Brazilians in Australia a Snapshot of Brazilian Migration to Victoria

Total Page:16

File Type:pdf, Size:1020Kb

Brazilians in Australia a Snapshot of Brazilian Migration to Victoria Brazilians in Australia a snapshot of Brazilian migration to Victoria Luciana Fraguas “ To all the volunteers who have supported us over the past 12 years, to our members who believed in our work, and for those pioneers who came, conquered and departed. To all of them we dedicate this work and hope new pioneers will continue to build our community in Victoria.” Abrisa Committee – 2014 Brazilians in Australia a snapshot of Brazilian migration to Victoria Luciana Fraguas ACKNOWLEDGMENTS Concept: Alba Chliakhtine Journalist/Editor: Luciana Fraguas Graphic Designer: Clarice Trevisan Project Coordinator: Roseli Diniz Journalists/Contributors: Denise Frizzo, Natalia Ballotin, Cátia Nunes, Suzana Alvarenga, Peta Farquhar and Gefferson Heemann Proof readers: Amelia Cooper and Nicole Daws Photos: Alexandre Barreto and Thaise Zimmermann Antonio Rodrigues photograph: courtesy of Hazel Benini All other images: Interviewees and Abrisa’s volunteers personal archives Supported by: ExxonMobil Australia (Volunteer Involvement Program Grant) The University of Melbourne Brazilians in Australia – A snapshot of Brazilian Migration to Victoria ISBN 978-0-646-92127-3 4 BRAZILIANS IN AUSTRALIA Contents 4/NOTE FROM ALBA CHLIAKHTINE 6/NOTE FROM LUCIANA FRAGUAS 8/ BRAZILIANS IN AUSTRALIA – A BRIEF HISTORY 13/ A POPULATION THAT HAS TRIPLED IN THE LAST 20 YEARS 16/THE CULTURA BRASILEIRA PROGRAM 18/LIVING AND WORKING IN VICTORIA 19/INTERVIEWS 52/REFERENCES Our history started in 1871 and continues today with many Brazilians calling Australia home. In Victoria we were “a dozen” then and became Note from 2,013 over the past century. Alba Chliakhtine Abrisa’s Executive Officer 6 BRAZILIANS IN AUSTRALIA When a friend handed me the book All of Us (a collection as Degraves Lane attract our visitors and make the city of interviews with Brazil-born Victorian migrants), I was look even more special. surprised to find out how culturally diverse our state was. With only a small Brazilian population in Melbourne, I knew very little about Australia when I made the we used to get together in small groups to celebrate our decision to leave Brazil for Melbourne in 1988. heritage. It was not until 2002, we saw the need for an official group and thus Abrisa, the Brazilian Association All of Us was a catalyst for the idea of Brazilians in for Social Development and Integration in Australia, Australia, a snapshot of Brazilian migration to Australia. was created. Its main purpose is to welcome and support In putting this book together we tried to capture newly arrived Brazilians as well as celebrating our a snapshot of the Brazilian community living in heritage through music, art and cuisine. one of the most culturally and linguistically diverse places in the world. We wanted to show how our lives In recognition of more than 10 years of Abrisa, a group had changed, not just through the migration process, of us, journalists, photographers, designers, editors and but also through living many years in a city that many other volunteers, decided to create this book as transformed both itself and us. a contribution to the story of migration to this country. Of course this would not have been possible without the The Brazilian history in Victoria started in 1871 and willing participation of the interviewees involved. continues today with many Brazilians calling Australia home. In Victoria we were a “dozen” then, and became With Brazilians in Australia we celebrate more than 2,013 over the past century. 10 years of Abrisa and recognise the many people who helped build our community. We would also like Some of us who have been here for a long time and to express our gratitude to the Federal Government, have seen the transformation of a city that in the 1960’s Victorian Government (OMAC), the City of Melbourne was home for predominantly Anglo-Saxon migrants and other local government councils who have supported to a vibrant metropolis voted the “most liveable city” our efforts throughout the past 12 years. in the world. Finally, after 25 years in Australia, my story continues! I still remember, soon after my arrival in 1988, sitting As I grab my cappuccino every morning on my opposite the National Museum of Victoria and writing way to work at Madame Brussels’ Lane, I have a sense letters to friends. Back then, seeing the small number of of joy – not just for the taste and energy the Italian people in the city during the weekends gave me a sense beverage gives me, but also a sense of pride I feel of emptiness and longing, as I had left behind a crowded in conquering my dreams in a city that embraced Belo Horizonte, the capital of Minas Gerais in Brazil. so many cultural groups. During the 1990s, I saw the first few “alfresco” cafés This is my story, but in the following pages you will read sprouting long the Southbank area. Melbourne was about many other Brazilians, who left everything behind developing in charm in areas beyond the known tourist to start a whole new story. haunts such as Lygon Street. Today special spots such BRAZILIANS IN AUSTRALIA 7 What makes people leave everything behind and look elsewhere for what Note from they perceive as a better life? Luciana Fraguas Journalist 8 BRAZILIANS IN AUSTRALIA The history of Brazilian migration to Victoria is not I would, however, like to thank specifically the recent; the Victorian census recorded 45 Brazilians three journalists and contributors who helped with living in the state as early as 1871. It is believed that the interviews: Denise Frizzo, Natalia Ballotin and these brave new migrants may have come to Australia Cátia Nunes. The text was proof read by the amazing on board English ships that stopped at Rio de Janeiro Amelia Cooper and Nicole Daws, great admirers on their way to Australia. of the Brazilian culture and way of life. What were their hopes and dreams? What were they I would like to thank Suzana Alvarenga for helping looking for when they jumped on those ships? These me track down and identify some of the “characters” are perennial questions. They were asked back then, who arrived in the early waves of migration (1950’s and are still being asked today. and 1960’s) and Peta Farquhar, who sourced all the Australian Bureau of Statistics (ABS) data. What makes people leave everything behind in their home country and look elsewhere for what they perceive I also want to thank Alba Chliakhtine, Abrisa’s as a better life? Is it a desire for the unknown or an Executive Officer, who invited me to work on this project adventure? Or it is just an unsettling feeling of wanting and was enthusiastic from day one. Many thanks to to explore the world and travel away from the country Clarice Trevisan, the “master” graphic designer, who put of your birth? our ideas on paper and gave them life. Roseli Diniz was a major driving force behind it all and was fundamental The reasons were unclear (and one could say they to making it happen. still are). The fact remains, however, that Brazilians kept coming to Australia. But most of all a big thank to our 29 interviewees, who generously shared their stories and opened their houses This book is about the Brazilians who came and decided (and hearts) to us. In the course of transcribing their to stay. They are immigrants who made a difference interviews in the most accurate way, many of them in the lives of others and who worked and contributed were contacted a number of times, and all of them were to their new communities while adapting to their country in touch with us over a period of more than two years. of choice. It also presents statistical data that may help us They never wavered and were always happy to answer form a more accurate picture of the Brazilian migration questions and talk to us. to Victoria and Australia in recent years. Finally, I would like to thank my husband Peter and my This publication is the result of a project initiated by children Alexis and Marcus as I wouldn’t have been able the Brazilian Association for Social Development and to deliver this project without their love and support. Integration in Australia (Abrisa). It was born out of a need by the growing Brazilian community in Victoria to be acknowledged and have their stories documented. It was only made possible by the combined efforts of volunteers, who helped throughout the process of putting this document together. BRAZILIANS IN AUSTRALIA 9 BRAZILIANS IN AUSTRALIA – A BRIEF HISTORY BRAZIL-BORN AUSTRALIANS IN NUMBERS The researcher James Jupp, in his There is also some evidence of earlier started under the Australian Government’s major work The Australian People: Brazilian migration in the seventeenth assisted migration program in the late An Encyclopaedia of the Nation, wrote and eighteenth centuries, but the first 1960’s and early 1970’s. about the first pieces of evidence of the registered records of Brazilians migrating earliest Brazilian interest in Australia. to Australia became available only at the With the Commonwealth Government’s turn of the twentieth century. refugee and humanitarian programs “ When Captain Phillip and the ships in the 1980’s, the number of Brazilians of the First Fleet were docked in In 1891, the Australian Bureau of in Victoria rose to 550 in 1991. This Rio de Janeiro, en route to Australia, Statistics (ABS) listed 52 Brazil-born growth continued to the end of the a Portuguese soldier stationed in immigrants living in Victoria, nearly twentieth century. Brazil boarded Phillip’s ship Sirius half of the total of 105 Brazilians living and requested that he be allowed in Australia in 1901.
Recommended publications
  • Thesis Turned Broadway
    The Library of America • Story of the Week From Dance in America: A Reader’s Anthology (Library of America, 2018), pages 258–61. Originally published in California Arts and Architecture, August 1941 and reprinted in Kaiso!: Writings by and about Katherine Dunham (2005). Copyright © 2005 by Katherine Dunham. Used by permission of the Estate of Katherine Dunham. Katherine Dunham (1909–2006) What a life! Katherine Dunham was a formidable dancer, an irre- pressible choreographer, a driven social activist, a groundbreaking ethnologist and anthropologist, a serial autobiographer, an interna- tional star, an inspiration, a scandal (banned in Boston!), and a model for generations of African American performers. It’s surprising that she found time to die, even if it was at the age of ninety- six. She starred as Georgia Brown in George Balanchine’s Broadway musical Cabin in the Sky, the show that Ethel Waters stopped with “Taking a Chance on Love.” (Lena Horne played Georgia in the movie.) She went on a forty- seven-day hunger strike to protest American policies toward Haitian refugees. (Speaking of Haiti, she became a priestess of the Vaudon reli- gion there.) She choreographed a new production of Aïda at the Met, featuring Leontyne Price. For decades, she toured the world with her Katherine Dunham Dance Company, mostly performing revues she created with names like Bal Nègre and Caribbean Rhapsody. (Danc- ers affiliated with Dunham’s company include Eartha Kitt, Janet Col- lins, and Talley Beatty.) She married the artist and scenic designer John Pratt, her collaborator on her shows as well, and they adopted a French baby.
    [Show full text]
  • Welcome Letter 2013 Samuel H. Scripps American Dance Festival
    Welcome Letter 2013 Samuel H. Scripps American Dance Festival Award Lin Hwai-min The ADF wishes to thank the late Samuel H. Scripps, whose generosity made possible the annual $50,000 Samuel H. Scripps American Dance Festival Award. The Award was established in 1981 as the first of its kind and honors chorographers who have dedicated their lives and talent to the creation of modern dance. The continuation of the award is made possible through the SHS Foundation and its President, Richard E. Feldman. Celebrated choreographer, director, and educator Lin Hwai-min will be presented with the 2013 Award by Joseph V. Melillo in a special ceremony on Saturday, July 27th at 8:00 pm, prior to the Forces of Dance performance at the Durham Performing Arts Center. The program will also include a performance of the solo from Lin Hwai-min’s 1998 work Moon Water, performed by Cloud Gate Dance Theatre dancer Chou Chang-ning. Mr. Lin’s fearless zeal for the art form has established him as one of the most dynamic and innovative choreographers today. His illustrious career as a choreographer has spanned over four decades and has earned him international praise for his impact on Chinese modern dance. He is the founder, choreographer, and artistic director of both Cloud Gate Dance Theatre of Taiwan (founded in 1973) and Cloud Gate 2 (founded in 1992), and his choreography continues to be presented throughout the United States, Europe, and Asia. While his works often draw inspiration from traditional elements of Asian culture and aesthetics, his choreographic brilliance continues to push boundaries and redefine the art form.
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with Arthur Mitchell
    Finding Aid to The HistoryMakers ® Video Oral History with Arthur Mitchell Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Mitchell, Arthur, 1934-2018 Title: The HistoryMakers® Video Oral History Interview with Arthur Mitchell, Dates: October 5, 2016 Bulk Dates: 2016 Physical 9 uncompressed MOV digital video files (4:21:20). Description: Abstract: Dancer, choreographer, and artistic director Arthur Mitchell (1934 - 2018 ) was a principal dancer for the New York City Ballet for fifteen years. In 1969, he co-founded the Dance Theatre of Harlem, the first African American classical ballet company and school. Mitchell was interviewed by The HistoryMakers® on October 5, 2016, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2016_034 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Dancer, choreographer and artistic director Arthur Mitchell was born on March 27, 1934 in Harlem, New York to Arthur Mitchell, Sr. and Willie Hearns Mitchell. He attended the High School of Performing Arts in Manhattan. In addition to academics, Mitchell was a member of the New Dance Group, the Choreographers Workshop, Donald McKayle and Company, and High School of Performing Arts’ Repertory Dance Company. After graduating from high school in 1952, Mitchell received scholarships to attend the Dunham School and the School of American received scholarships to attend the Dunham School and the School of American Ballet. In 1954, Mitchell danced on Broadway in House of Flowers with Geoffrey Holder, Louis Johnson, Donald McKayle, Alvin Ailey and Pearl Bailey.
    [Show full text]
  • Honorary Degree Recipients 1977 – Present
    Board of Trustees HONORARY DEGREE RECIPIENTS 1977 – PRESENT Name Year Awarded Name Year Awarded Claire Collins Harvey, C‘37 Harry Belafonte 1977 Patricia Roberts Harris Katherine Dunham 1990 Toni Morrison 1978 Nelson Mandela Marian Anderson Marguerite Ross Barnett Ruby Dee Mattiwilda Dobbs, C‘46 1979 1991 Constance Baker Motley Miriam Makeba Sarah Sage McAlpin Audrey Forbes Manley, C‘55 Mary French Rockefeller 1980 Jesse Norman 1992 Mabel Murphy Smythe* Louis Rawls 1993 Cardiss Collins Oprah Winfrey Effie O’Neal Ellis, C‘33 Margaret Walker Alexander Dorothy I. Height 1981 Oran W. Eagleson Albert E. Manley Carol Moseley Braun 1994 Mary Brookins Ross, C‘28 Donna Shalala Shirley Chisholm Susan Taylor Eleanor Holmes Norton 1982 Elizabeth Catlett James Robinson Alice Walker* 1995 Maya Angelou Elie Wiesel Etta Moten Barnett Rita Dove Anne Cox Chambers 1983 Myrlie Evers-Williams Grace L. Hewell, C‘40 Damon Keith 1996 Sam Nunn Pinkie Gordon Lane, C‘49 Clara Stanton Jones, C‘34 Levi Watkins, Jr. Coretta Scott King Patricia Roberts Harris 1984 Jeanne Spurlock* Claire Collins Harvey, C’37 1997 Cicely Tyson Bernice Johnson Reagan, C‘70 Mary Hatwood Futrell Margaret Taylor Burroughs Charles Merrill Jewel Plummer Cobb 1985 Romae Turner Powell, C‘47 Ruth Davis, C‘66 Maxine Waters Lani Guinier 1998 Gwendolyn Brooks Alexine Clement Jackson, C‘56 William H. Cosby 1986 Jackie Joyner Kersee Faye Wattleton Louis Stokes Lena Horne Aurelia E. Brazeal, C‘65 Jacob Lawrence Johnnetta Betsch Cole 1987 Leontyne Price Dorothy Cotton Earl Graves Donald M. Stewart 1999 Selma Burke Marcelite Jordan Harris, C‘64 1988 Pearl Primus Lee Lorch Dame Ruth Nita Barrow Jewel Limar Prestage 1989 Camille Hanks Cosby Deborah Prothrow-Stith, C‘75 * Former Student As of November 2019 Board of Trustees HONORARY DEGREE RECIPIENTS 1977 – PRESENT Name Year Awarded Name Year Awarded Max Cleland Herschelle Sullivan Challenor, C’61 Maxine D.
    [Show full text]
  • Foraging Behavior of Hudsonian Godwit Limosa Haemastica (Charadriiformes, Scolopacidae) in Human-Disturbed and Undisturbed Occasions in the Atlantic Coast of Brazil
    ISSN (impresso) 0103-5657 ISSN (on-line) 2178-7875 Revista Brasileira de Ornitologia Volume 19 Número 4 www.ararajuba.org.br/sbo/ararajuba/revbrasorn Dezembro 2011 Publicada pela Sociedade Brasileira de Ornitologia São Paulo - SP Revista Brasileira de Ornitologia, 19(4), 535-538 NOTA Dezembro de 2011 Foraging behavior of Hudsonian Godwit Limosa haemastica (Charadriiformes, Scolopacidae) in human-disturbed and undisturbed occasions in the Atlantic coast of Brazil César Cestari1,2 1. Programa de Pós-Graduação em Zoologia, Universidade Estadual Paulista “Júlio de Mesquita Filho” (UNESP), Campus de Rio Claro. CEP 13506-900, Rio Claro, SP, Brasil. 2. Current address: Departamento de Zoologia, Universidade Estadual Paulista “Júlio de Mesquita Filho” (UNESP), Campus de Rio Claro. CEP 13506-900, Rio Claro, SP, Brasil. E-mail: [email protected] Recebido em: 04/03/2011. Aceito em: 01/09/2011. RESUMO: Comportamento de forrageio do maçarico-de-bico-virado Limosa haemastica (Aves, Scolopacidae) em ocasiões com perturbação e sem perturbação humana na costa Atlântica do Brasil. O maçarico-de-bico-virado, Limosa haemastica é considerado uma das aves pernaltas mais pouco estudadas que se reproduzem na América do Norte. Durante a migração, esta espécie utiliza poucas escalas até alcançar áreas de invernada no sul da América do Sul. Desta forma, estudos biológicos no decorrer de sua rota de migração são escassos. O foco deste artigo foi analisar o comportamento de forrageio de três indivíduos migrantes do maçarico-de-bico-virado que fizeram escala em áreas de entre-marés da costa sul do estado de São Paulo. Eu utilizei uma câmera digital para filmar e quantificar precisamente as técnicas de forrageio, o tempo de forrageio em hábitats e as distâncias percorridas pelas aves.
    [Show full text]
  • Commencement Program, 1991
    The University of the Arts Commencement May 18, 1991 ^^ Digitized by the Internet Archive in 2011 with funding from LYRASIS IVIembers and Sloan Foundation http://www.archive.org/details/commencementprog1991univ The University of the Arts Commencement May 18, 1991 Philadelphia College of Performing Arts 1870 Philadelphia College of Art and Design 1876 Processional Welcome Peter Solmssen, President Commencement Address Ambassador Daniel J. Terra Student Address Stacey N. Martino Ronald Scott McBain H. Colton O'Conner Jeff T. Ryan Anthony D. Thyne Alumni Awards Lydia Artymiw Ed Colker Honorary Degree of Doctor of Fine Arts Ivan Chermayeff WillardG. Rouse Ellen Stewart Conferring of Degrees and Certificates Dorrance H. Hamilton, Chairman Board of Trustees Closing Remarks Peter Solmssen Recessional Audience will rise Degrees Bachelor of Fine Arts, Pennsylvania Academy of the Fine Arts Coordinate Program "Jane E. Buscher " Lisa George Fox William Thompson "James Brian Walsh Bachelor of Fine Arts in Animation Samuel H. Bullock James E. Eyies Maria Crisstina Mailey Commencement "Christopher Scott Moeller Candidates Larry C. Schmehl II Anthony D. Thyne Bachelor of Science in Architectural Studies Sherri M. Adier Elizabeth Maria Blengino Master of Arts in Amena C. Najjar Art Education Helen H. Kang Ambar Astuti Jeffrey Reid Kiefer Annette Barnett Lea Marie Munjone 'Elizabeth Hoak Doering Janice Emily Muscio "Elizabeth Puetter Schaeffer Sittisan Sundaravej Jess A. Walker "Jennifer K. Woodhouse Master of Arts in Teaching Bachelor of Fine Arts in Visual Arts in Crafts •Rebekah Finstein Mary Anna Boston Cheryl Fisher :t:Devin Coyne Linda Audrey Keels Elizabeth L. Despard Keith C. Sharp Laura Ferry 'Patricia M. Siembora "David Downing Gibson Kevin Charles Washabaugh Rebecca C.
    [Show full text]
  • Characterization of Small-Scale Fisheries in the Camamu-Almada Basin, Southeast State of Bahia, Brazil Souza, TCM*
    Characterization of small-scale fisheries in the Camamu-Almada basin, southeast state of Bahia, Brazil Souza, TCM*. and Petrere-Jr, M.* Departamento de Ecologia, Universidade Estadual Paulista – UNESP, CP 199, CEP 13506-900, Rio Claro, SP, Brazil *e-mail: [email protected], [email protected] Received August 28, 2006 – Accepted February 22, 2007– Distributed November 30, 2008 (With 3 figures) Abstract In the Camamu-Almada basin, marine fishery is exclusively small-scale, with several structural deficiencies such as boats with low or absent navigational technology, lack of credit and low income. Local fishers complain that shrimp and lobster trawling fishing is the main factor responsible for low stock abundance, but they still persist in these activities as these two species command the highest market prices. So they feel that the target species are already over-fished. We suggest that proper management action, alternative ways of income generation and the payment of job insurance would help to mitigate the problem. Keywords: tropical small-scale marine fisheries, tropical marine fishes, southeast state of Bahia, Brazil. Caracterização das pescarias de pequena-escala na bacia de Camamu-Almada no sudeste da Bahia, Brasil Resumo Na bacia Camamu-Almada, as pescarias marinhas são exclusivamente de pequena-escala, com várias deficiências estruturais: com barcos quase sem nenhuma tecnologia de auxílio à navegação, falta de crédito e baixa lucratividade. Os pescadores locais reclamam que a pesca de arrasto dirigida a camarões e lagosta é a principal responsável pela baixa abundância dos estoques preferenciais, mas como eles ainda têm alto preço no mercado, essa estratégia de pesca ainda persiste.
    [Show full text]
  • Harlem Intersection – Dancing Around the Double-Bind
    HARLEM INTERSECTION – DANCING AROUND THE DOUBLE-BIND A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Judith A. Miller December, 2011 HARLEM INTERSECTION – DANCING AROUND THE DOUBLE-BIND Judith A. Miller Thesis Approved: Accepted: _______________________________ _______________________________ Advisor School Director Robin Prichard Neil Sapienza _______________________________ _______________________________ Faculty Reader Dean of the College Durand L. Pope Chand Midha, PhD _______________________________ _______________________________ Faculty Reader Dean of the Graduate School James Slowiak George R. Newkome, PhD _______________________________ Date ii TABLE OF CONTENTS CHAPTER I. INTRODUCTION ……………………………………………………………………. 1 II. JOSEPHINE BAKER – C’EST LA VIE …………………..…….…………………..13 III. KATHERINE DUNHAM – CURATING CULTURE ON THE CONCERT STAGE …………………………………………………………..…………30 IV. PEARL PRIMUS – A PERSONAL CRUSADE …………………………...………53 V. CONCLUSION ……………………………………………………………...……….74 BIBLIOGRAPHY ……………………………………………………………………… 85 iii CHAPTER I INTRODUCTION “Black is Beautiful” became a popular slogan of the 1960s to represent rejection of white values of style and appearance. However, in the earlier decades of the twentieth century black women were daily deflecting slings and arrows thrown at them from all sides. Arising out of this milieu of adversity were Josephine Baker, Katherine Dunham, and Pearl Primus, performing artists whose success depended upon a willingness to innovate, to adapt to changing times, and to recognize and seize opportunities when and where they arose. Baker introduced her performing skills to New York audiences in the 1920s, followed by Dunham in the 1930s, and Primus in the 1940s. Although these decades resulted in an outpouring of cultural and artistic experimentation, for performing artists daring to cross traditional boundaries of gender and race, the obstacles were significant.
    [Show full text]
  • Revista Latino-Americana De História, Vol. 08, Nº. 22 – Ago./Dez. De 2019 ISSN 2238-0620
    Revista Latino-Americana de História, vol. 08, nº. 22 – ago./dez. de 2019 ISSN 2238-0620 DO FEIJÃO COM TOUCINHO AO “VIRADO À PAULISTA”: O PERCURSO SIMBÓLICO DE UMA RECEITA NA FORMAÇÃO DE UM PATRIMÔNIO CULINÁRIO DE SÃO PAULO FROM “FEIJÃO COM TOUCINHO” TO THE “VIRADO À PAULISTA”: SYMBOLIC PATHS OF A RECIPE IN THE FORMATION OF A SÃO PAULO’S FOOD HERITAGE Viviane Soares Aguiar* Resumo: Uma das poucas receitas conhecidas com o complemento “paulista” em seu nome, o virado figura em registros que, dos relatos sobre bandeiras e monções, chegam até o presente, com sua recente promoção a patrimônio cultural imaterial de São Paulo. Esta trajetória, se já foi estudada como parte de uma tradição estadual, ainda carece de uma discussão sobre seu percurso simbólico em ensaios, obras literárias e livros de receitas regionais. Com o objetivo de analisar a “biografia” do virado à paulista sob a perspectiva não das práticas domésticas, mas de narrativas construídas pela intelectualidade, este artigo acompanha a participação da receita na formação de um imaginário identitário para São Paulo, intentando abordar os meandros de eleição dela como um “prato típico” e, enfim, como um patrimônio oficial. Pretende-se, com isso, levantar questões sobre os processos de criação das cozinhas regionais e de suas receitas emblemáticas no Brasil, muitas vezes tomados como naturais e como verdades incontestáveis. Palavras-chave: Cozinha paulista. Patrimônio culinário. História da alimentação. Abstract: One of the few known recipes with the “paulista” complement in its name, the “virado” emerges in reports on colonial expeditions leaded by “bandeirantes” to current considerations, including its recent promotion as a São Paulo’s intangible cultural heritage.
    [Show full text]
  • Univerdidade De São Paulo Instituto De Psicologia
    UNIVERDIDADE DE SÃO PAULO INSTITUTO DE PSICOLOGIA Tânia Biazioli A quebra entre o passado e o futuro na cozinha caipira São Paulo 2018 Obra da contracapa Almeida Júnior Itu, SP, 1850 - Piracicaba, SP, 1899 Cozinha caipira, 1895 óleo sobre tela 63 x 87 cm Acervo da Pinacoteca do Estado de São Paulo, Brasil. Transferência do Museu Paulista, 1947 Crédito fotográfico: Isabella Matheus TÂNIA BIAZIOLI A quebra entre o passado e o futuro na cozinha caipira Versão Corrigida Tese apresentada ao Instituto de Psicologia da Universidade de São Paulo para a obtenção do título de Doutora em Psicologia Social Área de Concentração: Psicologia Social Orientadora: Profa. Titular Sylvia Leser de Mello São Paulo 2018 Aos camponeses, porque sem eles não haveria cozinha brasileira Agradecimentos À Professora Sylvia Leser de Mello pela coragem em aceitar me orientar nesta pesquisa, quando muitos outros se negaram. Ao sociólogo da alimentação, Carlos Alberto Dória, pelos cursos oferecidos sobre cozinha brasileira no Centro de Estudos Culinário Câmara Cascudo e na Escola do Gosto. Às historiadoras da alimentação, Leila Mezan Algranti e Rafaela Basso, pela indicação dos caminhos para o estudo da cozinha paulista no tempo dos bandeirantes. Às professoras de história da alimentação e de cartografia histórica, Leila Mezan Algranti (UNICAMP) e Íris Kantor (USP), que compuseram a banca de qualificação, sugerindo que o estudo se voltasse menos ao passado do que ao presente, menos à História do que à Psicologia. Ao chef de cozinha Rodrigo Oliveira, que gentilmente me indicou um cozinheiro caipira, de modo que a pesquisa começou primeiro dentro de um restaurante antes de encontrar seu caminho na universidade.
    [Show full text]
  • STUDY GUIDE SEASON FOUR Introduction
    By NAMBI E. KELLEY based on the novel NATIVE SON by RICHARD WRIGHT Directed by PSALMAYENE 24 STUDY GUIDE SEASON FOUR Introduction “Theatre is a form of knowledge; it should and can also be a means of transforming society. Theatre can help us build our future, rather than just waiting for it.”—Augusto Boal The purpose and goal of Mosaic’s education department is simple. Our program aims to further and cultivate students’ knowledge and passion for theatre and theatre education. We strive for complete and exciting arts engagement for educators, artists, our community, and all learners in the classroom. Mosaic’s education program yearns to be a conduit for open discussion and connection to help students understand how theatre can make a profound impact in their lives, in society, and in their communities. Mosaic Theater Company of DC is thrilled to have your interest and support! Catherine Chmura Arts Education Apprentice—Mosaic Theater Company of DC Written by Catherine Chmura, Khalid Y. Long, and Isaiah M. Wooden 2 NATIVE SON MOSAIC THEATER COMPANY of DC PRESENTS NATIVE SON By Nambi E. Kelley based on the novel NATIVE SON by Richard Wright Directed by Psalmayene 24 Set Designer: Ethan Sinnott Lighting Designer: William K. D’Eugenio Costume Designer: Katie Touart Projections Designer: Dylan Uremovich Sound Designer: Nick Hernandez Properties Designer: Willow Watson Movement Specialist: Tony Thomas* Production Stage Manager: Simone Baskerville* Dramaturg: Isaiah M. Wooden & Khalid Yaya Long Table of Contents Curriculum Connections: DC Public
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]