Chico Buarque : musica, povo e Brasil / Chico Buarque : music, people and Brazil

AUTOR(ES)
DATA DE PUBLICAÇÃO

2007

RESUMO

Chico Buarque de Hollanda s career as a songwriter began at the same time Brazil s concept of Música Popular Brasileira (MPB) -as we know it today - was being consolidated. Such concept arose in the mid-1960s, drawing together what was then considered representative concerning the authentic music of Brazilian culture. In this sense, MPB inherited the previous effort of a Bossa Nova group of artists - among them, Carlos Lyra, for example -a group that comprised a musical art more committed to Brazil s social reality, which would end up in what is called protest song . Although lthough what was meant by MPB increased its comprehensiveness, it excluded some musical trends such as Jovem Guarda, regarded as a movement detached from Brazil s political reality and supported by the mass media of communication that at the time served the interests the dictatorial regime brought by the 1964 coup d état.Along with Caetano Veloso, Gilberto Gil, Edu Lobo, Elis Regina, Milton Nascimento and others, the name of Chico Buarque soon became associated with the definition of MPB itself. Maybe this association has contributed to the obscurity of a fundamental aspect of his work: his reflections on the concepts of music, people and Brasil (exactly what the letters MPB stand for).A more careful analysis of Chico s production that deals with these themes shows an artist in constant questioning, opposing pre-established truths and absolute concepts. Thus, the image of people that comes from his compositions is marked by plurality, escaping from a univocal view. Likewise, the Brasil that emerges from Buarque s music is far from being a completely defined entity. His thought concerning music deals with the social alteration effect of a song. Whereas many of Chico Buarque s songs assert such power, other pieces contest him, displaying song works full of tension and questioning. When this questioning comes to the artist himself, the reflections become quite incisive. This is clearly seen in his theatrical plays in which the theme of betrayal is pointed out, an idea that is understood as one of the dangers that go with the relationship between the artist and the society that he thinks he represents.

ASSUNTO(S)

music musica popular brasileira musica musica - brasil brazilian popular song music

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