “Brazilian Music and Dance Classes” can be found toward the bottom portion of the following webpage: http://novayork.itamaraty.gov.br/en‐us/cultural_bulletin.xml

In the next few weeks I will provide a list of other instructors and studios that teach Brazilian music and dance. If you sing, or if you play a specific instrument (guitar, flute, piano, etc.) and would like to take private lessons please let me know and we’ll discuss your options. A detailed prompt for this short report will be given in a few weeks.

Oral History Interviews As described above, one of the primary goals of this course will be to collect and transcribe oral history interviews that will be undertaken with practitioners of Brazilian music and dance living in the New York City region. The edited interviews will be uploaded to a website being developed specifically for this course. Detailed instructions and guides will be provided, and after the first few weeks of the semester, recitations will be primarily devoted to working through the methodological, theoretical and ethical dimensions of doing oral history.

The oral history project will entail 14 basic steps. You will need to: (1) learn about Brazilian social and cultural history and gain a basic grasp of music/dance genres, styles and nomenclatures (2) understand the theoretical, ethical and methodological dimensions of doing oral history (3) contact your interviewee and arrange when and where your interview will happen (you will be assigned your interviewee by Professor Stanyek and your TA) (4) familiarize yourself with your interviewee’s career and work (5) write your interview questions and have these approved by your TA and workshopped in recitation section (6) send the interview questions to your interviewee (7) learn how to use the recording equipment (8) do the interview, in collaboration with your assigned partner(s) (9) transcribe the interview (10) edit the transcribed interview in collaboration with your assigned partner(s) (11) write a short bio of the interviewee (12) send the transcribed interview and bio to your interviewee for their approval (13) finalize the edits in collaboration with your assigned partner(s) (14) upload the final version of the interview and accompanying files (bio, pictures, etc.) to the project website and to the Faculty Digital Archive.

Etiquette Carrying on conversations during lecture and recitation section Please refrain from talking when lectures and sections are in progress (this also holds for when video and audio examples are being played). Questions, comments, insights, etc. are more than welcome while lecture is going on. If you would like to add your two cents, please raise your hand and make your comments available to the entire class, not just the person sitting next to you. In recitation sections, of course, you should routinely contribute to discussions.

Checking email or browsing the web during lecture and section It's not a mystery that our classrooms are set‐up for wireless access. We will require that you turn off your wireless so that you’re not tempted to use class time to check your email, chat, browse the web, play video games, work on assignments for other classes, make online purchases, etc. Also, under no circumstances should you ever be peering at your mobile phone during class. 6

Class Schedule All reading assignments are to be completed before the lecture for which they are listed. All articles are available through the New York University Blackboard system (see page 3 of this syllabus for details on how to access these articles). Readings and topics are subject to change (any modifications to this schedule will announced well ahead of time).

Tuesday, September 6 Course Introduction

Supplementary Readings (Suggested, Not Required): McCann, Bryan. 2008. The Throes of Democracy. Halifax, N.S.: Fernwood Pub. (Excerpt)

Roett, Riordan. 2011. “Introduction: The New Brazil.” The New Brazil, 1‐17. Brookings Institution Press. (Excerpt)

Rohter, Larry. 2010. “The ‘Country of the Future’ Reveals Itself.” In Brazil on the Rise: The Story of a Country Transformed, 1‐9. New York: Palgrave Macmillan.

Page, Joseph A. 1995. “Introducing Brazil.” In The Brazilians, 1‐31. Reading, : Addison‐Wesley.

Eakin, Marshall. 1997. “The Presence of the Past.” In Brazil: The Once and Future Country, 7‐66. New York: Saint Martin’s Press.

Thursday, September 8 Listening to Global Brazil

Readings: Perrone, Charles A. and Christopher Dunn. 2001. “‘Chiclete com Banana’: Internationalization in Brazilian .” In Brazilian Popular Music and Globalization, edited by Charles A. Perrone and Christopher Dunn, 1‐38. New York: Routledge.

McGowan, Chris, and Ricardo Pessanha. 2009. “Genre Map,” “Introduction,” and “Five Centuries of Music.” The Brazilian Sound: Samba, Bossa Nova, and the Popular , 1‐17. Philadelphia: Temple University Press.

Tuesday, September 13 Introducing the Brazilian Diaspora: Politics and Culture

Primary Readings: Margolis, Maxine L. 2008. “Place, Space, and Migration—September 11th and Transnationalism: The Case of Brazilian Immigrants in the .” Human Organization: Journal of the Society for Applied Anthropology 67(1):1‐11.

Jouët‐Pastré, Clémence, and Leticia J. Braga. 2008. “Introduction: Interdisciplinary Perspectives on Becoming Brazuca.” In Becoming Brazuca: Brazilian Immigration to the United States, 1‐21. Cambridge, Mass: Harvard University David Rockefeller Center for Latin American Studies. (Excerpt)

Martes, Ana Cristina Braga. 2011. New Immigrants, New Land: A Study of Brazilians in Massachusetts. Gainesville: University Press of . (Excerpt) 7

Supplementary Readings: Beserra, Bernadete. 2003. Brazilian Immigrants in the United States Cultural Imperialism and Social Class. New York: LFB Scholarly Pub. (Excerpt)

Fritz, Catarina. 2010. Brazilian Immigration and the Quest for Identity. El Paso, Tex: LFB Scholarly Pub. (Excerpt)

Margolis, Maxine L. 2005. “Brazilians in the United States, , Europe, and .” In Encyclopedia of Diasporas: Immigrant and Refugee Cultures Around the World, edited by Melvin Ember, 602‐615. New York: Springer.

Thursday, September 15 The Brazilian Diaspora in New York City (Special Guest, Anthropologist Maxine Margolis)

Reading: Margolis, Maxine L. 2009. An Invisible Minority: Brazilians in New York City. Gainesville, Fla: University Press of Florida. (Excerpts)

Tuesday, September 20 Introducing Oral History: Theories and Methods

Readings: Ritchie, Donald A. 2011. The Oxford Handbook of Oral History. New York: Oxford University Press. (Excerpts)

Yow, Valerie Raleigh. 2005. “Interviewing Techniques” and “Interpersonal Relations in the Interview.” In Recording Oral History: A Guide for the Humanities and Social Sciences, Second Edition, 92‐120; 157‐187. Walnut Creek: Alta Mira Press.

Briggs, Charles L. 2001. “Interviewing, Power/Knowledge, and Social Inequality.” In Handbook of Interview Research: Context and Method, edited by Jaber F. Gubrium and James A. Holstein, 911‐922. Thousand Oaks: Sage.

Thursday, September 22 The Early History of Brazilian Music in the U.S.

Readings: Galm, Eric A. 2008. “Baianas, Malandros, and Samba: Listening to Brazil through Donald Duck’s Ears.” In Global Soundtracks: Worlds of Film Music, edited by Mark Slobin. Middletown, Conn: Wesleyan University Press.

Davis, Darién J. 2009. “Race and Brazilianness Abroad in the Early Era of Globalization.” In White Face, Black Mask: Africaneity and the Early Social History of Popular Music in Brazil. East Lansing: Michigan State University Press.

Roberts, Shari. 1993. “The Lady in the Tutti‐Frutti Hat: , a Spectacle of Ethnicity.” Cinema Journal 32(3):3‐23.

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Tuesday, September 27 Brazilian Music in the U.S. since 1960 (Special Guest: Béco Dranoff)

Listening: Soundtrack of Beyond (Béco Dranoff, music director and co‐producer)

Afropop Worldwide (Podcast). The Brazilian Diaspora in the United States. Available at: http://afropop.org/hipdeep/HipDeep.html#programId=713&view=1

Thursday, September 29 Music and Diaspora: The Sonic Cartographies of Brazilian Music in NYC

Readings: Botelho, Paula. 2008. Brazilian Music in the New York Times: Sites for the Production of Representations of U.S. Dominance and the Consumption of Brazilian Popular Culture. Thesis (PhD.)—University of Maryland, Baltimore County. (Excerpts)

Slobin, Mark. 2003. “The Destiny of ‘Diaspora’ in .” In The Cultural Study of Music: A Critical Introduction. New York: Routledge.

Ramnarine, Tina K. 2007. “Musical Performance in the Diaspora: Introduction.” Ethnomusicology Forum 16(1):1‐17.

Bohlman, Philip V. 2002. “Diaspora, Place, and Placelessness in .” In World Music: A Very Short Introduction. Oxford: Oxford University Press.

Tuesday, October 4 Global Axé: and Pan‐Africanism (Special Guests: Silvana Magada and Davi Vieira)

Primary Readings Crook, Larry N. 1993. “Black Consciousness, Samba , and the Re‐Africanization of Bahian Carnival Music in Brazil.” The World of Music 35(2):90‐108.

Armstrong, Piers. 1999. “The Cultural Economy of the Bahian Carnival.” Studies in Latin American Popular Culture 18:139‐158.

Supplementary Readings: Armstrong, Piers. 2010. “Bahian Carnival and Social Carnivalesque in Trans‐Atlantic Context.” Social Identities 16(4):447‐469.

Henry, Clarence Bernard. 2008. Let's Make Some Noise: Axé and the African Roots of Brazilian Popular Music. Jackson: University Press of Mississippi. (Excerpts)

Thursday, October 6 The Roda, The World: The Global Capoeira Academy (Special Guest: Mestre Jelon)

Primary Readings: Browning, Barbara. 1995. “Headspin: Capoeira’s Ironic Inversions.” In Samba: Resistance in Motion, 86‐126. Bloomington: Indiana University Press.

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Delamont, Sara and Neil Stephens. 2008. “Up on the Roof: The Embodied Habitus of Diasporic Capoeira.” Cultural Sociology 2(1):57‐74.

Joseph, Janelle. 2008. “Going to Brazil: "Transnational and Corporeal Movements of a Canadian‐Brazilian Martial Arts Community.” Global Networks 8(2):194‐213.

Supplementary Readings: Downey, Greg. 2005. Learning Capoeira: Lessons in Cunning from an Afro‐. Oxford: Oxford University Press. (Excerpts)

Lewis, John Lowell. 1992. Ring of Liberation: Deceptive Discourse in Brazilian Capoeira. : University of Chicago Press.

Stephens, Neil, and Sara Delamont. 2009. “‘They Start to Get Malicia’: Teaching Tacit and Technical Knowledge.” British Journal of Sociology of Education 30(5):537‐548.

Tuesday, October 11 No Class

No Readings

Thursday, October 13 Music and National Belonging: Samba

Primary Readings: McGowan, Chris, and Ricardo Pessanha. 2009. “Samba: The Heartbeat of Rio.” In The Brazilian Sound. Philadelphia: Temple University Press.

Galinsky, Philip. 1996. “Co‐option, Cultural Resistance, and Afro‐Brazilian Identity: A History of the Movement in Rio de Janeiro.” Latin American Music Review 17(2):120‐149.

Supplementary Reading: Vianna, Hermano. 1999. “Nowhere at All.” In The Mystery of Samba: Popular Music and National Identity in Brazil, 93‐106. Chapel Hill: The University of North Carolina Press.

Tuesday, October 18 Samba, New York (Special Guests Philip Galinsky and Danielle )

Primary Readings: Beserra, Bernadete. 2005. “From Brazilians to Latinos? Racialization and Latinidad in the Making of in .” Latino Studies 3(1):53‐75.

Beserra, Bernadete. 2011. “The Reinvention of Brazil and Other Metamorphoses in the World of Chicago Samba.” Vibrant 8(1):117‐145.

Supplementary Readings: Pravaz, Natasha. 2011. “‘Na Cadencia Bonita Do Samba’: Accomplishing Suingue in .” Critical Studies in Improvisation 7(1):1‐12.

Eisentraut, Jochen. 2001. “Samba in Wales: Making Sense of Adopted Music.” British Journal of Ethnomusicology 10(1):85‐105. 10

Thursday, October 20 Bossa Nova

Primary Readings: Castro, Ruy. 2000. Bossa Nova: The Story of the Brazilian Music that Seduced the World. Chicago, IL: A Cappella. (Excerpts)

Murphy, John P. 2006. “Bossa Nova: The Intimate Samba Sound Known Worldwide.” In Music in Brazil, 36‐46. New York: Oxford University Press.

Suzel Ana. 1996. “Tom Jobim and the Bossa Nova Era.” Popular Music 15(1):1‐16.

Supplementary Readings: McGowan, Chris, and Ricardo Pessanha. 2009. “Bossa Nova: The New Way” The Brazilian Sound: Samba, Bossa Nova, and the Popular Music of Brazil, 57‐78. Philadelphia: Temple University Press.

Treece, David. 1997. “Guns and Roses: Bossa Nova and Brazil's Music of Popular Protest, 1958‐68.” Popular Music 16(1):1‐29.

Tuesday, October 25 Bossa Nova York (Special Guest: Maúcha Adnet)

Readings: Kirschbaum, Charles. 2006. “How do Outsider Styles Become Legitimated? The Introduction of Bossa Nova in the Field.” Paper delivered at the 30th Meeting of ANPAD, Salvador, Bahia, Brazil.

Goldschmitt, Kariann. 2011. “Doing the Bossa Nova: The Curious Life of a Social Dance in 1960s North America.” Luso‐Brazilian Review 48(1):61‐78.

Thursday, October 27 Inter‐Hemispheric Jazz

Readings: Piedade, Acácio Tadeu de C. 2003. “Brazilian Jazz and Friction of Musicalities.” In Jazz Planet, edited by E. Taylor Atkins, 41‐58. Jackson: University Press of Mississippi.

McGowan, Chris, and Ricardo Pessanha. 2009. “Brazilian Instrumental Music and Jazz.” The Brazilian Sound: Samba, Bossa Nova, and the Popular Music of Brazil, 171‐201. Philadelphia: Temple University Press. (Excerpts)

Tuesday, November 1 (Midterm Due) Brazilian Jazz in New York (Special Guest: Dom Salvador)

Reading: Lis, Eduardo. 1996. Creating a New Tradition: The Brazilian Jazz Experience in North America. Thesis (Master’s)—York University. (Excerpts)

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Thursday, November 3 Brazilian Instrumental Music:

Reading: Livingston, Tamara Elena, and Thomas George Garcia. 2005. Choro: A Social History of a Brazilian Popular Music. Bloomington: Indiana University Press. (Excerpts)

Tuesday, November 8 Choro and the Transregional Roda (Special Guests: Choro Ensemble)

Reading: Stanyek, Jason. 2011. “Choro do Norte: Improvising the Transregional Roda in the United States.” Luso‐Brazilian Review 48(1):100‐129.

Thursday, November 10 Oral History Workshop

Readings: TBA

Tuesday, November 15 Tropicália, Cultural Anthropophagy and the Politics of Hybridity

Readings: Dunn, Christopher. 2001. Brutality Garden: Tropicália and the Emergence of a Brazilian Counterculture. Chapel Hill, NC: University of North Carolina Press. (Excerpts)

Perrone, Charles A. “Topos and Topicalities: The Tropes of Tropicália and Tropicalismo.” In Brazilian Popular Music and Globalization, edited by Charles A. Perrone and Christopher Dunn. New York: Routledge.

Thursday, November 17 (Musical) Trópicalia in New York (Special Guest: Cyro Baptista)

Reading: Dunn, Christopher. 2005. “Tropicália: Modernity, Allegory, and Counterculture.” In Tropicália: A Revolution in Brazilian Culture (1967‐1972), edited by Carlos Basuald. : Cosac Naify.

Tuesday, November 22 The Northeast in the Northeast (Part 1)

Readings: Crook, Larry. 2001. “Turned‐Around Beat: de Baque Virado and .” In Brazilian Popular Music and Globalization, edited by Charles A. Perrone and Christopher Dunn. New York: Routledge.

Murphy, John. 2001. “Self‐Discovery in Brazilian Popular Music: Mestre Ambrosio.” In Brazilian Popular Music and Globalization, edited by Charles A. Perrone and Christopher Dunn. New York: Routledge. 12

Thursday, November 24 No Class: Thanksgiving

No readings

Tuesday, November 29 The Northeast in the Northeast (Part 2)

Readings: Murphy, John P. 2006. “Baião and Forró: ‐Driven Dance Music.” Music in Brazil: Experiencing Music, Expressing Culture, 94‐108. New York: Oxford University Press.

Draper III J.A. 2011. “Forró’s Wars of Maneuver and Position: Popular Northeastern Music, Critical Regionalism, and a Culture of Migration.” Latin American Research Review 46(1):80‐ 101.

Thursday, December 1 (Oral History Project Due) Forró, New York (Special Guests: Forró in the Dark)

Reading: Loveless, Megwen May. 2010. The Invented Tradition of Forró: A ‘Routes’ Ethnography of Brazilian Musical ‘Roots.’ Thesis (Ph.D., Dept. of Anthropology)—Harvard University.

Tuesday, December 6 Maracatu New York (Special Guests: Liliana Araújo and Scott Ketner)

Primary Reading: Galinsky, Philip. 2002. "Maracatu Atômico": Tradition, Modernity, and Postmodernity in the Mangue Movement of , Brazil. New York: Routledge. (Excerpts)

Supplementary Reading: Metz, Jerry D. 2008. “Cultural Geographies of Afro‐Brazilian Symbolic Practice: Tradition and Change in Maracatu de Nação (Recife, , Brazil).” Latin American Music Review 29(1):64‐95.

Thursday, December 8 Música Sertaneja: Comes Home? (Special Guests: Mizó e Mizael)

Readings: Reily, Suzel Ana. 1992. “Música Sertaneja and Migrant Identity: The Stylistic Development of a Brazilian Genre.” Popular Music 11(3):337‐358.

Dent, Alexander Sebastian. 2007. “Country Brothers: Kinship and Chronotope in Brazilian Rural Public Culture.” Anthropological Quarterly 80(2):455‐495.

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Tuesday, December 13 (Class Report Due) : Carioca Bass, Brooklyn Style (Special Guest: Zuzuka Poderosa)

Primary Reading: Sneed, Paul. 2008. “ Utopias: The Bailes Funk in Rio's Crisis of Social Exclusion and Violence.” Latin American Research Review 43(2):57‐79.

Supplementary Readings: Sneed, Paul. 2007. “Bandidos de Cristo : Representations of the Power of Criminal Factions in Rio's Proibidão Funk.” Latin American Music Review 28(2):220‐241.

Leu, Lorraine. 2004. "The Press and the Spectacle of Violence in Contemporary Rio de Janeiro.” Journal of Latin American Cultural Studies 13(3):343‐355.

Oosterbaan, Martijn. 2009. “Sonic Supremacy.” Critique of Anthropology 29(1):81‐104.

Thursday, December 15 Conclusions

No Readings

Tuesday, December 20 Final Exam

No Readings