Brazil Alberta White and Susan Holden
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Canções E Modinhas: a Lecture Recital of Brazilian Art Song Repertoire Marcía Porter, Soprano and Lynn Kompass, Piano
Canções e modinhas: A lecture recital of Brazilian art song repertoire Marcía Porter, soprano and Lynn Kompass, piano As the wealth of possibilities continues to expand for students to study the vocal music and cultures of other countries, it has become increasingly important for voice teachers and coaches to augment their knowledge of repertoire from these various other non-traditional classical music cultures. I first became interested in Brazilian art song repertoire while pursuing my doctorate at the University of Michigan. One of my degree recitals included Ernani Braga’s Cinco canções nordestinas do folclore brasileiro (Five songs of northeastern Brazilian folklore), a group of songs based on Afro-Brazilian folk melodies and themes. Since 2002, I have been studying and researching classical Brazilian song literature and have programmed the music of Brazilian composers on nearly every recital since my days at the University of Michigan; several recitals have been entirely of Brazilian music. My love for the music and culture resulted in my first trip to Brazil in 2003. I have traveled there since then, most recently as a Fulbright Scholar and Visiting Professor at the Universidade de São Paulo. There is an abundance of Brazilian art song repertoire generally unknown in the United States. The music reflects the influence of several cultures, among them African, European, and Amerindian. A recorded history of Brazil’s rich music tradition can be traced back to the sixteenth-century colonial period. However, prior to colonization, the Amerindians who populated Brazil had their own tradition, which included music used in rituals and in other aspects of life. -
Let's Explore
Let’s Explore This lesson plan aims to introduce learners to Afro-Latinidad in Brazil through authentic and engaging resources in English. LEARNING OBJECTIVES: This resource incorporates activities aligned to the following Common Core Standards. Key Ideas & Details: (1) Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text; (2) Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. Craft & Structure: (4) Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone; (5) analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g. a section, chapter, scene, or stanza) relate to each other and the whole; (6) Assess how point of view or purpose shapes the content and style of a text. Integration of Knowledge & Ideas: (7) Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words; (9) Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take. Range of Reading & Level of Text Complexity: (10) Read and comprehend complex literary and informational texts independently and proficiently. Comprehension & Collaboration: (2) Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally; (3) Evaluate a speaker’s point of view, reasoning, and use of evidence, and rhetoric. -
Histories of Nineteenth-Century Brazilian
Perspective Actualité en histoire de l’art 2 | 2013 Le Brésil Histories of nineteenth-century Brazilian art: a critical review of bibliography, 2000-2012 Histoires de l’art brésilien du XIXe siècle : un bilan critique de la bibliographie, 2000-2012 Histórias da arte brasileira do século XIX: uma revisão critica da bibliografia Geschichten der brasilianischen Kunst des 19. Jahrhunderts : eine kritische Bilanz der Bibliographie, 2000-2012 Storie dell’arte brasiliana dell’Ottocento: un bilancio critico della bibliografia, 2000-2012 Historias del arte brasileño del siglo XIX: un balance crítico de la bibliografía, 2000-2012 Rafael Cardoso Electronic version URL: http://journals.openedition.org/perspective/3891 DOI: 10.4000/perspective.3891 ISSN: 2269-7721 Publisher Institut national d'histoire de l'art Printed version Date of publication: 31 December 2013 Number of pages: 308-324 ISSN: 1777-7852 Electronic reference Rafael Cardoso, « Histories of nineteenth-century Brazilian art: a critical review of bibliography, 2000-2012 », Perspective [Online], 2 | 2013, Online since 30 June 2015, connection on 01 October 2020. URL : http://journals.openedition.org/perspective/3891 ; DOI : https://doi.org/10.4000/ perspective.3891 Histories of nineteenth-century Brazilian art: a critical review of bibliography, 2000-2012 Rafael Cardoso The history of nineteenth-century Brazilian art has undergone major changes over the first years of the twenty-first century. It would be no exaggeration to say that more has been done in the past twelve years than in the entire preceding century, at least in terms of a scholarly approach to the subject. A statement so sweeping needs to be qualified, of course, and it is the aim of the present text to do just that. -
Heitor Villa-Lobos and the Parisian Art Scene: How to Become a Brazilian Musician*
1 Mana vol.1 no.se Rio de Janeiro Oct. 2006 Heitor Villa-Lobos and the Parisian art scene: how to become a Brazilian musician* Paulo Renato Guérios Master’s in Social Anthropology at PPGAS/Museu Nacional/UFRJ, currently a doctoral student at the same institution ABSTRACT This article discusses how the flux of cultural productions between centre and periphery works, taking as an example the field of music production in France and Brazil in the 1920s. The life trajectories of Jean Cocteau, French poet and painter, and Heitor Villa-Lobos, a Brazilian composer, are taken as the main reference points for the discussion. The article concludes that social actors from the periphery tend themselves to accept the opinions and judgements of the social actors from the centre, taking for granted their definitions concerning the criteria that validate their productions. Key words: Heitor Villa-Lobos, Brazilian Music, National Culture, Cultural Flows In July 1923, the Brazilian composer Heitor Villa-Lobos arrived in Paris as a complete unknown. Some five years had passed since his first large-scale concert in Brazil; Villa-Lobos journeyed to Europe with the intention of publicizing his musical output. His entry into the Parisian art world took place through the group of Brazilian modernist painters and writers he had encountered in 1922, immediately before the Modern Art Week in São Paulo. Following his arrival, the composer was invited to a lunch in the studio of the painter Tarsila do Amaral where he met up with, among others, the poet Sérgio Milliet, the pianist João de Souza Lima, the writer Oswald de Andrade and, among the Parisians, the poet Blaise Cendrars, the musician Erik Satie and the poet and painter Jean Cocteau. -
Brazilian Recipes
Menu Feijoada Pao de Quejo Moqueqa de Peixe Rice Brigadeiros (dessert) Guarana (beverage) Glossary Brigadeiros: A simple Brazilian chocolate candy, created in the 1940s and named after Brigadier Eduardo Gomes, whose shape is reminiscent of that of some varieties of chocolate truffles. It is a popular candy in Brazil and it is usually served at birthday parties. Gomes was Brazilian Air Force Brigadier. Later he ran unsuccessfully for the presidency in 1946 and 1950. This was a time of shortage of traditional imports such as nuts and fruits because of the war. But, at the same time, Nestle was introducing its brand of chocolate powder and condensed milk into the country. Churrasco: In Brazil, churrasco is the term for a barbecue (similar to the Argentine, Uruguayan, Paraguayan and Chilean asado) which originated in southern Brazil. Brazilian churrasco contains a variety of meats which may be cooked on a purpose-built "churrasqueira", a grill or barbecue, often with supports for spits or skewers. Portable "churrasqueiras" are similar to those used to prepare the Argentine, Paraguayan and Uruguayan asado, with a grill support, but many Brazilian "churrasqueiras" do not have grills, only the skewers above the embers. The meat may alternatively be cooked on large metal or wood skewers resting on a support or stuck into the ground and roasted with the embers of charcoal (wood may also be used, especially in the State of Rio Grande do Sul. Dende oil : Used in Brazilian and West African cooking palm or dende oil is made from the kernel of the palm fruit. The oil is thick and red-orange in color with a nutty flavor and high in saturated fat. -
André Mendes Lula Ricardi Marcelo Solá
André Mendes Lula Ricardi Marcelo Solá from march 8 to june 29, 2020 1 Summary Concept 3 The Artists 5 André Mendes 5 Lula Ricardi 13 Marcelo Solá 22 The Gallery 28 General Information 29 Photos 30 Acknowledgments 31 2 Concept A space is only real after we recognize it. During this process we are confronted with factors that in abstract ways, give it life. Thoughts, expressions, feelings and objects, merge to create what we interpret as a private or public space, becoming real after conviviality emerges. The space likewise becomes historical, through the accumulation of events, carrying with the weight of a place that records the details of our coexistence. André Mendes exemplifies how contemporary art provokes a serious debate about our own history, and demystifies the visual sensations that we have accumulated throughout centuries. His artworks were created inside an ancient Parisian cloister from the XIVth Century but he used ecological contemporary material. Photo maquette André Mendes Lula Ricardi presents his minimalistic artworks using architecture as the basis for his creations. Architecture is one of his strongest supports. Behind his architect's eye there is always a critical observation of our political status. According to Divino Sobral the artist is “moved by restlessness and the need to displace his field of work and his means of expression. He does not consider himself a photographer, facing photography as another visual resource that he can apply to his work to establish a dialogue to the world.” Marcelo Solá developed a long research on architecture and culture of Brazilian black ancient communities, their habitat and their way of living. -
Brazil Beckons
winetravel WORDS ELISABETH KING GAME ON - BRAZIL BECKONS I FIRST visited Brazil, a country that makes as baianas de acaraje and the signature dish a $2 chopp (beer) in the web of bars near up half of South America, on a crackpot is moqueca - a spicy seafood stew. the main uni or head for an upscale dinner week-long itinerary that included daily flights Like Sydney, Recife is an ocean-loving in the Asa Sul district. ranging from three to five hours. Brazil’s city of four million and the 9km long Boa Most tourists come to Curitiba, the “Green geography isn’t an opt-out choice. Twelve Viagem beach is the longest urban seafront Capital of Brazil”, to board the Serra Verde of its major cities were showcased during in Brazil. It’s best to dive into the upmarket Express train through the Atlantic rainforest. the FIFA World Cup and getting around the bars lining the crowded strip because Polish, Italian and Japanese immigrants sprawling nation - 825,000 square kilometres shark attacks are frequent - more than came here to avoid the heat and humidity of larger than Australia - is easier and more double the global average. Recife Antigo the coast. Several open-air markets filled with seductive than ever. If you are sorry you (old town) is a safer bet, too, with all-hours food stalls reflect the city’s mixed European missed the final match at Rio’s Maracana bars and restaurants tucked into Dutch heritage and serve as feeding stations for the stadium, you still have two years up your and Portuguese colonial buildings. -
The Academy of Fine Arts in Rio De Janeiro and Its Role on the Formation of National Identity in Brazil
THE ACADEMY OF FINE ARTS IN RIO DE JANEIRO AND ITS ROLE ON THE FORMATION OF NATIONAL IDENTITY IN BRAZIL Sonia Gomes Pereira THE CREATION OF THE ACADEMY OF FINE ARTS IN RIO DE TH JANEIRO AND THE BRAZILIAN ART OF THE 19 CENTURY The transfer of the Portuguese court in 1808 to Rio de Janeiro has caused a huge transformation in the political scene in Brazil. Several institutions appeared in order to adjust the country to its new role as the capital of the Portuguese empire. One of these institutions was the Imperial Academy of Fine Arts, created in 1816 and finally opened in 1826. The formal artistic teaching under the academic rules changed the Brazilian art. An intense laicization took place: civil buildings, urban improvements, sculptured monuments and various genders of paintings, as portrait and history painting.1 In all these artistic achievements, especially after the independence in 1822, the Academy played the leading role at the political project of the nation construction and of its cultural identity. The narrative of past history and the idealization of the native Indians were fundamental in this state strategy – topics that have been well studied by the present historiography of Brazilian art.2 But the discovery of the landscape and the representation of a multiracial population were also important for the construction of the national identity. In this paper, I shall examine all these topics as connected by a more extended cultural program, to which the Academy was sensible, at least at their annual exhibitions. All of them have 1 It is important to point out that our colonial art was mostly religious. -
Chapter.11.Brazilian Cdr.Cdr
BRAZIL Chapter 11 Art, Literature and Poetry Brazil was colonized by Portugal in the middle of the 16th century. In those early times, owing to the primitive state of Portuguese civilization there, not much could be done in regard to art expression. The original inhabitants of the land, pre-Columbian Indigenous peoples, most likely produced various forms of art, but very little is known about this. Little remains, except from elaborate feather items used as body adornments by all different tribes and specific cultures like the Marajoara, who left sophisticated painted pottery. So, Brazilian art - in the Western sense of art - began in the late 16th century and, for the greater part of its evolution until early 20th century, depended wholly on European standards. 170 BRAZIL Pre-Columbian traditions Main article: Indigenous peoples in Brazil Santarém culture. Museu Paraense Emílio Goeldi Bororo Indian with feather headdress and body painting 171 BRAZIL The oldest known art in Brazil is the cave paintings in Serra da Capivara National Park in the state of Piauí, dating back to c. 13,000 BC. More recent examples have been found in Minas Gerais and Goiás, showing geometric patterns and animal forms. One of the most sophisticated kinds of Pre- Columbian artifact found in Brazil is the sophisticated Marajoara pottery (c. 800–1400 AD), from cultures flourishing on Marajó Island and around the region of Santarém, decorated with painting and complex human and animal reliefs. Statuettes and cult objects, such as the small carved-stone amulets called muiraquitãs, also belong to these cultures. The Mina and Periperi cultures, from Maranhão and Bahia, produced interesting though simpler pottery and statuettes. -
ART DECO and BRAZILIAN MODERNISM a Dissertation
SLEEK WORDS: ART DECO AND BRAZILIAN MODERNISM A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirement for the degree of Doctor in Philosophy in Spanish By Patricia A. Soler, M.S. Washington, DC January 23, 2014 Copyright by Patricia A. Soler All rights reserved ii SLEEK WORDS: ART DECO AND BRAZILIAN MODERNISM Patricia A. Soler, M.S. Thesis advisor: Gwen Kirkpatrick, Ph.D. ABSTRACT I explore Art Deco in the Brazilian Modernist movement during the 1920s. Art Deco is a decorative arts style that rose to global prominence during this decade and its proponents adopted and adapted the style in order to nationalize it; in the case of Brazil, the style became nationalized primarily by means of the application of indigenous motifs. The Brazilian Modernists created their own manifestations of the style, particularly in illustration and graphic design. I make this analysis by utilizing primary source materials to demonstrate the style’s prominence in Brazilian Modernism and by exploring the handcrafted and mechanical techniques used to produce the movement’s printed texts. I explore the origins of the Art Deco style and the decorative arts field and determine the sources for the style, specifically avant-garde, primitivist, and erotic sources, to demonstrate the style’s elasticity. Its elasticity allowed it to be nationalized on a global scale during the 1920s; by the 1930s, however, many fascist-leaning forces co- opted the style for their own projects. I examine the architectural field in the Brazil during the 1920s. -
The Artist the Sculptor Leopoldo Martins Was Born in 1961 in Belo
www.ricardofernandes.biz [email protected] The Artist The sculptor Leopoldo Martins was born in 1961 in Belo Horizonte - Brazil. His uncle Meschesse, founded the Sculpture Department of the Fine Arts School at the State Federal University during the 1960’s and signed important monuments in the city, influencing the beginning of Martins’ artistic interest and trajectory. Young, Leopoldo Martins started studying art and design and soon developed his drawing techniques. He graduated in 1982 in Industrial Design at the same State Federal University founded by his uncle. Leopoldo was always fascinated by three-dimensional forms and started researching how to better express himself and how to transform his drawings into three-dimensional-objects bringing it to reality. It was in the beginning of the 90’s when Martins met Brazilian modernist sculptor Sonia Ebling and started working as her pupil during almost ten years, that he finally felt encouraged to cast his first sculptures and to dedicate his complete carrier to Fine Arts. The artist detailed observation of nature and his passion for wild animals resulted in the development of his first prestigious series “Felines”, exhibited at The National Museum of Fine Arts of Rio de Janeiro in 2003 primarily supported by his tutor Sonia Ebling, deceased at that same year. The success of the “Felines” series immediately helped to promote his evolution on the contemporary art scene building up his approval into the selective national and international contemporary art market. Today, his artworks are part of the collection of The National Museum of Fine Arts of Rio de Janeiro, one of the most respected art institutions of the country. -
Contemporary Carioca: Technologies of Mixing in A
Con tempo C o n t e m p o r a r y raryC a r i o c a Cari oca ontemporary CCarioca Technologies of Mixing in a Brazilian Music Scene Frederick Moehn Duke University Press Durham anD LonDon 2012 © 2012 Duke University Press All rights reserved. Printed in the United States of America on acid-free paper ♾ Designed by Kristina Kachele Typeset in Quadraat and Ostrich Sans by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of Stony Brook University, which provided funds toward the publication of this book. For Brazil’s musical alchemists ontents Illustrations ix C Preface xi Acknowledgments xxiii Introduction 1 1 Marcos Suzano: A Carioca Blade Runner 25 2 Lenine: Pernambuco Speaking to the World 55 3 Pedro Luís and The Wall: Tupy Astronauts 92 4 Fernanda Abreu: Garota Carioca 130 5 Paulinho Moska: Difference and Repetition 167 6 On Cannibals and Chameleons 204 Appendix 1: About the Interviews, with a List of Interviews Cited 211 Appendix 2: Introductory Aspects of Marcos Suzano’s Pandeiro Method 215 Notes 219 References 245 Discography 267 Index 269 llustrations Map of Rio de Janeiro with inset of the South Zone 6 1 “mpb: Engajamento ou alienação?” debate invitation xii 2 Marcos Suzano’s favorite pandeiro (underside) 29 I 3 Marcos Suzano demonstrating his pandeiro and electronic foot pedal effects setup 34 4 A common basic samba pattern on pandeiro 48 5 One of Marcos Suzano’s pandeiro patterns 49 6 Marcos