Author Santos, Regina Lopes dos
Title Brazilian popular music and modernist discourse on national identity
book jacket
Descript 170 p
Note Source: Dissertation Abstracts International, Volume: 65-07, Section: A, page: 2623
Director: Fred Clark
Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 2004
This dissertation examines the notion of national identity proposed by the intellectuals who took part in the Week of Modern Art in 1922, and relates the metaphor of cultural cannibalism to the main musical phenomena that occurred in Brazil from the early 1950s to the late 1970s. In Oswald de Andrade's manifestos, he elaborates the need to return to Brazilian origins and, at the same time, develops a national culture that incorporates foreign elements into Brazilian tradition. Andrade is in favor of devouring other cultures and absorbing any external influence that may enrich and empower the articulation of nationhood
This study takes into account Madan Sarup's notion of identity in Identity, Culture and the Postmodern World, in which he elaborates the importance of culture in the construction of a collective self-awareness within a nation. Sarup claims that identity is a social construction, which consists of contradictions and ambiguities, and that it can be comprehended only through a process of interaction among people, institutions, and practices. Yet, he argues that the process of identification within a specific group leads to cultural hegemony, which reflects the way a particular society thinks and contributes to legitimate nationhood. In this sense, regional identity contributes to the formation of an authentic national expression and consciousness
The musical phenomena analyzed in this study include Bossa Nova, which began in the late 1950s, Tropicalismo, which took place in the late 1960s, and Clube da Esquina, which originated in the early 1970s. These musical productions are viewed as articulations of cultural cannibalism, as they incorporated foreign elements into Brazilian rhythms and gave birth to original products, representing Brazilian hybridity and diversity. This analysis also considers the social and political background of Brazil during the time these phenomena emerged as innovative cultural productions. The corpus of MPB (Brazilian popular music) is examined in terms of its poetic contents and their contribution to the formation of national identity in the twentieth century, as they shaped the view of Brazilian reality in the national and international scenes
School code: 0153
Host Item Dissertation Abstracts International 65-07A
Subject Literature, Latin American
Anthropology, Cultural
Music
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0326
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Alt Author The University of North Carolina at Chapel Hill