BRAZILIAN MUSIC AND SOCIAL CONSCIOUSNESS: - Elisabeth Blin

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Figure 4. One possible projection of the Pangaea theory, showing the original physical connection between the African and South American continents. Many important connections between Brazilian and African cultures were made through the slave trade. The impact of the slave presence on Brazilian music can be assessed by the fact that the number of black Africans transported to Brazil during 350 years of slavery has been estimated between 3.6 and 5 million. 19
Figure 5. Estimated numbers of slaves traded between 1450 and 1870. (Stauffer, 61) It is the highest recorded number of slaves traded in the world (the total number of slaves brought to the U.S., for example, was 500, 000). 56 In 1817, the slave population of almost two million (1,930,000) represented more than half of the total Brazilian population of 3,817,000. 57 As a direct consequence of slavery, Brazil has today the second largest black population in the world. A French engineer of Louis XIV (in the 1600s) thought that “the city of Salvador looked like a new Guinea,” and Robert Southey, a British poet, wrote in the early eighteenth century that the state of Bahia was a true “Negroland. 58 ” This constant exchange of influences between Africa and Brazil was made possible through the “Atlantic cultural triangle,” or “golden triangle. 59 ” From the beginning of the eighteenth century, Portuguese ships were constantly cruising the Atlantic Ocean, 56 John Stauffer, “Across The Great Divide,” TIME, 07/04/2005 (58-65), 61 57 Fryer, 6 58 Ibid. 59 Delfino, 18 20
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 and 26: 14 Amerindian folklore mixed with A
Page 27 and 28: 16 “We found close to the church
Page 29: 18 The most interesting dance of Ib
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
Page 71 and 72: ------------------ ----------------
Page 73 and 74: engagement. Veloso wrote that Chico
Page 75 and 76: How to drink this bitter drink, gul
Page 77 and 78: 66 Like in Tropicalia, humor and pa
Page 79 and 80: Paulo Freire The link between Tropi
Page 81 and 82:
70 indigenous tribes of Brazil in t
Page 83 and 84:
Helio Oiticica and Rogerio Duarte 7
Page 85 and 86:
74 in the mid-1960s, he was a forma
Page 87 and 88:
76 For Rogerio Duarte, Tropicalia w
Page 89 and 90:
composer Erik Satie had recorded a
Page 91 and 92:
Figure 16. The cover of the album
Page 93 and 94:
82 Tropicalia was a reaction agains
Page 95 and 96:
When Veloso recorded the song “Tr
Page 97 and 98:
86 murdered by the Bolivian army in
Page 99 and 100:
88 “Technicolor,” an album rele
Page 101 and 102:
Figure 18. Cover of Tom Ze’s 2003
Page 103 and 104:
Linguistics of “Post”-Tropicali
Page 105 and 106:
Then they made you into a city They
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96 idioms are not contradictory.
Page 109 and 110:
Caetano Veloso declared: “It bega
Page 111 and 112:
100 South American common market ca
Page 113 and 114:
102 creativity a means of popular e
Page 115 and 116:
104 Brazilian Minister of Culture r
Page 117 and 118:
Browning, Barbara 1995. Samba, Resi
Page 119 and 120:
Dunn, Christopher 2007. Telephone i
Page 121 and 122:
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
Page 133 and 134:
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
Page 149 and 150:
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
Page 161:
APPENDIX D Brazilian Music and Soci
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BRAZILIAN MUSIC AND SOCIAL CONSCIOUSNESS: - Elisabeth Blin

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