Jun 19
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macunaíma (1969) - ☆ ☆ ☆ ☆ ☆
brazillian classic film that shows our structural racism explicitly and how our black people are seen even after all this time, a movie that can still be modern if you watch it correctly.
Reflections on a Year of Reading Brazilian Literature 🇧🇷
Books Read This Year; Backlands: The Canudos Campaign by Euclides da Cunha, Macunaíma: The Hero With No Character by Mario de Andrade, Hippie by Paulo Coelho and Captains of the Sands by Jorge Amado
All throughout the year, my piece of Brazilian literature mostly focused on the northeastern part of Brazil. In Backlands, I explored the northeastern part of Brazil. With its dry, arid and empty lands, I learned of the mountains and sertões surrounding areas like the Bahia, Alagoas, Pernambuco, Ceara, Piauí and Maranhão. During the summer, the sertão is known for being so dry that even rain is impossible to get. Macunaíma mostly takes place in Brazil's beautiful, lush and dense rainforests with its main character, Macunaíma growing up and living there. Before he became the Hero With No Character, he was thrown away by his mother in a spacious clearing within the beautiful forest. Captains of the Sands takes place in the Bahia, specifically the capital, Salvador. Based on the fact that the Captains lived on a warehouse along the docks of Salvador, I learned that it was somewhat of a coastal city, with beautiful beaches and a lot of vendors surrounding it.
While reading these books, I learned a good amount of Brazilian history. For example, In Backlands, I learned about Antonio Conselheiro, a rebel that led one of the bloodiest uprisings in Brazil. Before this, his family was known as a dangerous family, killing several rich people and pillaging their fortunes. Conselheiro changed that when he decided to become a leader and try to help the northeast be free of southern rule. Macunaíma, however is slightly different. It is neither fully history nor truth, rather a mixture of both. Since almost all of the characters in the book are fake, the events that happen throughout the book are real and always tie in with Macunaíma and his brothers' escapades. Hippie takes place in the 70s and the 70s was a strange time for the world. While reading that book, I learned more about the hippie movement, especially about magic buses, buses that would travel entire continents to get their inebriated passengers to spiritual places like Nepal, for instance. Coelho and his new friend travel from Amsterdam to Kathmandu and on the way, they stop in Constantinople which is now know as Istanbul. I also learned that many. "hippies" were not dedicated to the lifestyle. They merely saw it as a trend and rolled on with the times. Many gave up and returned home to get real jobs and start families after they were done "exploring."
Brazil's culture is very rich and while Hippie doesn't strictly talk about it, Macunaíma does. Many of the adventures Macunaíma and his brothers go on inadvertently cause some shift in Brazilian culture. When Macunaíma first met Ci, the amazon queen of the forest and married her, she later on died and became a star and gave Macunaíma a talisman that was then taken from him and he embarks on a journey to find it. Later on in the book, Macunaíma travels to São Paulo where he attends a festival and talks about the Cruzeiro do Sul and how it is a god, not just a cluster of stars. Mainly, the first few chapters take many things from indigenous culture in Brazil. For example, the author, Mario De Andrade made Macunaíma's catchphrase, "Aí, que preguiça!" which is a fusion of Portuguese and the Tupi language. "Aí," means sloth in Tupi, whereas "preguiça" is the Portuguese word for sloth. This book was also published during Brazil's famous modernism movement. Some say it was one of the founding pieces of literature for the movement. It was published six years after the "Semana de Arte Moderna," and symbolized the beginning of the movement.
From Backlands: The Canudos Campaign, I learned that despite facing difficult odds, in life you must over come that adversity and keep moving on. While reading Macunaíma: The Hero With No Character, I learned that in life, your identity is fluid and it can change many times, so don't try to suppress or change it. In Hippie, I learned that in order to live life, you must embrace the unknown and challenge yourself. Take risks and learn before its too late. Finally, I Captains of the Sands, I learned that I should not let my circumstances dictate who I am or what I am going to be. In life, there will be people who put pressure and doubt your abilities because of where you are from and you shouldn't let that shake your worth.
Some things I learned about myself while reading these books is that I love Brazilian literature. It is incredibly abstract and different than English or American literature. Although some literary works may be difficult to comprehend (mostly because of translation), I think that reading books from a different country can change your previous perspective on a country, it sure changed mine. It made me want to learn more about Brazil and ignited a new flame for Brazilian literature. While I am not done with Captains of the Sands, I will continue to read it because its a well-written book full of humor and societal commentary. This is my OFFICIAL final blog post. Acabou, and muito obrigado. victoriasbrazilianlitblog, out!
Word count: 834
New Translations of Brazilian Writer Mário de Andrea’s Canonical Works
Two translations bring canonical works by Mário de Andrade into English, allowing a glimpse into the author’s “problematic sense of belonging.”
Mário de Andrade’s novel “Macunaíma: The Hero With No Character” follows a shape-shifting, rule-flouting, race-switching trickster as he roams the vast nation of Brazil, meeting historical characters, folkloric figures, and outrageously satirized stereotypes along the way.
Rich with words and references from Indigenous and Afro-Brazilian cultures, the modernist novel was hailed as a classic upon its publication in 1928, and has long been seen as an allegory for Brazil’s unique cultural blend. Faced with criticism of the book’s uncredited reliance on anthropological research, Andrade offered up, in an open letter, a typically insouciant response: “I copied Brazil.”
Some scholars have deemed the book’s complexity virtually untranslatable — but this week, New Directions published a new translation of “Macunaíma” by Katrina Dodson that aims to transport Andrade’s idiosyncratic prose into English.
Over six years of research, Dodson familiarized herself with every aspect of the novel. She chased down obscure flora and fauna on two trips to the Amazon, waded through reams of critical commentary, immersed herself in Andrade’s archives in São Paulo and discussed the book’s continued relevance with contemporary Brazilians. While she found that for some readers the book continues to represent the “endless and unfinished” national spirit of Brazil, she also met many Afro-Brazilian and Indigenous artists who have set out to reclaim the folkloric roots that Andrade drew on.
Inspired by her research, Dodson hopes that her new translation will emphasize just how deeply personal, and multifaceted, the concept of Brazil was for Andrade.
“Andrade was queer, but very closeted, and also very conflicted about his racial identity,” she said. “He had African heritage on both sides. Once you know more about him and more about the context of how he wrote this book, you understand that there are a lot of very sincere and serious questions at the heart of it.”
Continue reading.
Dina Sfat in Macunaíma, 1969
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Macunaíma * 1969 * Joaquim Pedro de Andrade
Macunaima premiered in Brazil sometime in 1969, Jun 17, 1970 in France, and May 5, 1972 in the US. It returns to the TSPDT 1,000 Greatest Films at number 894. It was posted to youtube Jan 2018 and it still there as of Jun 2021.
My rating - below average - It wants us to think its a Jodorowsky, but its closer to Benny Hill.
Goma-Laca - Afrobrasilidades em 78 RPM (Ao Vivo no Sesc Vila Mariana, 2014) Goma-Laca Sesc Vila Mariana, 8 de fevereiro de 2014. Com Juçara Marçal, Russo Passapusso, Karina Buhr, Lucas Santtana, Letieres Leite, Gabi Guedes, Hercules Gomes, Marcos Paiva, Sergio Machado. 00:00 Ogum 06:58 Babaô Miloquê 12:56 Guriatan 18:47 Não Tenho Medo Não Vídeo por Estúdio Varanda Imagens: Eugênio Vieira e Pedro Palhares Montagem: Eugênio Vieira Goma-Laca é Biancamaria Binazzi e Ronaldo Evangelista http://goma-laca.com De 78 à 320 : l’Afro-Brésil de Goma-Laca Goma-Laca, le film Afro-Sambas.fr | Au Coeur des Musiques du Brésil OLIVIER CATHUS , “De 78 à 320 : l’Afro-Brésil de Goma-Laca”, publié le 8 octobre 2014 : Passer des tours à la minute (78 rpm) aux kilobits à la seconde (mp3 320 kbps) n’est rien de plus qu’une façon d’envisager l’évolution technologique des moyens de reproduction sonore. Mais c’est aussi une façon de souligner combien le projet Goma-Laca s’inscrit dans une perspective historique de défense du patrimoine musical afro-brésilien. L’album Afrobrasilidades em 78rpm sorti récemment sous la direction de Letieres Leite, vient donner chair au projet Goma-Laca. Mais, pour garder la métaphore végétale souvent utilisée pour parler des musiques brésiliennes, il n’est que le fruit qui permet de valoriser la force des racines, à savoir les premiers enregistrements de musiques afro-brésiliennes pendant la première moitié du XXe siècle. Avant qu’elle soit remplacée par le bakélite et la vinylite, les premiers disques en 78 Tours étaient gravés sur une rondelle à base de gomme-laque, laquelle est une résine sécrétée par une variété de cochenilles élevées à ces fins. D’où le nom Goma-Laca car, à l’origine de ce projet initié par les journalistes Biancamaria Binazzi et Ronaldo Evangelista, on trouve deux formidables sources de documentation, les collections de disques de Mário de Andrade et d’Almirante : des milliers de 78 Tours en gomme-laque. C’est en 1935 que l’écrivain Mário de Andrade, l’auteur notamment de Macunaima, développe en véritable ethnomusicologue son projet de discothèque afin que les musiciens brésiliens découvrent et aient accès aux folklores du pays. Rattachée au Centre Cultural São Paulo, elle prendra par la suite le nom de sa directrice : Discoteca Oneyda Alvarenga. Outre les enregistrements, Biancamaria Binazzi et Ronaldo Evangelista ont également pu consulter les commentaires que notait, pour chacun d’entre eux, l’écrivain sur une fiche cartonnée. La collection d’Almirante est également impressionnante, enrichie de nombreuses photos d’enregistrement et de témoignages. S’il a connu le succès dans les années trente comme chanteur, c’est comme en tant qu’homme de radio qu’il fait carrière. Son émission Curiosidades Musicais sur la Rádio Nacional a été la première, en 1938, à faire entendre au pays entier le son du berimbau en l’accompagnant d’un commentaire encore empreint des préjugés de l’époque puisqu’il le décrit comme un « rudimentaire et barbare instrument afro-brésilien » ! Ce sont justement ces préjugés qui ont incité les curateurs du projet à limiter leur quête aux musiques noires du Brésil, celles qui encore aujourd’hui sont trop souvent ostracisées. Et encore ont-ils laissé de côté les sambas et marchinhas pour privilégier, parmi les archives, des témoignages plus roots : les pontos de candomblé, chants de travail et autres toques de capoeira. Non pas tant pour la valeur ethnographique de ces documents sonores mais bel et bien pour en révéler la richesse et la modernité. Devenu un véritable centre de recherches, Goma-Laca s’est d’abord donné pour mission de faire découvrir ces trésors cachés et permettre de les écouter, par le biais d’émissions de radio ou directement sur le site. L’étape suivante a été de solliciter des musiciens pour interpréter ce répertoire. Avant l’album Afrobrasilidades em 78 rpm sorti cette année, il y eut, en 2011, un Volume 1 même si celui-ci ne s’est pas traduit par un album mais seulement par un concert (dont on peut voir les vidéos sur le site). La direction musicale en avait été confiée à Thiago França, accompagné de sa formation Sambanzo. Les morceaux sélectionnés étaient interprétés par, entre autres : Juçara Marçal, Bruno Morais, Emicida. Cette fois-ci, c’est Letieres Leite, le maestro bahianais fondateur de l’Orkestra Rumpilezz, qui dirige les sessions organisées autour d’une formation resserrée : Hercules Gomes au Fender Rhodes, Sérgio Machado à la batterie, Marcos Paiva à la contrebasse et Gabi Guedes aux percussions et atabaques, pour accompagner, à tour de rôle : Juçara Marçal, Russo Passapusso, Karina Buhr et Lucas Santtana. Rien que des habitués de ce blog ! Dès l’origine du projet Goma-Laca, ses initiateurs sont convaincus de la contemporanéité intacte de ces musiques. Ils pensent également que la meilleure façon de la révéler est d’en proposer une relecture moderne. À l’écoute de ce formidable album, on attribuera une partie de la réussite du projet à Letieres Leite. Point n’est besoin d’artifices technologiques, son parti-pris organique souligne d’autant mieux la force intemporelle de ces musiques. Goma-Laca semble aussi s’amuser à relier les générations, ainsi imagine-t-on la reprise de « Cala Boca Menino » en duo par Juçara Marçal et Russo Passapusso, comme un clin d’œil et un hommage à João Donato : c’est lui qui a donné ses lettres de noblesse brésiliennes à ce piano Fender Rhodes qui donne sa couleur si particulière à l’album et lui encore qui a repris le morceau qu’il tenait lui-même de Dorival Caymmi, en l’occurrence un thème de capoeira. Si les musiciens donnent une cohérence instrumentale aux enregistrements, l’inspiration des interprètes, tous excellents, fait le reste. Si Juçara Marçal est ici en terrain connu tant l’étude des musiques religieuses afro-brésilienne a été au cœur de sa carrière depuis de longues années, on sera, par contre, surpris par un Lucas Santtana versatile et léger, à l’aise jusque dans l’embolada « proto-rap » (dixit le livret). Quant à Russo Passapusso, il impulse sa fougue de MC aux morceaux qu’il vient chanter ici. Puisque Goma-Laca plonge un pied dans le passé pour mieux planter l’autre dans son époque, il est intéressant de comparer les versions. Ici, « Batuque », interprété en 1929 par Stefana de Macedo, aujourd’hui par Russo Passapusso avec une intro au Rhodes d’Hercules Gomes qui évoquerait presque les beats en furie d’un morceau de drum’n’bass ! Le disque est en téléchargement gratuit sur le site Goma-Laca. On y trouve même bien plus que ça : les enregistrements originaux en 78 Tours, des articles, de nombreuses vidéos. Une véritable mine d’or… Que demander de plus ? Goma-Laca – Afrobrasilidades em 78 RPM (2014) mp3 320 kbps 01. Juçara Marçal, « Exu » 02. Russo Passapusso, « Batuque » 03. Karina Buhr, « Minervina » 04. Karina Burh, « Do Pilá » 05. Lucas Santtana, « Passarinho Bateu Aza » 06. Lucas Santtana, « Vou Vender Meu Barco » 07. Juçara Marçal, « Ogum » 08. Russo Passapusso, « Babaô Miloquê » 09. Karina Buhr, « Guriatã » 10. Lucas Santtana, « Não Tenho Medo Não » 11 Juçara Marçal & Russo Passapusso, « Cala Boca Menino »