BRAZILIAN MUSIC AND SOCIAL CONSCIOUSNESS: - Elisabeth Blin

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ABSTRACT Tropicalia was a 1960s counter-cultural movement created in Brazil to express social and racial consciousness issues. By mixing samba with cross-cultural influences rooted in the country’s history of colonialism, Tropicalia, metaphor for a Third World tropical paradise, wanted to combine the power of music, literature and visual arts in order to achieve social justice. This study examines how Tropicalia tried to bring political literacy to the mass of the people, and encourage the fall of the dictatorial regime in power from 1964 to 1985. Several of the tropicalists who had been jailed and exiled from Brazil during the movement now have key positions in today’s Brazilian society. The goal of this research is to allow the historian to understand the importance of protest music in Brazilian culture, from the early days of colonization to the present. It is also meant to allow the listener to understand the influences of slavery and colonization on Brazilian music. This project includes a thesis on social consciousness and music throughout Brazilian history, as well as a one-hour slide presentation on Tropicalia’s music and esthetics (on DVD format). Transcripts of original interviews are included as appendices to the thesis. vi
TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................iv AUTOBIOGRAPHICAL SKETCH ...........................................................................v ABSTRACT ...............................................................................................................vi LIST OF FIGURES ....................................................................................................ix PROLOGUE ...............................................................................................................x INTRODUCTION ......................................................................................................1 I: TRADITION ...........................................................................................................3 Early Origins Of Protest Music: Music As Resistance ...................................3 Discovery-Acculturation-Miscegenation ............................................3 Indigenous Roots ................................................................................8 European and Arabic Roots ................................................................12 African Roots: Brazilian Music and the Cultural Triangle .................18 Religious Syncretism ..........................................................................26 Early 20th Century: Coalescing Consciousness ...............................................28 The Carnival ........................................................................................28 Origins of Samba ................................................................................30 Mid-20th Century: Rebellion ...........................................................................31 The Making of Modern Samba ...........................................................31 Branqueamento ...................................................................................38 The First Samba Schools ....................................................................39 Samba in the 20 th Century ...................................................................40 Setting The Stage For Tropicalia ....................................................................42 The French Connections .....................................................................42 Carmen Miranda - Ari Barroso ...........................................................44 Early Signs of Of Tropicalia (1940s-50s) ...........................................47 II: REVOLUTION ......................................................................................................49 Revolutions .....................................................................................................49 Politico-economic Influence of the U.S. .........................................................51 Music and Politics In 1960s Brazil .................................................................53 From Bossa Nova To Tropicalia .....................................................................55 Afro-sambas and Social Consciousness ..........................................................59 Chico Buarque ................................................................................................61 vii
Page 1 and 2: BRAZILIAN MUSIC AND SOCIAL CONSCIOU
Page 3 and 4: The project presented by Elisabeth
Page 5: AUTOBIOGRAPHICAL SKETCH Elisabeth B
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
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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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