DOCSLIB.ORG

Tropicália and the Art Criticism of Mário Pedrosa in the 1960S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tropicália and the Art Criticism of Mário Pedrosa in the 1960S Is there a theory of peripheral postmodernism? Tropicália and the art criticism of Mário Pedrosa in the 1960s [ Existe uma teoria do pós-modernismo periférico? A Tropicália e a crítica de arte de Mário Pedrosa dos anos 1960 Josnei Di Carlo1 This work was carried out with support from the National Council for Scientific and Technological Development (CNPq – Conselho Nacional de Desenvolvimento Científico e Tecnológico) – Brazil. ABSTRACT • After Caetano Veloso and Gilberto e Gilberto Gil se apresentarem no Festival de Gil performed at the 1967 MPB Festival, there MPB, de 1967, evidenciou-se uma mudança was a change in Brazilian culture. From 1966 na cultura brasileira. De 1966 a 1968, Mário to 1968, Mário Pedrosa outlined in his Correio Pedrosa delineava em suas colunas do Correio da Manhã columns what he understood by da Manhã o que entendia por pós-modernismo postmodernism by analyzing contemporary analisando as artes visuais contemporâneas. visual arts. Despite the contemporaneity Apesar da contemporaneidade entre a between Tropicália and Pedrosa, his analysis Tropicália e Pedrosa, a análise dele não é is not used to understand the intervention of usada para compreender a intervenção dos the two musicians in the Brazilian culture dois músicos na cultura brasileira dos anos of the 1960s. Thus, we will reconstruct 1960. Assim, reconstruiremos o conceito de Pedrosa’s concept to investigate Tropicália Pedrosa para investigar a Tropicália enquanto as a manifestation of postmodernism uma manifestação do pós-modernismo in the periphery. • KEYWORDS • Mário na periferia. • PALAVRAS-CHAVE • Mário Pedrosa; postmodernism; center-periphery; Pedrosa; pós-modernismo; centro-periferia; Tropicalism. • RESUMO • Após Caetano Veloso Tropicalismo. Recebido em 4 de abril de 2019 Aprovado em 27 de julho de 2020 DI CARLO, Josnei. Is there a theory of peripheral postmodernism? Tropicália and the art criticism of Mário Pedrosa in the 1960s. Revista do Instituto de Estudos Brasileiros, Brasil, n. 76, p. 18-33, ago. 2020. DOI: https://doi.org/10.11606/issn.2316-901X.v1i76p18-33 1 Universidade Federal de Santa Catarina (UFSC, Florianópolis, SC, Brasil). Is there a theory of peripheral postmodernism? Tropicália and the art criticism of Mário Pedrosa in the 1960s [ Existe uma teoria do pós-modernismo periférico? A Tropicália e a crítica de arte de Mário Pedrosa dos anos 1960 Josnei Di Carlo1 This work was carried out with support from the National Council for Scientific and Technological Development (CNPq – Conselho Nacional de Desenvolvimento Científico e Tecnológico) – Brazil. The III Festival of Brazilian Popular Music, held by TV Record about 50 years ago, marks the emergence of Tropicália. When Caetano Veloso and Gilberto Gil took the stage at the Paramount Theater, being booed by the audience because they were accompanied by rock groups – Beat Boys and Os Mutantes, respectively –, they launched a new cultural cycle. The singers brought together radical artistic manifestations, from cinema to literature, through theater and visual arts, which aimed at authoritarianism, populism and customs. By incorporating all those aspects in a period when music was marked by rigid political positions, with the guitar symbolizing alienation from the newly established military dictatorship, Tropicália was ambivalent as a principle. Was its ambivalence political? No, and the military also understood that not when arresting and exiling Caetano and Gil in 1968, shortly after the Institutional Act Number 5 (AI-5 – Ato Institucional Nº 5) came into force; was structural, the Tropicalist aesthetic had an anthropophagic nature: without the fear of incorporating disparate elements, Tropicália allows to experience contemporaneity in a synchronous way, with the archaic and the modern integrated in an inapprehensible whole. Tropicalist ambivalence produced an immediate interest ever since its manifestation: between the late 1960s and the mid 1970s, Campos (1967a, 1967b, 1967c, 1968a, 1968b, 1968c), Chamie (1968), Schwarz (1978), Sant’Anna (1968), Santiago Recebido em 4 de abril de 2019 (1978), Vasconcellos (1977), among others, wrote founding texts about Tropicália. As Aprovado em 27 de julho de 2020 an ever-renewed interest, in the late 1970s Favaretto (1979) chose it as the object of study for his dissertation. Just a decade after they came on the scene, Caetano and DI CARLO, Josnei. Is there a theory of peripheral postmodernism? Tropicália and the art criticism of Gil were analyzed in depth by music and literary critics, and by sociology of culture2. Mário Pedrosa in the 1960s. Revista do Instituto de Estudos Brasileiros, Brasil, n. 76, p. 18-33, ago. 2020. 2 We sought to consult the original publishing sources – in the Estadão Collection (AE – Acervo Estadão) and in the National Library Foundation (FBN – Fundação Biblioteca Nacional). In cases where this was not possible, DOI: https://doi.org/10.11606/issn.2316-901X.v1i76p18-33 even when consulting the sources published for the first time in books, it is necessary to explain its origin: Schwarz’s article was originally published with the title “Remarques sur la Culture et la Politique au Brésil” – 1965/1969, in Les Temps Modernes, No. 288, 1970; Santiago’s piece, with the title “Caetano Veloso, os 365 Dias de Carnaval”, in Cadernos de Jornalismo e Comunicação, Jan.-Feb, 1973; the articles assembled by Vasconcellos in his 1977 book were published in Debate e Crítica, No. 6, July. 1975, Cadernos Almanaque, No. 2, 1976, Movimento, 1 Universidade Federal de Santa Catarina (UFSC, Florianópolis, SC, Brasil). 29 March. 1976 and Opinião, No. 196, Aug 6. 1976 and No. 199, Aug 17. 1976. • n. 76 • ago. 2020 (p. 18-33) 19 Ambivalence has always made Tropicália current and contemporary. With each new theory and with its concepts and categories used to examine certain phenomena of social reality, Tropicália is analyzed. In an interview with newspaper Zero Hora in 1990, Caetano argued that “tropicalism was an action by the people who worked with entertainment for the masses at the end of the 20th century, after all avant-garde were already aged. So it was already a post-modern situation” (LUCCHESI; DIEGUEZ, 1993, p. 250 – emphasis added). In 1994, Sovik (2012) presented a thesis on Tropicália arguing that Tropicalists produced a postmodern aesthetic in Brazil. Since the previous decade, the idea of postmodernism was already present in Brazil: two books sought to introduce the term, one written by Santos (1986) and another by Coelho (1986). While the former did not mention Brazilian thinkers who used the term before the French philosophers in the 1970s, the latter recognized Brazilian precursors, notably Mário Pedrosa, an art critic aware of the impact of new information technologies on culture and sensitivity. Between 1966 and 1968, Pedrosa began talking about postmodern art in his Correio da Manhã columns when referring to visual arts. We analyze Tropicália as a postmodern cultural style, considering the Pedrosian concept. D’Angelo (2011, p. 101 – emphasis added) observes that “the scope of the postmodern notion in Mário Pedrosa has a similar extent to that of Jameson, because it articulates the changes in art to the transformations of capitalism and culture”. When bringing Tropicália closer to postmodern aesthetics, Dunn (2009) and Brown (2007) have Fredric Jameson as their main reference. If the first alerts that the postmodern interpretation of Tropicália in dominant countries loses sight of its impact and intention in Brazil, the second affirms that Schwarz (1978), in his analysis of culture in the 1960s, described a postmodern cultural production without realizing it. Employing Pedrosa in our analysis of Tropicália indicates that the use of a concept thought in Brazil to apprehend postmodernism is a path to be explored: it was the transformations in the field of national and international arts, caused by the historical development of mass society, that led the critic to address postmodern art. We will first articulate aesthetic and political questions posed during the emergence of Tropicália, and then, when reconstructing Pedrosa’s understanding of postmodern art, we will analyze to what extent he may help us understand Tropicália, assembling, preferably, authors immersed in the context, in order to demonstrate that their appraisals regarding Tropicália described features present in the Pedrosian concept. Tropicália on newsstands In October 1967, the III Festival of Brazilian Popular Music took place in São Paulo. TV Record had created its festival in the previous year as a commercial strategy, taking advantage of their musical shows’ audience and planning a new one with the distinction of staging the main singers in Brazil, many of them hired by the company, competing against each other (TERRA; CALIL, 2013). The competitive atmosphere had been accentuated by the audience’s engagement, by applauding or booing the competitors. By exploring this aspect, Paulo Machado de Carvalho, director of TV 20 • n. 76 • ago. 2020 (p. 18-33) Record, leased the Paramount Theater, tripling the audience of the 1967 festival in comparison with the one of the previous year, which had been held at the Record Theater, with a capacity of 700 people. The efficient commercial strategy of the television network (NAPOLITANO, 2007) combined with the excellence of the songs presented, has made the III Festival of Brazilian Popular Music a landmark of our history. For Brazilian music, the composers took over their songs, presenting them to the public and
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Minister of Counterculture
    26 Guardian Weekly December 23 2005-January 5 2006 Culture Gilberto Gil is a musical legend - and now a senior Brazilian politician. He tz Minister of counterculture Gilberto Gil wears a sober suit and tie these days, and his dreadlocks are greying at the temples. But you soon remember that, as well as the serving culture minister of Brazil, you are in the presenceof one of the biggest l,atin American musicians of the 60s and 70s when you ask him about his intellectual influences and he cites Timothy l,eary. "Oh, yeah!" Gil says happily, rocking back in his chair at the Royal SocietyoftheArts in London. "Forexam- ple, all those guys at Silicon Valley - they're all coming basically from the psychedelic culture, you know? The brain-expanding processesof the crystal had a lot to do with the internet." Much as it may be currently de rigueur for journalists to ask politicians whether or not they have smoked marijuana, the question does not seem worth the effort. Gil's constant references to the hippy counterculture are not simplythe nostalgia of a 63-year-old with more than 4O albums to his name. For several years now, largely under the rest of the world's radar, the Braeilian government has been building a counterculture ofits own. The battlefield has been intellectual property - the ownership ofideas - and the revolution has touched everything, from internet file- sharing to GM crops to HIV medication. Phar- maceutical companies selling patented Aids drugs, for example, were informed that Brazil would simply ignore their claims to ownership and copy their products more cheaply if they didn't offer deep discounts.
    [Show full text]
  • Brazil Alberta White and Susan Holden
    Elementary Level Listening Worksheet Brazil Alberta White and Susan Holden 1 Listen to “Welcome To Brazil” (from “Brazil …” to “… something new about.”). Match the words you hear together. The first one is an example. Check your answers on p.6 of the book or in the answer key. 1 World a artists 2 Olympic b cities 3 Amazon c country 4 Amazon d CupTM 5 modern e Games® 6 natural f industries 7 big g Rainforest 8 exciting h regions 9 rich i resources 10 different j River 11 big k tradition 2 Listen to the first part of Chapter 1 (from “Brazil is in South America …” to “ … cold in the winter.”). Answer the questions. The first one is an example. Check your answers on pp.8–9 of the book or in the answer key. 1 Where is Brazil? In South America, next to Argentina, Bolivia, Colombia, French Guiana, Guyana, Paraguay, Peru, Suriname, Uruguay, and Venezuela 2 How many people live there? ____________________________________________________________________________________________ 3 What language do they speak? ____________________________________________________________________________________________ 4 How big is Brazil? ____________________________________________________________________________________________ 5 What is the highest mountain? ____________________________________________________________________________________________ 6 How long is Brazil's Atlantic Coast? ____________________________________________________________________________________________ 7 Which part of Brazil is hot all year? ____________________________________________________________________________________________ 8 What is the climate like in the south? ____________________________________________________________________________________________ ThisMacmillan page has been Readers downloaded from www.macmillanenglish.com. It is photocopiable, but all copies must be completeBrazil pages. 1 © Macmillan Publishers Limited 2014. This page has been downloaded from www.macmillanenglish.com. It is photocopiable, but all copies must be complete pages. © Macmillan Publishers Limited 2013.
    [Show full text]
  • Expanding Horizons: the International Avant-Garde, 1962-75
    452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
    [Show full text]
  • 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.
    [Show full text]
  • ZÉ DO CAIXÃO: SURREALISMO E HORROR CAIPIRA Ana Carolina
    ZÉ DO CAIXÃO: SURREALISMO E HORROR CAIPIRA Ana Carolina Acom — Universidade Estadual do Oeste do Paraná UNIOESTE 29 Denise Rosana da Silva Moraes Universidade Estadual do Oeste do Paraná — UNIOESTE Resumo: Esta pesquisa apresentará como o personagem Zé do Caixão, criado por José Mojica Marins, traduz um imaginário de medos e crenças tipicamente nacionais. Figura típica do cinema brasileiro, ele criou um personagem aterrorizante: a imagem agourenta do agente funerário, que traja-se todo em preto. Distante de personagens do horror clássico, que pouco possuem referências com a cultura latino-americana, Zé do Caixão parece vir diretamente do imaginário ―caipira‖ e temente ao sobrenatural, sempre relacionado ao receio de cemitérios, datas ou rituais religiosos. O estudo parte de conceitos vinculados à cultura e cotidiano, presente em autores como Raymond Williams e Michel de Certeau, para pensarmos de que forma o imaginário popular e a própria cultura são transpostos à tela. Com isso, a leitura cinematográfica, perpassa pelo conceito de imagem-sonho citado por Gilles Deleuze, e intrinsecamente ligado à matéria surrealista. Pensar o cinema de horror através do surrealismo é trazer imagens perturbadoras, muitas vezes oníricas de violência e fantasia. Nesse sentido, temos cenas na trilogia de Zé do Caixão povoadas de alucinações, cores, sonhos e olhos, só comparadas à Buñuel, Jodorowsky, Argento ou Lynch. No entanto, o personagem é um sádico e cético no limiar entre a sóbria realidade e a perplexidade de um sobrenatural que se concretiza em estados anômalos. Palavras-chave: Zé do Caixão; Cultura; Imagem-sonho; Surrealismo Cinema de Horror Brasileiro ou Notas sobre Cultura Popular [...] vi num sonho um vulto me arrastando para um cemitério.
    [Show full text]
  • CUBISM and ABSTRACTION Background
    015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement.
    [Show full text]
  • Past Looking: Using Arts As Historical Evidence in Teaching History
    Social Studies Research and Practice www.socstrp.org Past Looking: Using Arts as Historical Evidence in Teaching History Yonghee Suh Old Dominion University This is a comparative case study of how three high school history teachers in the U.S.A. use art in their practice. The following research question was investigated: How do secondary history teachers incorporate the arts—paintings, music, poems, novels, and films—in their teaching of history and why? Data were collected from three sources: interviews, observations, and classroom materials. Grounded theory was utilized to analyze the data. Findings suggest these teachers use the arts as historical evidence roughly for three purposes: First, to teach the spirit of an age; second, to teach the history of ordinary people invisible in official historical records; and third, to teach, both with and without art, the process of writing history. Two of the three teachers, however, failed to teach historical thinking skills through art. Keywords: history, history instruction, art, interdisciplinary approach, thinking skills, primary sources. Introduction Encouraging historical thinking in students is not a new idea in history education. Since the turn of the 20th century, many historians and history educators have argued that history consists of not only facts, but also historians’ interpretation of those facts, commonly known as the process of historical thinking, or how to analyze and interpret historical evidence, make historical arguments, and engage in historical debates (Bain, 2005; Holt, 1990; VanSledright; 2002; Wineburg, 2001). Many past reform efforts in history education have shared this commitment to teach students to think historically, in part by being engaged in the process of historical inquiry (Bradley Commission on History in Schools, 1988; National Center for History in the Schools, 1995).
    [Show full text]
  • BAM Presents Brazilian Superstar Marisa Monte in Concert, May 1 & 2
    BAM presents Brazilian superstar Marisa Monte in concert, May 1 & 2 SAMBA NOISE Marisa Monte With special guests Arto Lindsay, Seu Jorge, and more TBA BAM Howard Gilman Opera House (30 Lafayette Ave) May 1 & 2 at 8pm Tickets start at $35 April 8, 2015/Brooklyn, NY—Renowned Brazilian singer/songwriter Marisa Monte makes her BAM debut with two nights of contemporary Brazilian popular music in a show specifically conceived for the BAM Howard Gilman Opera House. The performances feature Monte’s hand-picked band and guest artists. Praised by The New York Times as possessing “one of the most exquisite voices in Brazilian music,” Marisa Monte has been the benchmark for excellence among female singers in Brazil since she burst upon the scene in 1987. As she approaches the 30-year mark of her career, she still commands the same admiration and prestige that greeted her stunning debut. Her 12 CDs and seven DVDs have sold over 10 million copies worldwide and garnered 11 Latin Grammy Award nominations (winning four) and eight Video Music Brazil awards. For her BAM debut, she will perform with artists that are closely associated with her, including American producer/composer Arto Lindsay, Brazilian singer/songwriter/actor Seu Jorge, and others to be announced. About the Artists Born in Rio de Janeiro, the home of samba, Marisa Monte honed her singing skills with operatic training in in Italy. Her work embraces the traditions of MPB (música popular brasileira) and samba within a pop format that is modern and sophisticated. Aside from being a talented composer—she recorded her own work starting with her second album, Mais (EMI-Odeon, 1991), produced by Arto Lindsay—Monte is considered one of the most versatile performers in Brazil.
    [Show full text]
  • “Brazil, Show Your Face!”: AIDS, Homosexuality, and Art in Post-Dictatorship Brazil1
    “Brazil, Show Your Face!”: AIDS, Homosexuality, and Art in Post-Dictatorship Brazil1 By Caroline C. Landau Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts In the Department of History at Brown University Thesis Advisor: James N. Green April 14, 2009 1 Cazuza, “Brasil,” Ideologia, Universal Music Group, 1988. My translation Acknowledgements Writing this thesis would not have been possible without the help, guidance, and support of many people. While in Brazil, I had the tremendous pleasure of getting to know the archivists at Associação Brasileira Interdisciplinar de AIDS (ABIA) in Rio de Janeiro, particularly Aline Lopes and Heloísa Souto, without whose help, patience, enthusiasm, goodwill, suggestions, and encyclopedic knowledge of AIDS in Brazil this thesis would never have come to fruition. Thank you also to Veriano Terto, Jr. from ABIA for agreeing to speak with me about AIDS grassroots organization in an interview in the fall of 2007. I am grateful to Dr. Vânia Mercer, who served as a sounding board for many of my questions and a font of sources on AIDS in Brazil in the early 1990s and presently. Thank you to Patricia Figueroa, who taught me the ins-and-outs of the Brown University library system early on in the research of this thesis. Thank you also to the Brown University Department of History for the stipend granted to thesis writers. Part of my research is owed to serendipity and luck. I count as one of my blessings the opportunity to have met Jacqueline Cantore, a longtime friend of Caio Fernando Abreu’s and former MTV executive in Brazil.
    [Show full text]
  • 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.
    [Show full text]