POR
481 – Spring 2021
Capstone
Seminar in Portuguese
POR
481 – Spring 2021
Capstone
Seminar in Portuguese: Revolutionary Art & Music
Prof. Dário Borim Jr
Email: dborim@umassd.edu
Office Hours: Tue 11:00 AM-1:00 PM
& Fri 1:00-3:00 PM
Class Meetings on Zoom: Mondays
2:00-4:30 PM
Web site: Textos e Tarefas do Borim
– https://textosetarefasdoborim.blogspot.com/
Course description
This course will explore the links and dynamics
between art and ideology, especially those relating popular music poetry to authoritarianism
in politics and society. Readings and audiovisual material viewings will initially
focus on representations and interpretations of the cinematic, literary,
musical, theatrical and other multimedia products that create, expand, explain or
suggest sociopolitical commentaries and activism regarding Brazil’s cultural movement
known as Tropicália, or Tropicalismo. Later, we will also explore such
interconnections in Portugal and Portuguese-speaking Africa in the same
historical period, that is, in the middle of the 20th century. In
addition, this capstone seminar aims to serve as a bridge to life after
graduation and beyond the campus. With this in mind, we will undertake a
project that will run parallel to our readings and discussions: dialoguing with
the representation of Lusophone cultures on YouTube (both Portuguese and
English versions). Participants in the seminar will find posts and/or create
new ones drawing on the entirety of their coursework as Portuguese major (not
limited to readings and topics discussed in the capstone).
General capstone seminar learning
outcomes
Upon completion of this seminar, students will:
1.
demonstrate advanced
proficiency in Portuguese in all four skills by reading and understanding
complex texts; communicating effectively in class discussions and individual
oral presentations; and completing multi-paragraph written assignments;
2.
apply knowledge of cultural realities and practices from the Portuguese-speaking world gained in
earlier coursework to understand and interpret literary and/or cultural and/or
linguistic readings and/or visual materials included in the capstone.
3.
demonstrate
command of analytic and critical-thinking skills by selecting, assessing and
relating information and insights drawn from multiple sources (including but
not limited to the reading and/or
viewing assignments in the capstone) and integrating the results in an
individual research project.
University Studies Cluster
5A Objectives
This seminar will give
students the opportunity to integrate their learning and produce an original
expression of knowledge or understanding. Students will also demonstrate
mastery of both written and oral communication.
Upon completion of the
capstone study, students will be able to:
1.
Synthesize the knowledge and skills gained within major courses,
independently complete a research-based project or creative work and integrate
the results of both in an open-ended project or experience (projects within the
major are encouraged).
2.
Identify the value of a liberal arts education and the
importance of the major field of study, a general education curriculum, and the
relationship between them.
3.
Demonstrate advanced information literacy skills by selecting,
evaluating, integrating and documenting information gathered from multiple
sources into discipline-specific writing.
4.
Communicate effectively, both orally and in writing, the results
of the project or experience.
Assignments and Grading
Oral participation: 20% Weekly reports: 20%
Oral presentations: 30% Final paper: 30%
NB: First
draft of the course paper is due April 26. Final version of the paper is due May 3, 6:00 PM. Papers must have:
·
MLA style documentation
·
10-12 double-spaced pages typed on font 12
·
lists of works cited (rather than bibliography) must include at
least five secondary sources
Weekly
Topics
JAN
25
Introduction
·
José Henrique Fonseca and Walter
Salles Jr’s Caetano (Parte II, “Eu queria guitarras elétricas”):
FEB 1
Historical
synthesis (Part 1/2)
· Getúlio
Mac Cord’s Tropicália: Um caldeirão cultural pp. 3-74.
FEB
8
Historical
synthesis (Part 2/2)
· Getúlio
Mac Cord’s Tropicália: Um caldeirão cultural pp. 75-121.
FEB
15
Manifestos
and testimonials
· Oswald
de Andrade’s Manifesto antropófago (1928):
https://www.academia.edu/7013131/Manifesto_antropof%C3%A1gico_manifesto_pau_brasil
· “Regina
Boni” [Depoimento]:
http://tropicalia.com.br/ilumencarnados-seres/depoimentos/regina-boni
· “Chico
Buarque” [Depoimento]:
http://tropicalia.com.br/ilumencarnados-seres/depoimentos/chico-buarque
· Gal
Costa’s “O divino maravilhoso” (2005):
http://tropicalia.com.br/eubioticamente-atraidos/verbo-tropicalista/o-divino-maravilhoso
FEB
22
More
manifestos and testimonials
· Gilberto
Gil’s “Recuso + Aceito = Receito” (19/ago/1970)
http://tropicalia.com.br/eubioticamente-atraidos/verbo-tropicalista/recurso-aceito-receito
· Torquato
Neto’s “Tropicalismo para principiantes” (1968):
http://tropicalia.com.br/eubioticamente-atraidos/verbo-tropicalista/tropicalismo-para-iniciantes
· Glauber
Rocha’s “Tropicalismo, antropofagia, mito, ideograma” (1981):
http://tropicalia.com.br/eubioticamente-atraidos/verbo-tropicalista/tropicalismo-antropofagia-mito
· Hélio
Oiticica’s “A trama da terra que treme” (1968):
http://tropicalia.com.br/eubioticamente-atraidos/verbo-tropicalista/a-trama-da-terra-que-treme
MAR
1
Theater
and other visual and performing arts (Part 1)
· Oswald
de Andrade’s O rei da vela (PDF)
· Sábato
Magaldi’s “O país desmacarado.” Andrade 7-16. (PDF)
· Haroldo
de Campos’s “Uma leitura do teatro de Oswald.” Andrade 17-30.
· José
Celso Martinez Correa about Oswald de Andrade’s O rei da vela (1933):
Manifesto Oficina (Aug/5/1968):
http://tropicalia.com.br/eubioticamente-atraidos/verbo-tropicalista/o-rei-da-vela-manifesto
·
“José Celso Martinez Corrêa” in
Getúlio Mac Cord’s Tropicália: Um caldeirão cultural (pp. 197-224)
· Oswald
de Andrade’s O rei da vela (1933):
https://www.youtube.com/watch?v=OS94YIxWi8Y
(Salvador, Univ. da Bahia, Salvador, 2016)
https://www.youtube.com/watch?v=G1DIDRR455M
(Rio de Janeiro, Cia dos Atores, 2000)
MAR
8
NO
CLASS (SPRING BREAK)
MAR
15
Theater
and other visual and performing arts (Part 2)
· Chico
Buarque’s Roda viva (1968):
https://www.youtube.com/watch?v=WiD8P4FI1t0&list=PLTN97D_XfEQGGm3u_cyBwf7cFwTKtY4JS
(Santos, Sesc, Teatro Oficina Uzyna Uzona, Aug/2012)
· III
Festival de Música Popular Brasileira da TV Record (1967):
https://www.youtube.com/watch?v=kB5XJR6w2C4
MAR
22
Discuss
Rita Lee’s Rita Lee: Uma autobiografia (pp. 1-126)
MAR
29
Discuss
Rita Lee’s Rita Lee: Uma autobiografia (127-269)
APRIL
5
Students’
first presentations on Tropicalist legacies:
1)
Caetano Veloso 2)
Gilberto Gil
3)
Os Mutantes 4)
Tom Zé and Others
APR
12
Revolutionary
music and culture in Portugal
APRIL
19
(NO
CLASS: PATRIOTS’ DAY)
APRIL
21
(ON
THIS WEDNESDAY WE FOLLOW THE MONDAY SCHEDULE)
Revolutionary
music and culture in Lusophone Africa
APR
28
Overview
of diversity in Lusophone music and culture
MAY
5
2nd
individual presentations
MAY
8
Final
papers due
Multimedia
Resources:
Albin, Ricardo Cravo. O livro de ouro da MPB. Rio de Janeiro: Ediouro, 2003.
Andrade,
Oswald de. O rei da vela. Rio de Janeiro: Globo, 1990.
Avelar,
Idelber and Christopher Dunn, eds. Brazilian Popular Music and Citizenship.
Durham and London: Duke UP, 2011.
Bahiana,
Ana Maria. Nada será como antes: MPB nos anos 70 – 30 anos depois. Rio
de Janeiro: Senac Rio, 2006.
Barros,
Patrícia Marcondes de. “Panis et Circenses”: A ideia de nacionalidade no
Movimento Tropicalista. Londrina, PR: UEL: 2000.
Basualdo,
Carlos, ed. Tropicália: Uma revolução na cultura brasileira. São Paulo:
Cosac Naif, 2007.
Borim,
Dário. "Black Tropicalist in Power: From the Margins of Counterculture to
the Stage of Change." Lusotopie
20, 04 (2004): 181-189.
______.
"Light and Obscurity in Tropical Truth." Cape Verde: Language,
Literature & Music. Portuguese
Literary and Cultural Studies 8 (Sept 2002): 463-470.
______.
"Morte e vida Tropicália: o ideário sócio-político na obra de Caetano
Veloso. Hispania 85, 3 (Sept 2002):
494-504.
______.
“Roçando a língua de Camões: Reverência e dessacralização do idioma português
em Caetano Veloso.” Luso-Brazilian Review 41, 2: 126-143.
______.
"Tropicalist Mutantes: Dada and Kitsch Under Dictatorship." Music and Dictatorship in Europe and Latin
America. Illiano and Massimiliano Sala 521-548.
______.
"Unpredictable Coherence: Caetano Veloso Beyond ‘Ethnic' and
Easy-Listening Tunes." Facts and
Fictions in António Lobo Antunes. Ed. Victor Mendes. Portuguese Literary & Cultural Studies 19/20 (2011): 527-535.
Branco,
Edwar de Alencar Castelo. Todos os dias de Paupéria: Torquato Neto e a
invenção da Tropicália. São Paulo: Annablume, 2005.
Butterman,
Steven F. “Ney é gay, não é?: The Emergence and Performance of Queer Identities
in Brazilian Popular Music (MPB) Under Dictatorship.” Illiano and Sala 549-572.
Caldas,
Waldemar. A cultura político-musical brasileira. São Paulo: Musa, 2005.
Callado,
Carlos. A divina comédia dos Mutantes. São Paulo: Editora 34, 2006.
_______.
Tropicália: A história de uma revolução musical. São Paulo: Editora 34,
1997.
Campos,
Haroldo de. “Uma leitura do teatro de Oswald.” Andrade 17-30.
Castro,
Ruy. Chega de saudade: A história e as histórias da bossa nova. São
Paulo: Companhia das Letras 1990.
Campos,
Augusto de. Balanço da bossa e outras bossas. São Paulo: Perspectiva,
1993.
Discos do
Brasil. https://discosdobrasil.com.br/
Duarte,
Pedro. Tropicália ou panis et circencis. O Livro do Disco. Rio de
Janeiro: Cobogó, 2020.
Dunn,
Christopher. Brutalidade jardim: A Tropicália e o surgimento da
contracultura brasileira. São Paulo: UNESP, 2009.
Dunn,
Christopher. Contracultura: Alternative Arts and Social Transformation in
Authoritarian Brazil. Chapel Hill, NC: U. of North Carolina P., 2016.
______.
“From Mr. Citizen to Defective Android: Tom Zé and Citizenship in Brazil.”
Avelar and Dunn: 74-95.
Duprat,
Régis and Maria Alice Volpe. “Vanguardas e posturas de esquerda na música
brasileira (1920 a 1970). Illiano and Sala 573-612.
Favaretto,
Celso. Tropicália – alegoria, alegria. São Paulo: Ateliê, 1996.
Fonteles,
Bené. Giluminoso: A po.ética do ser. Brasília/São Paulo: Universidade de
Brasília/SESC: 1999.
Illiano,
Roberto and Massimiliano Sala, eds. Music
and Dictatorship in Europe and Latin America. Speculum Musicae Series.
Turnhout, Belgium: Brepols, 2010.
Lee, Rita.
Rita Lee: uma autobiografia. São Paulo: Globo, 2016.
Mac Cord. Tropicália:
Um caldeirão cultural. Rio de Janeiro: Ferreira, 2011.
McGowan,
Chris and Ricardo Pessanha. The Brazilian Sound: Samba, Bossa Nova, and the
Poupular Music of Brazil. Rev. and expanded ed. Philadelphia, PA: Temple
UP, 2009.
Maciel,
Luiz Carlos. Geração em transe: Memórias do tempo do tropicalismo. Rio
de Janeiro: Nova Fronteira, 1996.
Magaldi,
Sábato. “O país desmascarado.” Andrade 7-16.
Martins,J.
B. Antropologia da música brasileira.
Sào Paulo: Obelisco, 1978.
Mello,
Zuza Homem de. A era dos festivais: Uma parabola. São Paulo: Editora 34,
2008.
Moby,
Alberto. Sinal fechado: A música popular brasileira sob censura. Rio de
Janeiro: Obra Aberta, 1994.
Motta,
Nelson. 101 canções que tocaram o Brasil. Rio de Janeiro: Estação
Brasil, 2016.
______. Noites
tropicais: Solos, improvisos e memórias musicais. Rio de Janeiro: Objetiva,
2000.
Napolitano,
Marcos. “A música popular brasileira (MPB) nos anos de chumbo do regime
militar” (1969-1975). Illiano and Sala 641-670.
Naves,
Santuza Cambraia et al, eds. A MPB em discussão: entrevistas. Belo
Horizonte: UFMG, 2006.
Oliveira,
Ana. Gilberto Gil - encontros. Rio de Janeiro: Beco do Azougue,
2008.
______. Tropicália.
http://tropicalia.com.br/
Oliveira,
Leonardo Davino de. Canção: A música híbrida de Caetano Veloso. Rio de Janeiro:
Ibis Libris, 2012.
Perrone,
Charles A. Letras e letras da MPB. Rio de Janeiro: Booklink, 2008.
______. Masters
of Contemporary Brazilian Song. 1989. Austin, TX: U of Texas P, 1993.
______. “Scions
of Tropicalia: Of Signs, Soundings, Song and Science.” Brazil, Lyric, and
the Americas. Gainesville, FL: UP of Florida, 2010. 164-178.
Rocha,
Glauber. Revolução do Cinema Novo. Rio de Janeiro: Alhambra, 1981.
Santos,
Lidia. Tropical Kitsch: Mass Media in Latin American Art and Literature.
Trans. Elisabeth Enenbach. Madrid: Iberoamericana, 2006.
Severiano,
Jairo. Uma história da música popular brasileira: das origens à modernidade.
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Severiano,
Jairo and Zuza Homem de Mello. A canção no tempo: 85 anos de músicas
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______. A
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______. Música
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______. Letra
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______. Verdade
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______. Sem
receita. São Paulo: Publifolha, 2004.
