BRAZILIAN MUSIC AND SOCIAL CONSCIOUSNESS: - Elisabeth Blin

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The dance of Sao Goncalo (Saint Gonzalo) was another congada paying homage to a Dominican friar who lived in Portugal in the thirteenth century, and who became known for playing the guitar and dancing with prostitutes in order to catechize them. Figure 3. Statue of Sao Goncalo (Saint Gonzales), from the collection of the Mario de Andrade, Sao Paulo, Brazil. (de Andrade, Pequena Historia da Musica, 186) The story is “a typical myth of incorporation, which could be used both by the colonizers and by the colonized. 47 ” Numerous writings from early travelers describe these unusual celebrations: 47 Jose Jorge de Carvalho, “Afro-Brazilian Music and Rituals, From Traditional Genres to the Beginnings of Samba” Serie Antropologia 256, Universidade de Brasilia, 1999, 39 15
16 “We found close to the church (…) an astonishing multitude of people dancing to the sound of guitars (…) As soon as the viceroy appeared, they picked him up and forced him to dance and jump – a violent exercise which hardly suited his age or disposition… It was rather droll to see, in a church, priests, women, friars, gentlemen, and slaves dancing and jumping promiscuously, and shouting at the top of their voices Viva San Gonzales d’Amarante. 48 ” Many of these dances were accompanied by Western instruments (guitar and ukulele) and African instruments (percussion, drum and rattle), so that “behind a European belief (a catholic saint), an Afro-derived culture can continue to flourish. 49 ” “Slavery had ceased for the moment (…) I could no longer doubt; we were in the church; the large mirthful dancing hall was a Brazilian temple of God, the chattering negroes were baptized Christians, were supposed to be Catholics, and we were attending mass.” Maximilian 1867, Aus Meinem Leben 50 In the eighteenth century Brazil, the favorite song style was called the modinha. It was a romantic type of song based on European melodies or melodic patterns. The modinha and the African lundu, an African dance from Central Africa and the Bantu region, were at the time the two “chic” styles played both on the streets and in the salons. A hundred years later, a new genre called maxixe mixed the lundu, the polka brought from Europe, and the habanera dance from Cuba. The maxixe (also called “Brazilian tango”) and the lundu are the direct ancestors of modern samba. The tambor de crioula dance of northern Brazil also integrated African singing, drumming and dancing with the worship of Catholic saints, and was carried by the slaves from Brazil to Venezuela, Columbia and Equador. The following example is a song for St. Benedict: 48 Fryer, 57 49 Ibid, 40 50 Quoted in Fryer, Rhythms of Resistance, 57
Page 1 and 2: BRAZILIAN MUSIC AND SOCIAL CONSCIOU
Page 3 and 4: The project presented by Elisabeth
Page 5 and 6: AUTOBIOGRAPHICAL SKETCH Elisabeth B
Page 7 and 8: TABLE OF CONTENTS ACKNOWLEDGEMENTS
Page 9 and 10: LIST OF FIGURES Figure 1. Map of Br
Page 11 and 12: The similarity here shows that the
Page 13 and 14: 2 America. 6 In the last thirty yea
Page 15 and 16: Indian, but a universal mestizo typ
Page 17 and 18: 6 Bahia. 18 His expedition had been
Page 19 and 20: The Portuguese language rapidly int
Page 21 and 22: 10 priests had been in the 1550s, a
Page 23 and 24: 12 met the European culture again i
Page 25: 14 Amerindian folklore mixed with A
Page 29 and 30: 18 The most interesting dance of Ib
Page 31 and 32: Figure 5. Estimated numbers of slav
Page 33 and 34: Five main African genres are found
Page 35 and 36: 24 imported to Portugal by slaves f
Page 37 and 38: Religious Syncretism The first irma
Page 39 and 40: colonizers, and second because the
Page 41 and 42: Brazilians spend all their time and
Page 43 and 44: During that time, a world crisis in
Page 45 and 46: 34 and historical trauma. 105 ” S
Page 47 and 48: 36 telefone” one more time, chang
Page 49 and 50: “Uncle Sam wants to know our batu
Page 51 and 52: Samba in the 20 th Century During t
Page 53 and 54: The French Connections Setting the
Page 55 and 56: twentieth century, a process of “
Page 57 and 58: Figure 10. Images inspired by Carme
Page 59 and 60: In a 1951 samba called “Ministeri
Page 61 and 62: The original inequitable division o
Page 63 and 64: 52 Some of them had actually been t
Page 65 and 66: My story's not told to deceive I'II
Page 67 and 68: 56 1950s. 175 Contrary to the polem
Page 69 and 70: 58 “Joao” concert strategy of s
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Page 73 and 74: engagement. Veloso wrote that Chico
Page 75 and 76: How to drink this bitter drink, gul
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66 Like in Tropicalia, humor and pa
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Paulo Freire The link between Tropi
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70 indigenous tribes of Brazil in t
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Helio Oiticica and Rogerio Duarte 7
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74 in the mid-1960s, he was a forma
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76 For Rogerio Duarte, Tropicalia w
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composer Erik Satie had recorded a
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Figure 16. The cover of the album
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82 Tropicalia was a reaction agains
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When Veloso recorded the song “Tr
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86 murdered by the Bolivian army in
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88 “Technicolor,” an album rele
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Figure 18. Cover of Tom Ze’s 2003
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Linguistics of “Post”-Tropicali
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Then they made you into a city They
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96 idioms are not contradictory.
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Caetano Veloso declared: “It bega
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100 South American common market ca
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102 creativity a means of popular e
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104 Brazilian Minister of Culture r
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Browning, Barbara 1995. Samba, Resi
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Dunn, Christopher 2007. Telephone i
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Lis, Eduardo Mariano 1996. “Creat
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Salgado, Sebastiao 1997. Terra, Str
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APPENDIX A Glossary 114
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Cachaca White rhum, firewater; nati
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Portunhol Mix of Spanish and Portug
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THE DISCOVERY BRIEF HISTORY OF BRAZ
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THE INDEPENDENCE BEGINNING OF NATIO
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general elections in order to estab
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CELSO MACHADO, 9/22/2005 September
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128 came from France. It became eve
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MARIA-CARMEN GAMBLIEL, 11/29/07 Nov
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132 4) Was Tropicalia perceived dif
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About Caetano being a demi-god, Cae
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136 Beatles, rock’n roll was basi
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5) Was Tropicalia’s message more
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Brazilians, so that they would all
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142 his oeuvre. He also wrote some
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144 here. He studied, you know, to
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146 two things are racist: the atti
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ROGERIO DUARTE, 12/27/07 December 2
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APPENDIX D Brazilian Music and Soci
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BRAZILIAN MUSIC AND SOCIAL CONSCIOUSNESS: - Elisabeth Blin

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