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Review of Jonas Soares Lana's book "Rogério Duprat, arranjos de canção e a sonoplastia tropicalista", (Rio de Janeiro: 7Letras, 2022. 284p. ISBN: 978-65-5905-352-0). [ABSTRACT FROM AUTHOR]

This article seeks to demonstrate how other musical elements, often neglected, point to an increase in the expressiveness and aesthetic constitution of Brazilian music at the time of Tropicália. To do so we make use of the concept of Tropical Serialism (SANTOS, 2021), which denotes a specific appropriation of European serialist techniques. As an example, we will present a detailed analysis that intends to explain the musical elements that corroborate our hypothesis from the song Let's Play That (1972) by the artist Jards Macalé. We hope to demonstrate how various musical elements integrate to form a specific "art program" (PAREYSON, 2001) that aesthetically represents an expression against the generalized oppression in force at the time. [ABSTRACT FROM AUTHOR]

The paper discusses Bacurau, by Kleber Mendonça Filho and Juliano Dornelles, focusing, from the perspective of materialist-dialectical criticism in a country of dependent capitalism, the treatment of the modern-archaic binomial and melancholy, in which appear, as allegories, Brazilian artistic works. The paper also debates the figurations around the nation project, social transformation, and the resistance of the popular classes in contemporary Brazil. [ABSTRACT FROM AUTHOR]

In this article, we intend to compare the works of Hélio Oiticica and Rubem Valentim, looking for similarities and differences between them. We suggest and explore, from this compari‑ son, the idea that Valentim would be critical of Oiticica’s tropicalism. Furthermore, we indicate, considering their work, that there are two paths to anthropophagy in Brazilian art. [ABSTRACT FROM AUTHOR]

The article intends to understand two important musical movements within the Brazilian culture, bossa nova and tropicalismo, through a dimension seldom explored, that is, the way the artists' homes, spaces for subjectivity as well as for living domesticity, helped to shape the sociability, the musical practices and the gender relations within the artistic production in the two biggest Brazilian metropolis. As far as bossa nova is linked to the urban experience in Rio de Janeiro, tropicalismo is rooted, for a while, to the cultural and urban dynamics of São Paulo. The article is founded on interconnected grounds: first, in the idea that houses depend on the making of and on the internalization of hierarchical principles, of classifying patterns and of subjective dispositions; second, houses as artifacts which express worldviews and manners of behaving in space. These intertwined fundamentals open up promising ways of tackling the relations between the city and the cultural production, rooted in social marks of class, gender, race and generation. [ABSTRACT FROM AUTHOR]

This article has as main objective to propose critical analyzes about some songs of the Tropicália or Panis et Circencis album, from its configuration like album-manifesto of the Tropicalist movement evidenced in the research of dissertation developed by me. This is a synthesis that focuses on the investigation of four of twelve songs on the album released in August 1968 - namely "Miserere Nobis", "Batmakumba", "Baby" and "Geleia Geral". These analyzes have as main scope to present and to examine elements worked by the tropicalists whose esthetic presuppositions based on principles of avant-garde currents like the anthropophagy and the union of the binomial music and poetry, and how this elements contributed decisively to new directions of rupture and renewal of the popular music and the Brazilian art in general. [ABSTRACT FROM AUTHOR]

The anthological double album Clube da Esquina celebrates its 46 anniversary in 2018. Its authors, Milton Nascimento and Lô Borges, never gessed that a musical movement would be named after their record released by EMI-Odeon in 1972, but journalistic criticism and part of the academic criticism sought to legitimate the group of composers, musicians, and friends around Milton. One of the most creative and versatile "cultural formations" of the 1970's, Clube da Esquina has nowadays a prominent place in MPB - not to mention the already achieved international prestige. In the midst of the processes that led to its recognition, a topic usually ignored by the literature, Tropicalismo was the vector of a number of symbolic conflictsthat I bring up and problematize in this article. [ABSTRACT FROM AUTHOR]

Joaquim Pedro de Andrade's most famous film, Macunaíma (1969), is also his most analyzed work. Based on Mário de Andrade's book (1928), this film is open to several discussions, including the controversial question about its elements based on Tropicalism. The filmmaker denies the affinities between his film and the aesthetics of Tropicalia. However, the aesthetic of this work reveals some curious choices of its director, because its elements are responsible for discussions about the Brazilian culture. [ABSTRACT FROM AUTHOR]

There is no other jazz-scene in today's world that can boast such an overwhelming and pivotal presence of the human voice and, consequently, such a close relationship with words/language as the Brazilian one. At that, the intrinsic value of a great part of the lyrics may be regarded as a precious contribution to the enrichment of Brazilian contemporary poetry itself. The Brazilian paradigm can offer plenty of suggestions for the study of the Jazz in Word topic. Brazil's contribution to today's culture maintains its natural characteristics, based upon its deep-rooted joy of life-exuberant yet not turgescent, refined but eagerly communicative. The racial and ethnic melting-pot has favored, at its best, a particular brand of artistic expression: free, uninhibited, polystylistic, interdisciplinary, capable of defying political or economic oppression. [ABSTRACT FROM AUTHOR]

This research examines film productions, which established rereading, in dialogue with other artistic languages , of concerns associated with the search for a way to express the characteristic of Brazilian identity. The author presents the film movement of the '60s, the dialogue with the literary productions of the 30', with their conceptual referents, and analyze films of period to demonstrate the permanence of topics such as antropophagy and tropicalism, which respond to both political concerns artistic, in a debate that is still valid. [ABSTRACT FROM AUTHOR]