BRAZILIAN MUSIC AND SOCIAL CONSCIOUSNESS: - Elisabeth Blin

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23 when they wanted to criticize their oppressor. 65 The slave masters tried several times to ban the singing from the plantations or the streets, but it resulted in such a decrease in productivity, that they rapidly gave up, preferring to let the blacks sing, as long as they would work better. Congos and congadas, were used for specific dances and folk plays. Some dramas depicted the coronation of an African king or a queen in a surprisingly integrated combination of European and African cultures. Some of them are still played by the maracatus rurais (folklore groups) in the carnival of Recife. A famous Brazilian folk play, Quilombo, narrates the true story of a slave rebellion that took place in the state of Palmares in the seventeenth century. 66 The slaves managed to establish a democratic state which was a world-wide new experience, and around 1650, their population reached eleven thousand. The story became a favorite emblem of resistance and protest music in Brazil, especially in the 1960s, praising the freedom that the slaves preserved in Palmares for almost a hundred years. The revolt of Quilombo and its leader Zumbi were favorite themes in the Tropicalia songs. The batuque was probably inspired by the fandango dance, which was popular in every country of Europe in the eighteenth century. The fandango was probably an ancestor of the batuque and the lundu dances, although scholars disagree on their origins. The batuque (name of a dance from the Kongo-Angola) could have evolved into the lundu, under Portuguese and Spanish influences. Batuque and lundu could also have been 65 Fryer, 43 66 Charles A. Perrone and Christopher Dunn, “Chiclete com Banana, Internationalization in Brazilian Popular Music,” in Brazilian Pop Music and Globalization (Gainesville: University Press of Florida, 2001),
24 imported to Portugal by slaves from Angola in the eighth century. 67 These slaves were sent to Lisbon because of their talents of dancers or musicians, for the entertainment of the Portuguese courts. As early as 1551, ten per cent of Lisbon’s inhabitants were slaves (which means a total of approximately 10,000 slaves in Lisbon alone). 68 In this way, African rhythms have been elements of Portuguese folk music since the early sixteenth century. They were particularly visible in the responsorial forms of Portuguese songs, and the hemiola structure of the rhythms (alternating duple and triple meters). 69 Very soon, other African slaves brought the fado, the traditional Portuguese lament- song, from Portugal to Brazil, as well as the fofa, a “hip shaking” dance directly derived from the lundu. The fofa was recorded in Portugal around 1730. The slaves played and danced the lundu in Brazil to celebrate their African culture in a subtle form of resistance (the lundu probably got its name from the Angolan port of Luanda.) In Brazil, lundu and fofa were considered indecent dances by the higher classes because of their similar hip- shaking sexual content. When these musical forms reached Salvador and Rio in Brazil in the 1800s, they were at first adopted by the poor. Musically, the lundu, especially in its Bahiana form (from the state of Bahia), has been compared to the Portuguese fado, accompanied similarly with a viola (guitar) and a pandeiro (tambourine). By the second half of the nineteenth century, they were integrated in the salons, becoming the national dances of Brazil. Visitors, then, would be shocked, 67 Fryer, 109 68 Ibid, 193 69 J. and R. Purcell, “Portugal II, Folk Music” in Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, (London: Macmillan, 1980) XV, 146
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 and 30: 18 The most interesting dance of Ib
Page 31 and 32: Figure 5. Estimated numbers of slav
Page 33: Five main African genres are found
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
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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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