BRAZILIAN MUSIC AND SOCIAL CONSCIOUSNESS: - Elisabeth Blin

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ACKNOWLEDGEMENTS This project was made possible with the support and inspiration of Boise State University Professors: Dr. Roberto Baruth, who helped me frame the project, and Dr. Buhler, Dr. Belfy and Dr. Daryl Jones, who allowed me to complete it. Dr. Joseph Baldassarre sustained me through my exploration of Brazilian guitar works. I also would like to thank my friend, Maria-Carmen Gambliel, who offered to share with me her personal experience with Tropicalia and Brazilian culture, as a Brazilian citizen and a Brazilian visual artist. Tom Gostas, my husband, has been a faithful supporter of my research and a priceless technical advisor. I would like to thank Celso Machado for his participation in this project, as well as Professor Christopher Dunn and Narlan Texeira, who kindly put me in touch with Professor Rogerio Duarte. Mr. Duarte devoted precious time and support and invited me to visit him in Salvador, Brazil, and meet his dear friend, Caetano Veloso. The serendipity of this unexpected meeting with Caetano Veloso and the precious personal feedback which he was willing to share with me, would not be a part of this study without Mr. Duarte’s generosity. All the participants stepped into this project from their passion for Tropicalia, without any motivation for results or glory. Thank you. iv
AUTOBIOGRAPHICAL SKETCH <strong>Elisabeth</strong> <strong>Blin</strong> was born in southwest France in the city of Saintes in 1958. She studied the piano as a child and later the guitar, developing a passion for Brazilian music and bossa nova. She studied Art and Social Sciences in college and in 1994 moved to Boise with her husband, Tom and their son, Kirtane. She has taught French and guitar since 1994 and has recorded three CDs of original bossa nova music. She received her Bachelor in Music Performance from Boise State University and became interested in the humanist and revolutionary content of Tropicalia music. The combination of art, spirituality and social justice of the 1960s Tropicalia movement echoed her own personal interests. Her research for this project, which began in 2005, includes seminal readings on Brazil, personal interviews with Professor Christopher Dunn at Tulane University and Brazilian artists Maria-Carmen Gambliel in Boise, Idaho, and Celso Machado in Vancouver, Canada. It also involved a visit to Brazil in 2007-2008, where she conducted interviews of Rogerio Duarte, Professor at the University of Bahia at Salvador, and Brazilian musician Caetano Veloso. v
Page 1 and 2: BRAZILIAN MUSIC AND SOCIAL CONSCIOU
Page 3: The project presented by Elisabeth
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 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 “
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Figure 10. Images inspired by Carme
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In a 1951 samba called “Ministeri
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The original inequitable division o
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52 Some of them had actually been t
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My story's not told to deceive I'II
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56 1950s. 175 Contrary to the polem
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58 “Joao” concert strategy of s
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engagement. Veloso wrote that Chico
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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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