Brazzil - Year 10 - Number 159 - March 1999

www. brazzil.com

Year 10 — No. 159 — March 1999

CONOMY: Ei THREAT HIGH INFLATION

CULTURE: THE RICH LEGACY OF ANTONIO HOUAISS

TRAVEL: CARUARU AND LOTS OF SUN

SOCIETY: MUSIC:

CHICO, THE ENTURY'S EST

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BRAZZIL - MARCH 1999

With a vast firniament -crf-Mustar' stars to count on, Brazilians were faced recently with the tough task of choosing the best musician the country produced this century. The popular yote promoted by weekly magazine Isto E started with a list of30 names pre-selected by a panel of 30 experts including composers, critics, writers, and historians. It was a close race among such names as Tom Jobim, Caetano Veloso, Heitor Villa-Lobos, Cart°la, and Carmen Miranda.

Chico Buarque de Holanda—who had been absent from the public eye for three years while writing Benjamim, his new novel—ended up in first place just a little ahead of Jobim, showing that his work has left an enduring legacy not only on

literature and music but also among Brazilians on the streets. And to think leading weekly magazine Veja had just recently written him off as a washed out talent.

Chico's answer was Cidades, his latest show that for five weeks packed houses in Rio and just moved to SAo Paulo to more seven weeks of sold out spectacles. Next in his itinerary: Belo Horizonte, capital ofMinas Gerais, and Portugal. Always shy and ill at ease when giving interviews, Chico Buarque revealed: -When I stay a long period without composing I feel like I unlearn how to cornAs you might know, Brazzil is a veiji small operation: one person and some vo unteers who help as and when they can.

The magazine is coming out a little more than a month late and I'm sorry for that. I don't see me catching up soon, but rest assured that the content is fresh and you will get all the issues you've paid for.

Thanks and all the best. R.M.

pose." The Cidades CD released on December, on which the show is based, has already sold more than 300,000 copies, an impressive number by any artist.

Chico has been hailed by women themselves as a truthful interpreter of the female soul and it has been a delightful surprise for many to see him singing songs he composed, but never sang himself. Jewels like "0 Meu Amor- or -Terezinha" (I don't know his name/ But I know what he wants/ He lay down on my bed/ And calls me woman). We dedicate our cover story to this genius of Brazilian music and culture.

R.M.

CONTENTS

7 Energy Worst blackout ever covers the country

29 Novel Excerpt "Esau e Jaco"

by Machado de Assis

8

35

Memory Dictionary-man Antonio Houaiss is gone

Travel Pernambuco of Caruaru and Fernando de Noronha

11 Obituary Soprano extraordinaire Bidu Sayao

12 Cover Chico Buarque, musician of the century

Cover by Lazzuly Mello

39

DEPARTMENTS

Impressions Rio when Carnaval is not around

6

41

Rapidinhas

Music Dil Fonseca, recording his way

20

21

Letters

Economy Recession, unemployment, and fear of inflation

49 The Cultural Pulse

23

51

Indians The dark side of Brazilian indigenous peoples

Classifieds 52

54 Special Thomas E. Skidmore •covers-500 years of Brazil

That's Brazilian Send mail to: P.O. Box 50536 - Los Angeles, CA 90050-0536 Ads/Editorial: (323) 255-8062 - Subscrip.: (323) 255-4953 Fax: (323) 257-3487 - Brazzil on line: http://www.brazzil.com E-mail: brazzil@brazzil.com

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Publisher and Editor: Rodney Mello / Commercial Director: Leda Bittencourt Entertainment Editors: Sam & Harriet Robbins / Book Review: Bondo Wyszpolski / Music Editor: Bruce Gilman BRAZZIL (ISSN 1091-868X) is published monthly by Brazzil - 2039 N. Ave. 52, Los Angeles, CA, 90042-1024. Periodicals Postage rate paid at Los Angeles, CA. Single copy sold for $2. One year subscription for 12 issues is $3 (three dollars) in the U.S., $15 in Canada and Mexico, and $18 (surface mail) in all other countries. No back issues sold. Allow 5 to 7 weeks to receive your first issue. You may quote from or reprint any of the contents with proper copyright credit. Editorial submissions are welcome. Include a SASE (self addressed and stamped envelope) if you want your material mailed back. .Brazzil assumes no responsibility for any claims made by its advertisers.

POST MASTER: Send address changes to BRAZZIL - P.O. Box 50536 - Los Angeles, CA - 90050-0536 BRAZZIL - MARCH 1999

5

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Teasing Undies The Saldo Internacional de Moda intima (International Fair of Intimate Fashion), recently held in Sao Paulo, showed that despite recessive times in Brazil there's no recession in the panty and bra business. The small company Lovable, for example, had planned to reach $600,000 in sales throughout 1999. The goal was reached in the first two months of the year.

The underwear manufacturer got a big hand from Tiazinha, the pleasantly sadistic character who has become the biggest star of prime-time Brazilian TV. Dressed in little more than panties and a bra, and wearing a mask, while handling a whip—Tiazinha is fulfilling the fantasies of all those looking for a dominatrix. Other women want to emulate her now. Lovable has used Tiazinha, the alter ego of communications student Suzana Alves, in 53 items of its lingerie line and the strategy seems to have worked miracles.

The Brazilian underwear industry sells close to 600 million bras and panties a year, which means an average of five panties and two bras for every old, young, and baby female in the country. The S'ao Paulo-based DuLoren company, one of the leaders of the lingerie business, produces some 140 different styles of panties. Lace and silk are still the rigueur in the most exclusive creations, but more and more people will see the use of the LycraTactel fiber, a material previously used only in sports clothes. The tendency is also for bras to have rings and fillings to enhance that part of the anatomy in which Brazilian women are generally not well endowed. There is a great variety of panties, but for racier nights the favorite pieces today, as revealed by the sales charts, are the dental-floss transparent type.

Why this fascination with underwear? Producer Daniella Farias, 26, from Brasilia, could have the response in an interview she gave the local daily Correio Braziliense: "I feel superpowerful with one of these panties. Men go crazy when they see how minuscule and tempting they are. I like to produce myself for that special moment. The results are always positive and approval is immediate," Farias revealed that she might think that a dress for $20 is too expensive, but not a panty-bra set for double the price. She owns 15 special sets right now.

Nelma Penteado, a strip-tease teacher from Sao Paulo and owner of the lingerie line Espaco Sensual, in the same coverstory article from Correio Brafiliense, confided on her experience in this area: "Women like to be admired. Intimate clothes are an excellent accessory and women know that no man is turned off by beautiful lingerie. He wants to know what's behind it." Penteado explains the symbolism of colors. White is used to express a desire of romance, black and red mean that the woman is looking for something a little hotter and crazier.

6

BRAZZIL - MARCH 1999

nergy

Brazilian Night It could have been much worse, but the biggest blackout Brazil ever had was bad enough. At 10:16 PM on March 11, the lights went out in 11 southern and central states, plus the Federal District, leaving more than 97 million Brazilians out of a 160 million population—including those from Rio and Sao Paulo, the most populated centers—without electricity. Those who thought the lights would come back on soon went to sleep or had to wait up to four hours. Had the disaster hit a few hours earlier during rush time the chaos would have been much greater.

What happened? The government, taken by surprise, took a whole day to find the answer. A lightning bolt hit a power substation close to Bauru, a city 220 miles northwest of Sao Paulo, disabling five electrical supply lines. The explanation was given by Mines and Energy Minister Rodolpho Tourinho who insisted: "A lightning bolt is an exceptional fact, there is no reason for doubting the reliability of the Brazilian electrical system."

More than anything Brasilia's authorities wanted to dispel the notion that the blackout had anything to do with the privatization of the power system in the country. The sale of these state companies is an essential part of an agreement signed between Brazil and the International Monetary Fund to secure fresh — and much needed — loans for the country. Coincidentally, it was at the beginning of March that the private company Operadora Nacional de Sistemas de Energia took over government control of the country's transmission lines. "No, the privatization is not at fault," guaranteed the government. Au contraire, they explained, the accident proves that the privatization was necessary. The country is in need of more transmission lines and only the private sector has the money today for such an investment.

In Rio the military police placed 1,200 men in the streets to avoid looting.

In Sao Paulo, traffic authorities announced they closed the city's tunnels to prevent assaults. In Botucatu, in the interior of Sao Paulo, obstetrician Emerson Domingos da Costa was in the

BRAZZIL - MARCH 1999

middle of a cesarean delivery when the lights went out. Everything worked out fme, but everybody in the delivery room was very scared. "At that moment! imagined what the President would have done if it were his daughter," said da Costa later.

Seven thousand Cariocas (Rio residents) called Light, the company that provides electricity in the city, to complain about TV sets and other electrical devices that were damaged by the mishap. Not to worry. Firmino Sampaio, the president of Eletrobras (the federal body in charge of energy and power) left it clear the next day that nobody would be reimbursed for their losses.

There were reports of robberies in almost every big city without electricity, but in sao Paulo the number of murders fell by one third (from the average 15 to 5). That's because the bars were closed, explained the police. More than 60,000 people were t 11-r—,1-4 1.011E, on Rio's subway when lights went Out. The evacuation operation required CI GL0130 200 Metro workers and lasted until -2;30 in the morning. Dozens of pasBlecaute.deixa sem luz o Rio e senger, however, afraid of being astoda a regiao centro-sul do pals saulted in the dark streets refused to abandon the stations Estacio and Del Castilho, forcing transit authorities to take them home or to safer places in their vans.

Commenting on the blackout, Rio's daily Jornal do Brasil editorialized: 11 "Brazil left it clear that authorities 0 ESTADO, DES. PAULO are entirely unprepared to face a grave Maior blecaute do Pais atinge 8 Estados emergency situation. During the episode there was no coherent mobilization by the government. When the crisis was more acute the newspapers had a hard time finding the Mines and Energy minister Rodolfo Tourinho and nobody knew what had happened to •President Fernando Henrique Intlacio cat, receita cresce e dalar SO Algal* tlefa Cardoso. %wriggle, Until Friday afternoon, no one seemed able to find a reasonable explanation for what had happened, although the government rushed to declare that the episode would not hap,- pen again. How they could guarantee Rtudodutate ".?..= that, before knowing the cause, is a mystery that should be investigated by the regulating body, the Agenda EofP44ma.

Nacional de Energia Eldtrica (National Aernow.,.... Mow, i:ZaprZZ owlelOrd lam Agency for Electrical Energy)."

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7

With characteristic humility Ant6nio Houaiss used to call himself "a humble word worker. Jam no poet or creator." And yet his work was the highly sophisticated one of building dictionaries and encyclopedias. The respected intellectual and former minister died March 7, in Rio, at age 83, after being in the hospital since December to treat chronic pneumonia. Houaiss died before concluding his most ambitious project, an extensive Portuguese dictionary, with the origins for every word listed, which he was having difficulty financing.

Born on October 15, 1915, in Rio, Houaiss was the fifth ofseven children ofLebanese immigrant Habib Assad Houaiss and Brazilian Malvina Farjalla Houaiss. He was raised in the legendary beach neighborhood of Copacabana. The scholar loved the sea and became an excellent swimmer.

His marriage lasted until the death of his spouse in 1988.

He married his wife—Ruth Marques de Sales, a Latin teacher from Bahia—in 1942. They had no children. Also in 1942, he graduated in classic letters from Faculdade Nacional de Filosofia da Universidade do Brasil. From 1934 to 1946 he worked as a Latin, Portuguese, and Literature high school teacher until he was accepted into the Itamaraty (the Foreign Service) as a diplomat.

For someone so unassuming he possessed an impressive collection of titles: philologist, encyclopedist, Culture Minister (under President Itamar Franco), diplomat, translator, and teacher. From 1978 to 1981 he was Rio's Writers Union president. And he was an "Immortal," one of the 40 for-life members of the ABL (Academia Brasileira de Letras— Brazilian Academy of Letters). Houaiss was admitted to the ABL in 1971 and was its president in 1996. He was buried at the ABL's mausoleum in the Sao Joao Batista cemetery in Rio. He became in 1964 one of the first victims of the military dictatorship that lasted from 1964 to 1985. Houaiss was stripped from his civil rights for 10 years and forced into a premature retirement. A blessing in disguise because it led the lexicographer to dedicate himself full time to his intellectual endeavors, in particular to his dictionaries and encyclopedias.

That's when he also found time for the Herculean task of 8

translating James Joyce's Ulysses.

He wrote close to 50 books including A Nova Ortografia da Lingua Portuguesa (Portuguese Language New Orthography), 0 Que e a Lingua? (What's Language?) and A Crise da Nossa Lingua de Cultura (The Crisis of Our Language of Culture). Houaiss also helped to establish the definitive text for several Brazilian writers including Lima Barreto, Got-waives Dias, and Augusto dos Anjos. The English-Portuguese Dictionary edited by James L. Taylor and the Webster's English-Portuguese Dictionary both compiled by him can be found at the Amazon Internet bookstore (http://www.amazon.com). To celebrate his 80th birthday the Civilizacao Brasileira publishing house released Antonio Houaiss: uma Vida (Antonio Houaiss: a Life), a tribute book written by 41 authors.

Speaking about Houaiss's death, Arnaldo Niskier, president of the Academy of Letters declared: "The Brazilian culture lost its greatest philologist. The man who personified a tradition of great names in the cultivation of the Portuguese language. The Academy also lost a great fighter for the establishment of an orthographic agreement for unifying the Portuguese language. The best way to pay homage to his memory is to guarantee that this agreement, which has dragged on since 1990, be finally signed by the seven countries of the Portuguese-speaking community (Brazil, Portugal, Angola, Mozambique, Guinea Bissau, Cape Verde, and Sao Tome and Principe). This was his biggest dream. In the last years his passion was divided between the fight for the orthographic agreement and the making of his big multimedia dictionary which should be released in September 2000."

The new dictionary, which will be called Houaiss in an homage to its creator, will contain about 320,000 terms with etymological and morphological explanations, double the entries of the most popular Brazilian current dictionary, the Aurelio, prepared by Aurelio Buarque de Holanda.

Research on the dictionary—started in 1986—had stopped between '92 and '97 for lack of funds. Now there are 50 experts working on it. Ninety percent of the work has already been concluded. Most of the effort now will be concentrated on proofreading.

Houaiss's defense of the new orthography brought him some enemies even amongst his fellow members in the Academy and he was accused of pushing legislation for self-benefit so he could better sell his new dictionary. His Ulysses translation, which first appeared in 1966, was very controversial. Some critics accused him of giving too much importance to the linguistic aspect of the book forgetting other angles. Houaiss defended himself: "Joyce deliberately practiced violence against the English language. It was anew language. I, as a translator, tried to do the same."

Houaiss believed in the power of culture saying that "the culture doesn't intend to change only the vision of the world, but wishes to change the reality when this is repugnant."

His term as Culture minister didn't last more than one year, though. The intellectual in him was never capable of wearing the political suit. He abandoned the post criticizing the ridiculous 0.03% of the budget reserved for culture and lambasting pork-barrel politics.

Politically active, he helped to found the Partido Socialista Brasileiro (Brazilian Socialist Party). More re-

BRAZZIL - MARCH 1999

cently he defined himself—not without irony--as a "postagnostic and a pre-Christian." In the '50's, while serving as a diplomat, Houaiss was placed in "inactive status" after being accused of involvement with the left. Only in 1990 was he was officially reinstated as a diplomat.

The intellectual was an acerbic critic of the Brazilian educational system. He used to say that educationally Brazil was still a country in the 18th century, when only 2% of the population knew how to read. He never accepted the statistics indicating that 30% of Brazilians are illiterate. Houaiss believed that 70% of the Brazilian population is functionally illiterate.

On the hobby front Houaiss was famous for his knowledge and ability around the kitchen. And he was very proud of being a gourmet. He called himself, with self-created neologisms, "mestre nas artes comestoria e bibitoria," (master in the eatatory and drinkatory arts). It wasn't uncommon for him to abandon his fellow guests at the table to join the chef in the kitchen at a friend's house or in a restaurant.

"The secret of eating well is variety," he used to teach.

In 1958 he founded the Confraria dos Gastronomos (Gastronomes Brotherhood) where he stayed until 1975. He left there for disagreeing with new member President General Emilio Garrastazu Medici who joined the gourmets' club in 1975. Four years later he started a new group, the Companheiros da Boa Mesa (Companions of the Good Table). For all his love of good food he never lost his thin figure, which was cause for envy from friends and foes alike.

He even wrote his own cook book, Magia da Cozinha Brasileira (Brazilian Cuisine Magic) (1979), with 100 recipes of regional Brazilian cuisine. He came back to the subject in 1986 with Receitas Rapidas (Fast Recipes), a collection of 81 dishes for those amateur chefs de cuisine in a hurry. A beer lover, he also authored A Cerveja e Seus Misterios (The Beer and Its Mysteries).

For him, cooking was something cultural and he criticized men incapable of donning an apron and going to the kitchen: "Men who are not interested in eating, or that snub going into the kitchen, are male chauvinists who believe they can become more macho by doing this."

BIBLIOGRAPHY: Anthologies and Essays: Prefacio, in vida urbana (1956) Critica avulsa (1960) Seis poetas e um problema, estudos de critica literaria, estilistica e ecclotica (1967) Augusto dos Anjos, poesia, antologia, introducdo e notas (1960) Qual prefacio, in A rima na poesia de Carlos Drummond de Andrade, de Hekio Martins (1968) Introduolo, in Reunido: 10 livros de poesia, de Carlos Drummond de Andrade (1969) Critica literaria e estruturalismo, in II Simposio de lingua e literatura portuguesa (1969) Drummond mais seis poetas e um problema (1976) Homenagem a Joaquim Cardoso, conferencia (1978) Estudos vcirios sobre palavras, livros e autores (1979)

BRAZZIL - MARCH 1999

Philology, Bibliology: Tentativa de descried° do sistema vocalic° do portugues cu/to na area dita carioca, dialectologia e ortofonia (1959) Sugestdes para uma politica da lingua (1960) 0 Servico de Documentaodo da Presidencia da Reptiblica (160) Introducdofilologica as Memorias P6stumas de Bras Cubas, fixacdo do text° critico (1961) Elementos de bibliologia (1967) A crise de nossa lingua de cultura (1983) 0 portugues no Brasil (1985) o que e lingua? (1990) A nova ortografia da Lingua Portuguesa (1991) Politics: A defesa (1979) Brasil-0 fracasso do conservadorismo (1985) Brasil-URSS - 40 anos do estabelecimento de relacoes diplomaticas, colective work (1985) Socialismo e liberdade, with Roberto Amaral (1990) VariacdeS em tomb do conceito de democracia, with Roberto Amaral (1992) SocialisMo--Vida, morte e ressurreicdo (1993) A modernidade no Brasil—Conciliacceio ou ruptura?

(1995) Os socialistas e a guerra (1991) Texts by Classics: Obras de Lima Barreto, with Francisco de Assis Barbosa and Manuel Cavalcanti Proenca (1956) o texto dos poemas, in Gon calves Dias, poesia e prosa escolhida (1959) Memorias postumas de Bras Cubas, de Machado de Assis (1961) Eu, outras poesias, poemas esquecidos, de Augusto dos Anjos (1965); Edicdes criticas de Obras de Machado de Assis (19'75).

Referen e: Anais do Primeiro Congresso Bras ileiro de Lingua Falada no atro (1956) Novo d cionario Barsa das linguas inglesa e portuguesa 2 vols., with Catherine. B. Avery (1964) Grande nciclopedia Delta-Larousse, 12 volumes Enciclo édia Mirador Internacional, 20 volumes and 1 atlas ( 1975) Pequeno dicionario enciclopedico Koogan-Larousse (1979) Vocabulario ortografico da Lingua Portuguesa (1981) Webster s dicioncirio ingles-portugues, 2 volumes, with Ismael Cardim and other (1982).

Gastronomy: Magia da cozinha brasileira (1979) Receitas Rapidas (1986) A cerveja e seus misterios (1986)

9

011J= Golden Bronze The authors of the book of the year in the categories of fiction and non-fiction will receive the equivalent of $6,000 each. Most of the other 43 winners will take home only a humble bronze trophy, the Jabuti statuette. It's the prestige that counts for the traditional Premio Jabuti, which has been given for 41 years by the Camara Bras ileira do Livro (Brazilian Chamber of Book). The award was given this year to three publications in 15 categories and was presented March 23 during the Salao Internacional do Livro de Sao Paulo (Sao Paulo International Book Fair). The first place winner in each category will get a check for $500 in addition to the trophy.

The most traditional literary prize in Brazil was instituted by Diaulas Rideel, in 1959, when he was president of Camara do Livro. The jabuti (turtle) was chosen as the symbol for its image of persistence and studious effort. Internationally-renowned author Jorge Amado won the first prize for fiction in 1959 for his novel Gabriela, Cravo e Canela (Gabriela, Clove and Cinnamon). The jury that chooses the winner is formed by teachers and intellectuals. The 45 titles below were chosen among 1580 titles submitted to the competition.

The semi-final winners and their publishers: Novel: Cabra-cega (Relume-Dumard) by Carlos Nascimento Silva Os seios de Pandora (Rocco) by Sonia Coutinho Resumo de Ana (Cia. das Letras) by Modesto Carone

10

Short story: Antologia pessoal (Mercado Aberto)

by Charles Kiefer As palavras secretas (Cia. das Letras)

by Rubens Figueiredo Bolha de luzes (Cia. das Letras) by Joao Inacio Padilha Poetry: Crisantempo (Perspectiva) by Haroldo de Campos Invencab do mar (Record) by Gerardo Mello Mourao Mural de ventos (Jose Olympio) by Salgado Maranhao Essay and biography: A sensibilidade do intelecto (Campus) by Fayga Ostrower As barbas do imperador (Cia. das Letras) by Lila Moritz Schwarcz Os males da ausencia (Topbooks) by Maria Jose de Queiroz Economy and law: Globalizacdoe desemprego (Contexto) by Paul Singer Guia dos seus direitos (Globo) by Josue Rios 0 cap italismo global (Paz e Terra) by Celso Furtado Natural sciences and medicine: Amazonia meio desenvolvimento agricola (Embrapa) Organized by Alfredo K. Oyama Homma CaxivanCi(Museu Goeldi)

by Pedro L. B. Lisboa Guia para identificacoes de fungos actinomicetos (Sarvier) by Lacaz/Porto/Heins-Vaccari/Takahashi Melo t Exact sciences and computers: As ciencias em Portugal e no Brasil (Educ) by Marcia Helena Mendes Ferraz Curso de fisica basica (Edgard Blucher) by Herch Moyses Nussenzveig Nzimeros, uma introducdo a maternatica (Edusp) by Sonia Coelho and Cesar Millies Human Sciences: A viagem do descobrimento (Objetiva) by Eduardo Bueno Cocanha (Cia. das Letras) by Hilario Franco Junior Historia da vida privada III e IV (Cia. das Letras) organized by F. Novais Journalism: Imagens da fotografia brasileira (Estacao Liberdade) by Simonetta Persichetti Mulheres que foram a luta armada (Globo) by Luiz Makolouf Carvalho Paulo Autran, urn homem no palco (Boitempo) by Alberto Guzik

Translation: Obras completas de Jorge Luis Borges (Globo) by Mattoso/Schwartz/ Baptista/Mascarenhas/Arafijo/Reboni/ Eulalio/Lima/Nejar/Cadozo Prosa poetica (Topbooks) by Ivo Barroso Tirant lo blanc (Giordano) by Claudio Giordano Cover: Chic homem, manual de moda eestilo (Senac) by Marina Nakada and Sidney Itto Cozinha italiana (Cia. das Letras) by Helga Miethke 0 fio de Dedalo (Record) by Victor Burton Editorial production: Arte construtiva no Brasil (DBA Melhoramentos) by Paulo Malta Enlouquecer o subjetil (Unesp/Atelie/ Imesp) by Lena Bergstein 0 mez da grippe e outros livros (Cia. das Letras) by Elisa Braga School books: Gramatica, texto e uso (Atual) by W. Cereja and T. C. Magalhaes Jornal do seculo XX (Moderna) by Jayme Brener Noss° foklore (Ave Maria) by Maria Almeida and Zuleika Prado For Children: A outra enciclopedia canina (Cia. das Letras) by Ricardo Azevedo Dezenove poemas desengoncados (Atica) by Ricardo Azevedo Nadando contra a morte (Formato)

by Lourenco Cazarre Children's Book Illustration: (Agir) by Roger Mello De frehte para o sol (Moderna) by Demostenes Vargas Dez sac izinhos (Paulinas) by Roberto Weigand

BRAZZIL: - MARCH 1999

az= Big Little Voice Writer Mario de Andrade, who nicknamed her "The Night gale," painted her in poetic colors: "She has an admirable voice with an impregnating allure. She s oyes that a bird's soul can escalate in passion." Brazilian nightingale Bidu Sayao is quiet now S e flew away Match 13, at age 96, after fighting pneumonia in Penobscot Bay Medical Center in Rockport, Maine, USA. She lived in Lincolnville, Maine. Sayao had moved to the area, bitter with Brazil and the treatment Brazilians gave her. She asked to be cremated and her ashes spread in Lmco vine Bay just in front of her house.

The soprano, admired by Italian maestro Arturo Toscani (1867-1957) who called her"la piccola brasiliana," was one of the best prima donnas the world has ver known. Her first performance in the US happened in 1936. From the late '30s through the '40s S ao was one of the most popular stars of the New York Metropolitan Opera. She was decorated by the .S. government for her performances for soldiers during World War II. She was born Balduina de Oliveira Sayao in the Rio beac side neighborhood of Botafogo on May 11, 1902. Baldulna was named after her grandmother and lso adopted the Bidu nickname that her mother had. The artist was only 5 when her father died. He mother Maria Jose Sayao would be her biggest inspiration and her only monetary source during he beginning of her career. She later complained that no school, company, or government departrn nt would help her when she was starting.

She carried some resentment for razil all her life, but at the same time preserved her Brazilian identity, r fusing for example to seek American citizenship.

She was a mere 18 when she pre iered in the Teatro Municipal do Rio de Janeiro interpreting Gaetano Doniz etti s opera Lucia de Lammermoor. Her work received rave reviews. After t at she went to Europe and in 1922 was admitted in Nice, France, to the s ool of renowned Polish tenor Jean de Reszke, with whom she learned the licate way of singing that would become her trademark. After starring as Ro Ma in Rossini 's The Barber of Seville in Brazil, in 1926, she was invited t Rome ,and signed a contract with the Constanzi Theater. Soon she went t the ,Operalde Paris and then to Scala of Milan, Sayao's American career began in 1937 following a successful two-year tour in Brazil during 1935 and 1936. In New York she interpreted 12 roles in 13 seasons, including among others yioletta, Rosina, Gilda and Mimi. She was petite, not pretty and with a little voi e, but she won the hearts of her public by the intensity of the emotions with wjhich she interpreted her roles.

Her last presentation on a stage jias in 1954. Four years later, however, at the request of friend Villa-Lobos s e agreed to record Floresta Atnazonica, conducted by the famous composer himself. After that she retired.

The musical piece that became her biggest success was her role in Brazilian composer Villa-Lobos ' s Bachianas n°5, which was recorded in 1945. Sayao was V illa-Lobos's favorite interpreter. She became also famous for playing Zerlina in Mozart's Don Giovanni.

Her last trip to Brazil was in 1995 when She was paid a tri te by Escola de Samba Beija-Flor, which chose her story to present during the Carnaval Parade. She articipated parading on one of the floats.

The singer had plans to return to Brazil for a last time on her 00'h birthday in 2002 and had invited her long-time manager and friend Hazel Eaton to go with her on t is trip. In an interview with daily 0 Estado de S. Paulo, Eaton revealed she was very happy with the rec nt release by Sony of her old recordings.

She felt relieved for not having been forgotten by people afte so many years, 'something that tormented her during the last few. years.

In her last performance at the Rio Municipal Theater in 1917, she was intensely booed. It's been said that the jeering was orchestrated by jealous Gabriela Besanz ni Lage, a famous Carmen who couldn't accept being outdone by the diminutive Bidu. The singer did t go back for tours in Brazil any more and when her singing career ended she gave up living in Brazil, buying her house in Maine.

Married twice—first with manager Walter Mocchi, 49 y ars her senior and then in 1935 to famous Italian tenor Giuseppe Danise, who died in 1963—she pre -rred to spend her time with her cats and playing cards with friends.

BRAZZIL - MARCH 1999

11

Chico Lives For long considered a patrimony of Brazilian music, Francisco Buarque de Hollanda, better known as Chico Buarque, has just been chosen Brazil's Musician of the Century in a competition promoted by weekly news magazine Isto E. Competing with him there were such music legends as Tom Jobim, who came in second, Milton Nascimento, Joao Gilberto, Noel Rosa, Pixinguinha, Caetano Veloso, and Gilberto Gil. Brazzil tells the story of the genius Chico Buarque.

KIRSTEN WEINOLDT

Since November of last year, Chico Buarque's name has been in the news quite a bit, after an absence of five years. It started with the launching of his new CD, As Cidades (The Cities) and has continued with the national tour starting in Rio. There had been whispers, some not so softly, that he was washed up. Veja, one of the most widely read magazines in Brazil, carried an article in November of 1998 stating that Chico Buarque was in a creative crisis, and that As Cidades was an inferior CD. The authors blamed it partly on his drinking, partly on the breakup of his marriage of thirty years after some rumored extramarital affairs on his part.

The article was a mean-spirited attempt at trashing one of the great geniuses of Brazilian music—a man chosen as the greatest by the other leading magazine, Isto E, just recently.

When this author visited Rio in January, there were no CDs to be had in the stores, and Canecao was sold out with a few standing room tickets left. And when Chico visited Salvador earlier this year for the christening of his grandchildren, Chico and Clara, children of his daughter Helena and musician Carlinhos Brown, Baianos flocked around him as they do to their local heroes, Caetano and Gil. As of March 16", www.Musicboulevard.com has As Cidades in their catalog Log on, get it, listen, and form your own opinion. And now, for the story of Chico, fasten your seatbelts.

On June 19th, 1944 at the maternity ward Sao Sebastiao, Largo do Machado, Rio de Janeiro, Francisco Buarque de Hollanda, Chico, was born the 4th of 7 children of historian and sociologist Sergio Buarque de Hollanda and pianist Maria Amelia Cesario Alvim. In 1946 the family moved to Sao Paulo where Sergio accepted the post of director of the Museu do Ipiranga.

At five, Chico already showed his interest in music with an album of pictures of singers he had heard on the radio. And a year later, as the family was about to make a voyage to Europe, 12

young Chico said to his grandmother, "Grandma, you're very old, and when I come back, I won't see you anymore, bur I'm gonna be a singer on radio, and you will be able to turn on the radio in Heaven if you miss me."

In 1953, Sergio was invited to teach at the Universiiy of Rome, and the family moved to Italy. It was here that Chico became tri-lingual. He spoke English in the American School, Portuguese at home, and Italian in the streets. It was also here that he composed his first marchinhas de carnaval, little Carnaval marches.

In the house in Rome, the eternally curious Chico would hide at the top of the stairs after having been sent to bed and listen to conversations his parents had with friends, such as the great poet Vinicius de Moraes. Later, the composer Chico Buarque would form a partnership with the poet.

About 1956, the family returned to Sao Paulo. His sister, Ana Maria, Baia, remembers that Chico at the age of 12 or 13 composed some operettas together with sister Mificha, ricknamed Heloisa.

The family moved to a big house in Rua Bun, a couple of blocks from the stadium Pacaembu. Although he was a devoted fan of the Fluminense club of Rio, his idol played for Santos.

His name was Paulo Cesar de AraUjo, Pagao, a name Chico still uses in homage to the star. Some of his friends joke that Chico Buarque only turned to music because he didn't shine at soccer.

In school Chico showed great interest in the classic literature of France, Germany, and Russia. His interest in Brazilian literature only started when someone criticized him for not appearing to care about it. His budding interest in Brazilian literature might have gone a little too far when he took a rare first edition of Macunaima by Mario de Andrade from his father's book case and paraded around campus with it. That earned him a paternal reprimand.

Youth Follies BRAZZIL - MARCH 1999

In 1958, influenced by a professor, he entered a religious movement called Ultramontanos, a precursor of the ultraconservative organ TFP (Tradicao, Familia e Propriedade—Tradition, Family and Property). His involvement with the Ultramontanos grew to steady worry for his parents. He even abandoned playing soccer. Concerned, his parents sent him to a boarding school in Cataguases, in the interior of Minas Gerais, for a semester.

Upon returning to Sao Paulo, he also returned to his involvement in a religious movement, this time one of a social nature called Organizacao Auxilio Fraterno (Fraternal Aid Organization), which took food and other goods to the homeless.

Chico Buarque, who has never been a believer in charity as a solution to social ills, describes this time as "an experience that kept him from becoming alienated."

It was also during this time that his interest in music flourished. His first love were the traditional sambas of Noel Rosa, Ismael Silva, and Ataulfo Alves. However, he also listened to such varied foreign artists as French Jacques Brel, Elvis Presley, and The Platters. But it was "Chega de Saudade," Tom Jobim's song with Joao Gilberto's revolutionary beat that turned Chico Buarque's musical world upside-down. In fact, he drove the neighbors crazy playing the record incessantly. Even his sister, Mincha, who would later marry Joao Gilberto, could not put up with it.

His dream at this time was to "sing like Joao Gilberto, compose like Tom Jobim, and write lyrics like Vinicius de Moraes." And he followed up his dream by composing his first song, "Cancao dos Olhos," (Song of the Eyes).

The sixties expanded his means of expression in that he published his first chronicles in the paper he called Verbcimidas in Colegio Santa Cruz. It became his ambition to one day see his words in print in the weekly magazines side by side with established writers.

He soon did get his wish of appearing in print, but not in the way he had imagined or that would make his parents proud. His phpto and that of a friend appeared on the pages of Ultima Hora (Last Hour), a Sao Paulo newspaper, eyes covered because of their ages, when they stole a car to do some early morning joyriding — a favorite pastime of teens then and now. His parents, however, were not amused, and young Chico was grounded at night until he turned 18.

In 1963, Chico Buarque was matriculated at FAU (Faculdade de Arquitetura e Urbanismo of the University of Sao Paulo). But with the military coup in 1964 came repression of all institutions of learning, and after Chico had studied for 3 years, he abandoned his studies and destroyed the dream of his maternal grandmother, Maria do Carmo that her grandson go on to design cities.

Not all the events of 1964, however, were negative. It was also the year in which Chico Buarque first set foot on stage to sing. This happened at Colegio Santa Cruz, and he sang his own "Cancao dos Olhos" (Song of the Eyes). The song "Tern Mais Samba" (There is More Samba), made for the musical Balanco de Orfeu, is one that Chico today considers the starting point of his career.

It is also during this time that the groundwork is laid for the craze of the music festivals. The most famous of the shows was the one presented at the Paramount on Avenida Brigadeiro Luis Antonio in Sao Paulo. At the show 0 Fino da Bossa under the leadership of Elis Regina, were BRAZZIL - MARCH 1999

introduced such luminaries and future stars as Alaide Costa, Zimbo Trio, Oscar Castro Neves, Jorge Ben, Nara Leao, Sergio Mendes, and Os Cariocas. At Colegio Santa Cruz, the show Primeira Audictio (First Audition), made room for musicians of the new generation. CIfico Buarque presented here his new song "Marcha para um Dia de Sol," (March I toward a day of sunshine).

1965 saw his first single "Pedro Pedreiro," (Pedro the Stonemason) and "Sonho de um Carnaval," (Dream of a Carnaval), arrive on the market. "Sonho" was the first song entered into a festival at TV Excelsior. The song, sung and subsequently recorded by Geraldo Vandre, did not classify.

Chico also tried his hand at acting and appeared with Eva Wilma and John Herbert on a soap on TV Tupi, Prisioneiro do Sonho (Prisoner of the dream), in which he played "one of those performers of bossa nova." He wrote the music for the poem "Morte e Vida Severina" by Joao Cabral de Melo Neto whose production won praise by critics and public in Nancy, France.

It was in 1965, at the Joao Sebastiao Bar, a Paulista stronghold for bossa nova, that Chico met Gilberto Gil for the first time. Later, the same year, he met Caetano Veloso, who was very enthusiastic about hearing Ole, OM in a show. The basement of the architectural faculty was often the site of parties and musical encounters, and it was here that Chico became familiar with Taiguara and Joao do Vale, composer of the famous "Carcard."

Inspired and encouraged by previous successes, TV Record launched the program Fino da Bossa with a special segment called First Audition, which allowed the appearance of new composers. Chico found out what it meant to be a professional musician. He received his first pay, 50,000 cruzeiros, about $30 for his participation in 0 Momento da Bossa promoted by Walter Silva.

At the second Festival de Musica Popular Brasileira, in October of 1966, Chico's song "A Banda" (The Band), shared first place with "Disparada" (At Full Tilt), by Theo de Barros and Geraldo Vandre. The song was an immediate success that sold over 5,000 records in a week. The poet, Carlos Drummond de Andrade acclaimed the song in a chronicle, and the song was soon translated into several languages. An unusual honor was bestowed on the song in that since 1978, it has been part of the repertoire of the Irish Guards Band, one of the musical bands that play at the changing of the guard at Buckingham Palace.

New Image It was about this time that he moved to the city of his birth, Rio de Janeiro, and issued his first LP on RGE, Chico Buarque de Hollanda. Thus occurred also his first run-in with the military dictatorship's censors. The song "Tamandare," which was on the repertoire of the show Meu Refreio (My Refrain), with the group MPB4 and Odette Lara, was prohibited after six months for a few phrases considered offensive to the navy admiral whose face appeared on the old cruzeiro note.

He received a great honor during this time, namely that of being the youngest artist to record an entry for the Museum of Image and Sound—something hitherto reserved for older generations. It was his first foray into writing music for children when he composed the music for the play The Ugly Duckling. Almost simultaneously, he launched his first songbook A Banda with manuscripts of lyrics and the story Ulisses. He then met the actress Marieta Severo, whom he would later marry and with whom he would have three daughters.

At a time when political uncertainty was the only sure thing in Brazil, Chico Buarque became a national ymbol of unity, "the man every woman wanted to marry and every man wantedto emulate." Renowned writer and cartoonist Mill& Fernandes called him "the only national unanimity." He represented a return to better times before the military regime.

Although living in Rio, chic° continued to appear on and record programs in Sao Paulo, such as the musiclprogram on TV Record Pra Ver a Banda Passar (To See the Band Pass By), with Nara Ledo. Plagued by shyness, Chico did not much like television and only felt comfortable about appearing on Esta Noite Se Improvisa (Tonight We Improvise) also on TV Record where he alternated with Caetano Veloso for the first place in knowledge of lyrics of Brazilian songs.

He had his debut as a filr actor in Leon Hirszman's Garota de Ipanema (Girl from Ipanema), alongside T m Jobim, Nara Ledo, and Ronnie Von, in which he played himself One of Chico Buarque' a most beautiful songs, "Carolina," took 3'd place in FIC (Festival Internacional Ida Cancao—International Song Festival) promoted

by Rede Globo television network, and his "Roda Viva" as well came in 3rd in III Festival da MPB on TV Reeord. It was a time of transition in MPB. A group of musicians, among them Gilberto Gil, Elis Regina, Jair Rodrigues, and the members of MPB4 organized a protest march against electric guitars in MPB, and although agreeing with them, Chico did not participate. He was in the process of writing the play Roda Viva, but did have time in between to record Chico Buarque de Hollanda vol. 2.

When a student was shbt and killed in Rio in 1968, it resulted in a protest march in which Chico participated. Along with his growing popularity among Brazilians, his problems with the government grew. Seeing him as a rebel causing "dangerous" thoughts, the military censors prohibited many of his works— 13

contributing, of course, to their popularity. That was not the case, however, with his play Roda Viva, a satire portraying a popular singer as being devoured by his fans.

The military and the people were offended, and on the 18th of July, 1968, members of the CCC (Comando de Cap aos Comunistas—Comando for the Hunt of Communists) invaded a theater in SAo Paulo and beat up on actors and stage workers.

Meanwhile, Chico continued his victorious ways with "Sabia", made in partnership with Tom Jobim, who also composed "Pois E" (That's Right) and "Retrato em Branco e Preto" (Portrait in White and Black).

The press was full of stories of disagreements between Chico Buarque and the Tropicalistas who criticized Chico. Caetano Veloso is quoted as having said, "Chico Buarque continues making that which is pretty, while we'd also like to see things that are ugly."

Days after the Institutional Act No 5 on December 13th, which strengthened the military government's grip on the population, he was detained at his house and taken to the military barracks and questioned about his participation in the 100,000 person march as well as the scenes in Roda Viva considered subversive.

Likely because of his family background, he was treated less harOly than other dissidents of the military. Thus, with authorization from a Colonel Atila, whom he had to ask permission to leave town, Chico left Brazil in January and attended a large trade show for the phonographic industry held in Europe. After its conclusion, he went into a self-imposed exile in Italy. His song "A Banda" had been recorded by Italian singer Mina and had landed on the charts, but even so, his next two LPs met with little success in Italy. After some hard financial times, things started looking up with a contract from Phillips for a new LP. His payment for that was about $21,000, enough to sustain the young family which on March 28th was enlarged with Silvia Severo Buarque de Hollanda, the first of his three daughters, who had as godfather none other than Vinicius de Moraes.

Chico was doing well in Europe, touring and being the opening act for Josephine Baker. He contacted Toquinho and invited him to join him in shows in Italy. Chico Buarque, being a life long lover of soccer, had the great pleasure of spending time with Mane Garrincha, by many considered the greatest soccer player ever. Not only did he enjoy the times they spent together talking about music and soccer, it also earned him great respect in his neighborhood bar in Rome.

From time to time he contributed to the political satirical 0 Pasquim in Brazil with articles. 0 Pasquim was, at the time, one ofthe landmark periodicals ofBrazilian journalism. In 1970, Chico Buarque had had enough of exile and returned to Brazil amidst a grand scale welcome at the airport with the attendance of a large crowd of people, press, and cameras—a spectacle arranged on the initiation of Vinicius de Moraes, to show the military how much he was missed in Brazil and demonstrate that they were not to "mess with him." Scheduled was also a show at the club Sucata to launch his 4th LP—a work of transition, recorded under adverse circumstances. On it he stays away from traditional samba . and reveals new influences.

It was not long, however, before Chico was in trouble again with the censors. The single Apesar de Voce, (In Spite of You), surprisingly passed the sharp eye of the censors and sold over 100,000 copies. That is when it must have dawned on somebody that the lyrics were highly political. The mighty seemed to have missed what everybody else in Brazil knew without a doubt, namely that the voce, you, in the song referred to general Emilio Garrastazu Medici, then president of the republic, in whose government were committed the worst atrocities against the opposition to the regime.

Upon being interrogated, Chico was asked who voce was. His response was, "It's a very authoritarian woman." After this episode, his songs were always besieged by censors.

He participated in the Counsel of Cebrade (Centro Brasil Democratico—Democratic Brazil Center), an organization of intellectuals, publicly against the military, alongside such notables as the architect Oscar Niemeyer, the editor Enio Silveira, and his own father. His association with the Cebrade earned him, for a while, the label of member of the auxiliary line of one of the two communist parties, the pro Moscow PCB (Partido Comunista Brasileiro—Brazilian Communist Party). Along with the struggle and problems was also good news in the Buarque family. On December 22", little Helena was born to the proud parents.

Other Interests In 1971, his samba "Bolsa de Amores" (Purse of Love) composed as a play on words on the Bolsa de Valores (the Stock Exchange) for Mario Reis, a trader there.

It was immediately banned as "offensive to the women of Brazil." The new LP came

I

14

THE SONGS Samba do Grande Amor, 1983

Samba of a Great Love

Chico Buarque Tinha ca pra mim Que agora sim Eu vivia enfim o grande amor Mentira iNfe atirei assim ' De trampolim ltui ate o fim um amador Passava um verdo A dgua e pdo Dava o meu quinhao pro grande amor Mentira Ju botava a mdo ; No fogo entdo C4In meu coracao de fiador Hoje eu tenho apenas uma pedra no meu peito Exijo respeito, ndo sou mais um sonhador Chego a mudar de cal9ada Quando aparece uma for E dou risada do grande amor Mentira ! Fui muito fiel Comprei anel tei no papel o grande amor Mentira Reservei hotel 4 Sarapatel lua-de-mel em Salvador ui rezar na Se Pra Sao Jose Que eu levava fe no grande amor Mentira FiZ promesssa ate Pra Oxumare subir a pe o Redentor

I had it here for me That now, yes I was finally living my great love A lie I threw myself this way From a diving board I went until the end as an amateur I spent a summer On water and bread I gave my quota to the great love A lie I put my hand In the fire then With my trusting heart Today, I have just a stone in my chest I demand respect, I'm no longer a dreamer I even cross to the other sidewalk When a flower appears I laugh at the great love A lie I was very faithful I bought a ring I put on paper a great love „ ' A lie I reserved a hotel room Sarapatel And a honeymoon in Salvador I went to pray at the Se To Sdo Jose Since I had faith in the great love A lie I even promised Oxumare To climb the Redeemer on foot.

out with one cut less than the usual 12.

He had a run-in with TV Globo and cancelled his enrollment in the VI International Festival of Songs in protest against the policy that more famous singers did not have to pass through the eliminating phases.

In 1972, he performed with Caetano Veloso at TCA, Teatro Castro Alves in Salvador—a performance that resulted in the LP Juntos (Together). There always existed a kind of rivalry between the two. Why is anyone's guess. Perhaps it is that they are both intellectuals who appear to attack their art from diametrically opposed angles. Perhaps, merely "one of those things." At any rate, when launching his new CD, Livro BRAZZIL - MARCH 1999

Choro Bandido Bandit Choro* Edu Lobo/ Chico Buarque from the CD Paratodos, 1985 Mesmo que os cantores sejam falsos como eu Serao bonitas, nao importa sao bonitas as canceles Mesmo miseraveis os poetas Os seus versos serao bons Mesmo porque as notas cram surdas Quando urn deus sonso e ladrao Fez das tripas a primeira lira Que animou todos os sons E dal nasceram as baladas E os arroubos de bandidos Como eu cantando assim: Voce nasceu pra mim Voce nasceu pra mim Mesmo que voce feche os ouvidos E as janelas do vestido Minha musa vai cair em tentacao Mesmo porque estou falando grego Corn sua imaginacao Mesmo que voce fuja de mim Por labirintos e alcapOes Saiba que os poetas como os cegos Podem ver na escuridao E eis que menos sabios do que antes Os seus labios ofegantes Hao de se entregar assim: Me leve ate o fim Me leve ate o fim Mesmo que os romances sejam falsos Como o nosso Sao bonitas, nao importa Sao bonitas as canc6es Mesmo sendo errados os amantes Seus amores serao bons

Even if the singers are false like me They will be beautiful, it doesn't matter When the songs are beautiful Even if the poets are miserable Their verses are good Even because the notes were muffled When a god sly and crooked Made from the guts the first lyre Which animated all the sounds And from there were born the ballads And the ecstasy of the bandits Just like I am singing: You were born for me You were born for me Even if you stop listening And close your dress windows My muse will fall into temptation Even with me speaking Greek With your imagination Even if you flee from me Through labyrinths and trapdoors Know that the poets like the blind Can see in the dark And there are fewer wise men than before Their lips breathless Having to deliver themselves Take me until the end Take me until the end Even if the novels are false Like ours They are beautiful, it doesn't matter The songs are beautiful Even if the lovers are wrong Their loves are good * choro is a type of music, possibly stemming from the word chorar, to cry

(Book), which contains the song "Pra Ninguem" (For Nobody)---a kind of answer to Chico's "Paratodos" (For Everybody), Caetano said, "It seems as if my career has been in pursuit of Chico's."

The seventies was a decade of artistic expression going in many different directions for the multi talented Buarque. He launched a double album Opera do Malandro (Opera of the Crook), he wrote music for film and theater, such as Repablica dos Assasinos (Republic of the Assassins) by Miguel Faria, Jr.; Sob Medida (To Measure); Ndo Sonho Mais, (I Don't Dream Anymore); Bye Bye, Brasil

by Caca Diegues for which he wrote the song of the same name, and "Dueto" (Duet) for the play 0 Rei de Ramos by Dias Gomes.

If that weren't enough, his literary career took off with his first children's book Hat), il/ Chapeuzinho Amarelo (Littleellow lustrated by Donatella Berlencls.

After 12 years with PolyG am, Chico left them and signed a recording contract with Ariola. Ironically, PolyGram bought out Ariola ,, the following year.

Along with many other artists, he participated in Festa do Avante, the official organ of Partido Comunista Portugues and Projeto Kulunga in Angola. He was johed by 64 other Brazilian artists at a charity performance for the ' construction of a hospital.

Argentine filmmaker, Mauricio Beth made a documentary about Chico Buarque, Certas Palavras (Certain Words), with participation of Caetano Veloso, Maria Bethania, and Vinicius de Moraes, who appeared here for the last time. Toquinho, Francis Hime, Ruy Guerra, Miucha, Sergio Buarque de Hollanda, as well as other friends and acquaintances.

While this was going on, Chic9 was busy writing songs for the play 0 Ultimo dos Nukupirus by Ziraldo Gugu Olimecha and launching a new album Vida (Life), which has, among others, the track Eu Te Arno (I Love You), composed especially for the film of the same name by Arnaldo Jabor.

In 1981, he tried his hand at writing a screenplay with Sergio Bardotti, Ant6nio Pedro, and Teresa Trautman for the film Saltimbancos Trapalhdes. At the same time, he published a poem which had been put away in a drawer for the past 17 years. It was "A Bordo do Rui Barbosa" (Aboard the Rui Barbosa), written between 63 and 64, with illustrations by his friend Valandro Keating. At the same time, he also issued two new albums, Almanaque and Saltimbancos Trapalhdes.

In 1982, in partnership with Edu Lobo, he composed the songs for the ballet 0 Grande Circo Mistico (The Great Mystic Circus), which would be issued on LP the following year. Sadly, during this year, Sergio Buarque de Hollanda, his father, died at the age of 79.

During 1983/84, Chico worked with filmmaker Miguel Faria, Jr. On the adaptation and screenplay for the film Para Viver um Grande Amor (To Live a Great Love).

In 1983, he wrote his classic song Vai Passar (It will Pass), a powerful song, which became a reference for the movement Diretas JĂĄ (Popular Vote Now), although Chico denied having written it for that purpose.

The prolific artists composed "Mil PerdOes," (A Thousand Pardons) for the film Perdoa-me por Me Traires (Pardon Me for Betraying Me) by Braz Chediak. For the play Dr. Getalio by Dias Gomes and Ferreira Gullar, he composed the song of the same name. Having been away from the stage for nine years, he appeared again at Luna Park in Buenos Aires. During a taping at TV Bandeirantes, he had a surprise encounter with his idol, Pagao, former soccer player with Santos—arranged by director Roberto de Oliveira.

Not satisfied with all his accomplishments, Chico Buarque published, in 1991, his first novel Estorvo (Trouble), which was quickly translated into a variety of languages and published in Europe and the United States. In Portugal, it sold 7,500 copies in just 3 days, to the amazement of the publishing house Dom Quixote. In 1994, after a recording pause of four years, Chico Buarque launched his new CD Paratodos (For Everybody). After much anticipation, he toured with the show to rave reviews.

Always a man of social consciousness, he participated in the Campanha Nacional Contra a Fome e Pela Cidadania (The National Campaign Against Hunger and for Citizenship) initiated by sociologist Herbert de Souza, Betinho.

His second novel Benjamim received less favorable reviews in the literary press, in spite of being a success in the bookstores and receiving praise from other writers.

Another pause followed the success of Paratodos A collection of his best songs was issued under the title As Palavras (The Words).

In 1998, Chico Buarque was the subject of the Camaval theme of the samba school Mangueira, which went on to win the competition. It was a great triumph for Chico Buarque who participated in the parade in Rio. And it was in 1998 that his new 15

BRAZZIL - MARCH 1999

7rItTr* 4 A Ostra e o Vento The Oyster and from the new CD the Wind As Cidades, 1998

Val a onda Vem a nuvem Cal a folha Quem sopra meu nome?

Raia o dia Tern sereno 0 pal ralha Meu bem trouxe um perfume?

0 meu amigo secreto Peie meu coracdo a balancar Pai, o tempo esta virando Pai, me deixa respirar o vento Vento

The wave goes The cloud comes The leaf falls Who whispers my name?

The day shines There is drizzle The father scolds Did my love bring a scent?

My secret friend Set my heart fluttering Father, the time is turning Father, let me breathe the wind Wind

Nem urn barco Nem um peixe Cai a tarde Quern sabe meu nome?

Paisagem Ninguem se mexe Paira o sol Meu bem terd chime?

Meu namorado erradio Sal de der' em deu a me buscar Pai, olha que o tempo vira Pai, me deixa caminhar ao vento Vento

Neither a boat Nor a fish The afternoon falls Who knows my name?

Landscape Nobody moves The sun hovers Is my love jealous?

My errant lover Goes to look for me Father, see that time turns Father let me walk into the wind Wind

I.

A Banda, 1966 Chico Buarque

Chico Buarque

Se o mar tern o coral A estrela, o caramujo Urn galedo no lodo Jogada num quintal Enxuta, a concha guarda o mar No seu estojo Ai, meu amor para sempre Nunca me conceda descansar Pai, o tempo vai virar Meu pai, deixa me carregar o vento Vento Vento, vento

CD As Cidades (The Cities) hit the stores. A quiet, contemplative CD, it gets better for every time one hears it.

If the sea has the coral The star, the mollusk A galleon in the mud Thrown in the back yard Dry, the conch guards the sea In its case Oh, my love for always Never allow me to rest Father, the time is going to turn My father, let me carry the wind Wind Wind, wind

.1

His Works - Literature Itte The first songbook, A Banda, Chico Buarque published in 1968 contained lyrics and musical charts, the story "Ulisses," which he would later call "a little weak," and a chronicle by Carlos Drummond de Andrade about "A Banda," which had already been published in the literary section of daily 0 Estado de S. Paulo.

ChapeuzinhoAmarelo (Little Yellow Hat). This book/poem from 1979 is the first publication dedicated to children. A little girl illustrates in a humorous manner, the comings and goings of child like fears. The book was considered highly commendable by the National Foundation of Child and Youth Books in 1979.

Fazenda Modelo—Novela Pecuaria (Fazenda Modelo—Cattle-raising Story). "Chico Buarque weaves an allegory of a society of men—speaking, however, exclusively of bulls and cows. It is a parable of power, in respect to forms of social dominance over the human herd. And the more radical domination is to usurp the individual— always in the name of more sacred principles, any possibility of assuming one's own personal destiny.

The Fazenda Modelo is a bovine community which begins to grow and which is seen—through the calm leadership of the bull Juvenal, the good— subjected to a radical process of transformation of "progress," in which everything natural is considered backwards or sinful and becomes scientifically regulated.

"All forms of self regulation of the individual are eliminated—from food intake to sexual expression; procreation is guaranteed through artificial insemination from the sperm bank of the bull Aba, the Great Reproducer. Juvenal abolishes sexual relations of the herd. And the son of Aba, Lubino, is supposed to succeed his father in the glorious role at Fazenda Modelo. It is exactly at the moment of "initiation" of Lubino by Juvenal that the chosen path will present itself." Adel ia Bezerra de Menezes, Literatura Comentada, 1980.

A Bordo do Rui Barbosa (Aboard the Rui Barbosa). "The poem is from 63 or 64. Years during which we dedicated ourselves to not study architecture. We made bossa nova in the basements of the FAU, Vallandro on guitar and I with lyrics. 15 years later, Vallandro appears before me with this poem all crumpled up. It took me a while to recognize it.

After he showed me his idea of the designs, I found it beautiful. It was like he had put music to my lyrics." Chico Buarque, Rio, 1981 Estorvo (Trouble). "This novel by Chico Buarqtre, at the first reading, affirms itself as an exemplary demonstration of a novel. Estorvo, is as far as I'm concerned, a hallucinated pilgrimage in search of lost roots, through an existential journey populated with amazement and solitude. Here, all the functions of the equilibrium of social structures—family, friendship, power—lose their formal consistency from the first clash and ruptures when the glance of the protagonist (and the writer) extends over them." Jose Cardoso Pires, Folha de Sao Paulo, 1994.

Benjamim. "It is a story of blame, bitter, dense, almost suffocating. Narrated in third person, it permits the narrator to know the facts and points of view of the other characters. The word is the basic character of Chico's new novel, as in his last CD, Uma Palavra, also issued this year. Benjamim, by

Estava a toa na vida 0 meu amor me chamou Pra ver a banda passar Cantando coisas de amor A minha gente sofrida Despediu-se da dor Pra ver a banda passar Cantando coisas de amor 0 homem seri° que contava dinheiro parou 0 faroleiro que contava vantagem parou A namorada que contava as estrelas parou Pra ver, ouvir e dar passagem A moo triste que vivia calada sorriu A rosa triste que vivia fechada se abriu E a meninada toda se assanhou Pra ver a banda passar Cantando coisas de amor 0 velho fraco se esqueceu do cansaco e pensou Que ainda era moco pra sair no terraco e dancou A moca feia debrucou na janela Pensando que a banda tocava pra ela A marcha alegre se espalhou na avenida e insistiu A lua cheia que vivia escondida surgiu Minha cidade toda se enfeitou Pra ver a banda passar Cantando coisas de amor Mas para meu desencanto 0 que era doce acabou Tudo tomou seu lugar Depois que a banda passou E cada qual no seu canto Em cdda canto uma dor Depois da banda passar Cantando coisas de amor

I.

definition is the favorite son.

Benjamim Zambraia, the protagonist, is not, nor will he be the favorite of anyone. He is in front of the firing squad from the first sentence of the book.

When he hears the shots, his existence—the time is another character—projects itself, as he already expected, "from the beginning to the end, just like a

16 BRAZZIL - MARCH 1999

The Band

I was without reason in my life My love called me To see the band pass by Singing things of love My suffering people Shed their pain To see the band pass by Singing things of love The serious man counting money, stopped The lighthouse keeper counting advantages, stopped The girlfriend counting stars, stopped To, hear and let it pass The sad girl who lived silently, smiled The sad rose which lived closed, opened And the kids all got excited To see the band pass by Singing things of love The old, weak man forgot he was tired and thought That he was still a boy by dancing on the terrace The ugly girl leaned out the window Thinking the band was playing for her The happy march scattered on the avenue and insisted The full moon which lived hidden, came out My city dressed up To see the band pass by Singing things of love But to my disenchantment That which was sweet, stopped Everything took its place after the band passed And everyone in his corner In every corner, pain After the band passed by Singing things of love

film." Jornal da Tarde, 1995

Theater Roda Viva. The play, which was written as a satire, is about a popular singer who feels used and "devoured" by his audience. At

the performance, actors offered pieces of his "liver" to the audience. At a performance of the play in July, 1968 in sao Paulo at the Teatro Galpao, some 100 members ofthe CCC (Comando de Caca aos Comunistas— Comando for the Hunt of Communists), invaded the show and beat up on actors and stage hands. The following day, Chico was in the audience to support the group and began a movement organized in defense of Roda Viva and against censorship on the Brazilian stages.

Calabar. Calabar was written at the end of 1973, in partnership with filmmaker Ruy Guerra and directed by Fernando Peixoto. The play depicts the position of Domingos Fernandes Calabar during the historic episode in which he chose to take sides with the Dutch against the Portuguese crown. It was one of the most expensive theatrical productions of the time, costing about $30,000 and employed more than 80 people. As always, the censors of the military regime had to approve and release the work at a rehearsal dedicated to that purpose. After the show was ready, there was a wait for the final approval. That took 3 months, and in October 1974, General Antonio Bandeira of the Federal Police, without apparent motive, prohibited the play, prohibited the name Calabar, and if that weren't enough, even prohibited that the prohibition be divulged. The damage to the authors, actor Fernando Torres, producers of the play, was enormous. Six years later, a new production had its debut, this time released by the censors.

Gota D'cigua (Last Straw).

In 1975, Chico wrote with Paulo Pontes, the play Gota D'agua, inspired by a project of Oduvaldo Viana Filho, who had already done an adaptation of Medea by Euripides, for television. The urban tragedy, in the form of a poem with more that 4,000 verses, has as its backdrop the bitterness suffered by the inhabitants of a joint community, the Vila do Meio-Dia, and, in the center the relationship between Joana and Jasao, a popular composer under the influence of the powerful manager Creonte. Jasdo ends up leaving Joana and the two children to marry Alma, daughter of the manager. The first showing had Bibi Ferreira in the role of Joana and was under direction of Gianni Ratto.

1

A Mais Bonita,

The Most Beautiful

1989 Chico Buarque

Ndo, solidd , hoje ndo quero me retocar Nesse salki de tristeza onde ag outras penteiam magoas Deixo que as dguas invadam meu rosto Gosto de me ver chorar Finjo que estdo me vendo Eu preciso me mostrar

No, solitude, today I don't want to touch myself up In that salon of sadness where the others comb out their pain I let the waters invade my face I like to see me cry I pretend that they are seeing me I need to show myself

Bonita Pra que os olhos do meu bem Nao olhOm mais ninguem Quando eu me revelar Da forma mais bonita Pra saber como levar todos Os desejos que ele tem Ao me ver passar Bonita Hoje eu arrasei Na casa de espelhos Espalho os meus rostos E finjo que finjo que finjo Que ndo sei

Beautiful In order that the eyes of my love Don't see anyone anymore When I reveal myself In a more beautiful form To know how to carry all The desires that he has When he sees me pass Beautiful Today I demolished In the house of mirrors Scatter my faces I pretend, that I pretend that I pretend That I don't know

,Anos Dourados, Golden Years 1986 Tom Jobim/ Chico Buarque

Parece que dizes Te amo, Maria Na fotografia Estamos felizes Te ligo afobada E deixoNoconfissdes gravador at set engraeado Se t ns urn novo amor e vejo a teu lado Te amo?

Ndo lembro Parece dezembro D urn ano dourado Parece bolero e quero, te quero Di er que ndo quero Teus seijos nunca mais Teus e eijos nunca mais

It seems that you say I love you Maria In the photo We are happy I call you, nervous And leave confessions On the recorder It will be funny If you have a new love I see myself at your side Do I love you?

I don't remember It seems like December Of a golden year It seems like bolero I want, I want To tell you that I don't want Your kisses ever again Your kisses ever again

do sei se eu ainda Te esqueco de fato No nosso retrato Pareco tdo linda Te ligo ofegante E ligo confusdes no gravador E desconcertante ReVer o grande amor Meus olhos molhados Itisanos, dezembros Mas quando eu me lembro ĂŁo anos dourados Ainda te quero Bolero, nossos versos sao banais Mas como eu espero Teus beijos nunca mais Teus beijos nunca mais

I don't know if yet I forget you for real In our portrait I seem so pretty I call you breathless And say confused things On the recorder It is disconcerting To see a great love again My moist eyes Insane, Decembers But when I remember They are golden years I still want you Bolero, our verses are banal But I expect Never to have your kisses again Never to have your kisses again 17

BRAZZIL - MARCH 1999

Cacada, 1972 Chico Buarque NA° conheco seu nome ou paradeiro • Adivinho seu rastro e cheiro Vou armada de denies e coragern Vou morder sua came selvagem • Varo a noite sem cochilar, aflito • Amanheco imitando o seu grito Me aproximo rondando a sua toca E ao me ver voce me provoca Voce canta a sua agonia touca Agua me borbulha an boca • Minha presa rugindo suit race Perms se debatendo e o seu fervor Hoje é o dia de graca Bole do die da cage e do eacticlor

I don't know your name I guess your trail and smell set out armed with teeth I'm going to bite your savage I cross the night restless And Wake up imitating I get closer to your burrow And when you see me you tau You sing your crazy pain Water bubbles in my My prisoner limo Legs debating each Today is the day of grace Today is the day of the hunt at

u me espicho no espaco feito urn gato Pra pegar voce, bicho do mato Saciar a sua avidez mestica Que ao me ver se encolhe e me atica e num mesmo anon's° me expulsa e abraca Nossas peles grudando de suor Hoje 6 o dia do grace Hoje é o dia da caca e do cacador

1 stretch out in space To catch you, animal To satisfy your half Which, when ifseet''me, huddi provokes me And in the same impulse expel embraces me Our skins stick toge Today is the day of grace Today is the day of the

De tocaia fico e espreitar a fere Logo dou-lhe o bate ceneiro • JA conheco seu dorso de gazela Cavalo brabo montado em pelo Dominanteollo se desembaraca egante, 6 done do seu senhor Hoje 6 o dia cla grace Hoje 6 o die da caca e do cacador

From an ambush 1Spy Soon I'll strike an accurate blo I already know your gazelle Angry horse mounted bareback Dominating, she doesn't lose h inhibitions Breathless, she is mistress Today is the day of grace Today is the day of the hunt an

Morena with Byes like Water, Chico Buarque

(Morena: Dark Woman

Morena dos olhos d'agua Tira os seus olhos do mar Vem ver que a vide ainda vale 0 sorriso que eu tenho Pra 'he des

Morena with eyes like water Take your eyes from the sea Come and see that life is worthwhile The smile that I have To give you

Descansa em meu pobre peito Que jamais enfrenta o mar ue tem abraco estreito, morena Corn jeito de lhe agradar Vein ouvir lindas histories Que por seu amor sonhei 'Vern saber quantas vit6rias> morena Por mares que se eu sei

Rest on my poor breast Which never faces the sea But which has a close embrace, morena With a way to please you Come and hear the beautiful *toilet Which I dreamed for your love Come and know bow many victories,

morena

For seas that only I know

Morena dos olhos d'agua, etc.

0 seu homem foi-se embora Prometendo voltar já Mas as ondas Tao tern hora, morena De partir ou de voltar Passe a vela e vai-se embora Passa o tempo e vai tambem Mas men canto ainda the implora, morena Agora, morena, vem Morena dos olhos d'agua, etc.

Your man went away Promising to return soon But the waves don't have the time

morena

To go away or to return Set the sail and go away Pass the time and go, too But my song still implores you, morena Now, morena, come Refrain

Opera do Malandro (Opera of the 1Crook). "The text is based on the Beggar's ' Opera of 1728 by John Gay and The Threepenny Opera by Bertolt Brecht and Kurt Weill. The work originates in an analysis ofthose two plays by Luis AntOnio Martinez Correa and counted on the collaboration of Mauricio Sette, Marieta Severo, Rita Murtinho, and Carlos Greg6rio. The team also cooperated in the realization of the final text through readings and suggestions. During this stage of the work, we benefited a great deal from the films Threepenny Opera, by Pabst, and Getidio Vargas by Ana Carolina, the studies of Bernard Dort 0 Teatro e Sua Realidade (The Theater and its Reality), the memoirs of Madame Satan, as well as the friendship and testimony of Grande Otelo.

"We also relied on Professor Manuel Mauricio de Albuquerque for a better perception of the different historic moments through which the three operas passed.

Professor Luiz Werneck Vianna contributed, later, with very informative observations. And Mauricio Arraes got together with our group in the phase of transposition from text to the stage.

We are grateful to Dr. Joao Carlos Muller for the commitment with which he fought with the Federal censors for the release of the play, in the courts. In the same sentiment we are grateful to Messrs.

Luis Macedo and Humberto Barreto. Finally, a hug for the cast who understood our creative process and became part of it.

This play is dedicated to the memory of Paulo Pontes." Chico Buarque, Rio de Janeiro, June 1978.

Julinho de Adelaide One cannot mention the works of Chico Buarque without talking about Julinho de Adelaide. At the height of the military rule, when the censors mercilessly prohibited everything Chico Buarque touched, a new star appeared to hit the market, Julinho de Adelaide. Chico would record the songs of this new artist whose songs were so lyrical and not dissimilar to his own. Songs like "Acorda Amor" (Wake up, Love), "Jorge Maravilha" (Jorge Marvel), "Milagre Brasileiro" (Brazilian Miracle) passed through the censors without major problems, until at one point it became known that Julinho de Adelaide and Chico Buarque were one and the same. After that, a copy of a person's identification papers was required when a text was submitted for the censors.

Kirsten Weinoldt was born in Denmark and came to the U.S. in 1969. She fell in love with Brazil after seeing Black Orpheus many years ago and has lived immersed in Brazilian culture ever since. E-mail: kwracing@erols.com

18 BRAZZIL - MARCH 1999

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think about the Brazilian Websites?

Letters It it is possible to write. to or e-mail Ms A. Fabres, who wrote an article on the differences between the Portuguese of Portugal and Brazil, I would like to find out more about learning the language of Brazil. I have a course that f recently purchased titled Portuguese Brazilian, and it is very interesting.

I learned Spanish as a second language and I thought it would be fairly easy. I don rt think that it is though. So that s why I would like to write to her to find out her idea of the best way to learn the language without taking a trip to Brazil.

Mike Tracy Sacramento, California ycart@Ips.net GUINNESS WANTS TO KNOW Can you please tel me how do you rate Globo network as the top rated/most watched TV program-8.40 PM novela for 20 years?

Do you have any viewing figures? I look forward to hear from you.

Lina Liu, Records Researcher Guinness Book of Records London, United Kingdom P ease send a copy of your magazine.

We are anxious for any news of Brazil. Last year we had a foreign exchange student from Mato Grosso (through Rotary) and when be went back home my son accompanied him and visited for five weeks. He loved it. I, too, am anxious to go. I'd love to go for a year or half year and work—I'm a teacher of English. Know of any programs that need teachers—especially in Mato Grosso or the Mato Grosso do Sul- area?

Joanne Curtis jcurtis@coredcs.coin Custer, Wisconsim

PHILIPPINE AND ART I was one o the artists at the 23rd Sao Paulo Bienal in 1996, along with other Asian artists in the Universalis _part of the exhibit organized by the Japan Foundation. I .was Just wondering if there were any reviews about the exhibit?

Coincidentally, Mr. Yanagi, also one of the artists of the Universal is from Japan, is presently here in the Philippines for an exhibit at the Metropolitan Museum in Manila, also organized by the Japan Foundation and curated by Ms. Naomi Koyama, who was also with us in Sao Paolo. I read about the unfortunate event with the rain that happened durin_g tbeBienal last year. But I know how very efficient the Bienal staff is and I'm sure everything went on smoothly.

Charlie Co Negros Occidental, Philippines THE INTERNET AND US

ongratu aborts or is e ig t u magazine! Jam a Journalist of the Brazilian magazine Internabr and I am going to write an article about how the North-Americans see the Brazilian Web designers and the Brazilian conquests on the -Internet. Have you already written any article about the "Brazilian Way of Internet" or anything similar? If so, I'd love to read it. What does Brazzil You are invited to participate in this dialogue.

Write to: Letters to the Publisher P.O. Box 50536 Los Angeles, CA 90050-0536

or send E-mail to: brazzillibrazzil.com

Please. include a phone number in the event we need to reach you. Thanks!

20

Adriana Lutfi Internet.br - www.internetbr.com.br Rio de Janeiro, Brazil CALLING PADRE MARCELO

We wou d Ii e Brazzi to orwar. t is message to pop sensation Father Marcelo: "Padre Marcelo, Nos gustaria que visite la Argentina,y nos bendiga. Tambien quisieramos tener las letras de los canticos. Estamos a su disposicion. Gracias."

Jovenes de la parroquia del P.Farinello

Pascual Gabbanelli puertodocki n fovi a. corn. or Argentina THAT'S NOT US For God's sake si hat has happened to our Website? Every time] trx to download, instead of getting your formerly great site, I get some software legal garbage that goes on forever.

Like a dog barking to keep me out of your site.

Will someone please tell me what is Liveupdate Crescendo? And why should I care? Does this mean I can't enjoy the Brazzil site without high pressure to buy something? That is the worst of the Uhited States attitudes. Your site used to open with a beautiful welcome, now it's an unwelcome legal contract. I still likeyour magazine, but for me the Website is finished.

Bernie Borok Via Internet

FROM LONDON TO RECIFE It was a pleasure to read Bruce Gilman s so nice article on Mestre AmbrOsio. (Brazzil, January 1999). Jam away from Recife and currently living in London. So I don't hear much about them. Reading your article made mego straight away to listen to Mestre AmbrOsio's CD. Please, let us know when you have more information on Mestre Ambrosio's tour in Europe.

Roberta Uchoa England

CONTENT CONTENT The contents o the magazine are impressive and I'm amazed at how good the subjects are. I'd like to get a sample and then figure out how to pay for a subscription, since I can't send a check from here. I still have an account in the U.S., I was wondering if I could have it debited from it.

is still Carioca. What a great surprise to pick up my first copy of Brazzil magazine since I ye returned and recognize the author of one of the articles, John Miller.

Since leaving Rio in August I've settled back into LA. I'm the director of a SCORE education center for kids 4-14 and also am gearing up for voiceover work in the LA area. To matar a saudade,I just went to the Rio Camaval at the Hollywood Palladium last Saturday. It's a drop in the bucket compared to the real thing, but it's a drop nonetheless, and should tide me over for a little while.

How has the devaluation ofthe currency affected business? Is a chopp (draft beer)still $1?

Kari Hollywood, California STIRRING MEMORIES I haven't finished John Miller's article yet but just had to write and tell you what a laugh I got with his jackhammer start. ("Life Is Adventure", December 1998). I wrote an article for Brazzil a couple of months ago after spending nearly a year in the interior of Brazil working for an importer. I lived on one of the busiest corners of Presidente Prudente (400 miles due west of Sao Paulo) in rodeo country—and the noise, my God, the noise.

The windows of my bedroom (in my boss' mother-in-law's house, designed by Oscar Niemeyer who was the architect for Brasilia and the whole thing was falling down with obsolescence) were directly across from an ATM at a bank. Traffic all night long - brakes, horns, boom boxes, men urinating on the curb, loud talk all night, clouds of carbon monoxide wafting in to hover over my bed which was a hard as this table.

Jerine Watson Texas FOR MORE LETTERS LOOK AT littp://www.brazzil.com

Leda Rodrigues Demboscki Dialogus Assessoria em ldiomas Santo Andre, Sao Paulo, Brazil SO FAR YET SO CLOSE I m now a gool 8001 mi es away (in Hollywood) from the American Society gatherings at the Jock , Club and the terrace-bashes at John Weinkopf s pad in Leblon, but my spirit

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BRAZZIL - MARCH 1999

debt—approximately $90 billion in foreign debt and $177 On January 15, Brazil's Central Bank lifted its foreign billion in domestic debt. exchange trading band and allowed the country's currency, the Eventually, the cantankerous and often self-serving Brazilreal, to float freely in the market. The abrupt decision triggered ian Congress approved unpopular, albeit necessary, measures a 50 percent devaluation of the currency, signaling the end of aimed at slashing the budget deficit by means of cuts in social the Real Plan, credited with bringing a four-year period of security pensions and benefits for both retired and current civil unprecedented stability to the often turbulent Brazilian economy. servants. The measures, which had Aimed primarily at taming the hybeen defeated in four earlier attempts, perinflation that plagued Brazil for were only one ofthe steps ofa broader decades, the plan's mentors had fiscal reform that aims to cut Brazil's adopted, among other measures, a deficit almost in half this year. strong currency and strict exchange Unfortunately, the approval ofthe rate policies, and thus succeeded in social security reform was too late to bringing inflation down to historiavoid the drastic currency devaluacal low levels. tion. The real's devaluation was supHowever, from the beginning posed to happen in an orderly manner of the plan's implementation, fionly after the whole fiscal reform nancial analysts had criticized the package had been successfully implereal's artificial strength, and had mented. Nevertheless, President consistently advocated a currency Cardoso scored good marks with the devaluation. Although President international community by showing Fernando Henrique Cardoso's ecothat his political skills are in good nomic team conceded that the curshape as he managed to convince rency was overvalued, government Congress to approve the much needed officials pledged not to devalue the social security reform. Opposition real until the much expected fiscal leaders, however, have continually What's next for Brazil? There are reforms had been approved by Conaccused Cardoso of selling out Brazil no sure answers. Recession and gress. By reneging on its pledge to the International Monetary Fund growing unemployment seem without a warning, or even a single (IMF), U.S. banks and foreign invesinevitable. However, those same explanation to the nation and to the factors could be the deterrent to tors. international community, not only The Soros Connection Brazilians' inflationary instincts, did the government lose its credibilCriticism grew stronger when on as they would force retailers to ity, but it also sparked a new wave February 2, Arminio Fraga Neto, a keep prices down. of speculation and rumors, which in top aide of b illionaire investor George turn fueled an upsurge in capital Soros, was suddenly appointed as the MARTA ALVIM flights from Brazil. In the first three new Central Bank president. Fraga, weeks of January alone, $8 billion 41, Carioca (a Rio de Janeiro native) had fled the country. and a Princeton University graduate, The government's lack of defireplaced Francisco Lopes just a week nition as to the future of its eco. Salute !pax after the latter had been confirmed in RAI tante liberacao de mais nomic policies led, among other .tr.ii!..a tic empocrat the job. His nomination drew praise things, to a collective hysteria on IJS$ 8,6 hi em quinze dias from investors both at home and January 29. Amidst rumors of an abroad while outraging Cardoso's imminent bank holiday, which opponents. Itamar Franco, a former might result in the confiscation and Brazilian president and currently the FFI. 'Ningani quer a incle At Fr da amaadd dna pil-bdia freezing of the populace's assets, nad an mins An Can** etZt governor of Minas Gerais state, ex, Brazilians rushed en masse to the pressed his opinion on Fraga's apbanks, and frantically withdrew their pointment by declaring to the local Barnacle pave savings from their financial instituat avec', ev media: "Brazil has a new Finance tions. Although the rumors proved Minister - Fischer - and a new Central to be unfounded, the threat seemed Bank president - Soros. Now it will too real to the alarmed Brazilians, be much easier to renegotiate our whose memories of the unexpected foreign debt. All we have to do is asset freeze imposed by former perfect our English."

President Fernando Collor de Mello in 1990 The reference to Fischer (Stanley Fischer, are still vivid in their minds. first deputy managing director of the IMF) As a result, the Black Friday, as it was was due to the timing of his visit to Brazil for dubbed by the local media, left the nations' talks with government officials about the banks with a shortage of money never seen $41.5 billion rescue package signed last before. Bank of Boston's two branches in the November with the IMF. Fraga's nomination city of Sao Paulo ran out of money before came shortly after Fischer's visit, which left the government day's end, while banks across the country faced a similar open to criticism that the IMF had played a role in his appointscenario. Banco Itau, Brazil's second largest private bank ment. behind Bradesco, had an average shortage of $R13 thousand at On the other hand, Franco himself has been accused of each of its 992 branches. precipitating the current crisis when in the beginning ofJanuary Adding to the chaos, the Central Bank raised interest rates he decided to halt Minas Gerais' debt payment to the federal from 32.5 percent to 37 percent, hoping to prevent a rebound of government, sending shock waves to the financial markets, inflation and, at the same time, to try to reverse the trend of which in turn forced the devaluation of Brazil's currency. The increasing capital flights. Instead, the hike on interest rates, in standoff between Franco and the federal government remains, addition to the currency devaluation, only fueled speculations with the addition of seven other state governors who have among investors and international agencies as to the joined forces with Franco. government's ability to repay Brazil's dollar-denominated

The Economy of haos 0 GLOBO

Prale• n.• Pitto w ext. lauttn..r.

BRAZZIL - MARCH 1999

21

Unfazed by all the reshuffling at the Central Bank—Fraga has become the bank's third president since January 15—and by the tug of war between governor Franco and president Cardoso, the average Brazilian is nonetheless wary, as a return to inflation seems to be inevitable. Analysts have already predicted an inflation of roughly 12 percent for this year, while last year Brazil posted deflation of 1.8 percent.

Just to have an idea, car manufacturers have raised their prices twice since the real's devaluation in spite of sluggish sales.

Better to Export The electronic industry has increased prices by 30%, leading retailers to postpone new orders—subsequently, consumers are already having problems finding some brands of VCRs, TVs and sound systems. The same problem can be found in other areas, such as construction supplies and raw materials. Manufacturers argue that, unless retailers and consumers are willing to accept price adjustments of at least 20%, they might as well export their goods and profit 40% to 50% more, as the new exchange rate has turned exports into a favorable business again. Worse yet, the price of the basic food basket has increased in at least thirteen state capitals.

Following the implementation of the Real Plan in 1994, the government lifted barriers on imports, a strategy that proved successful in holding the prices of local products down. Now, with the currency devaluation, imported commodities, such as meat, wheat, dairy and others, which have flooded Brazil's supermarkets in the past five years, had their prices in dollar readjusted by nearly 50 percent.

Not surprisingly, President Cardoso has suffered a serious loss of credibility and his popularity has reached an all-time low. According to a nationwide poll conducted by polling institute Datafolha for the daily Folha de Silo Paulo, 61 percent of respondents believe Cardoso deceived voters during his reelection campaign. The survey also found that 36 percent of Brazilians rate the president's performance as bad, compared to 21 percent who think he is doing a good job, and another 39

percent who consider his performance average. The poll, conducted on February 3 and 4, questioned 2,076 people aged 16 and over, and had a margin of error ofplus or minus 2 percentage points.

The question now is: "What's next for Brazil?" At this time, there are no sure answers. In the short run, recession and growing unemployment seem inevitable. However, those same factors could be the deterrent to Brazilians' inflationary instincts, as they would force retailers to keep prices down.

The government faces yet another dilemma: how to lower the sky-high interest rates without jeopardizing the currency stabilization and without a return to inflation? While high interest rates may help restrain inflation, the domestic debt-65 percent of which is linked to floating market interest rates—has ballooned to 8 percent of gross domestic product since the latest hikes on rates.

Conversely, the current account deficit—approximately 4.4 percent of GDP—is expected to narrow, as the currency devaluation will boost exports and lower demand for imports, which have become more expensive.

All told, Brazil's current crisis may have been best described by assemblyman Roberto Campos in his farewell speech to the Chamber of Deputies (Brazil's Lower House). Former Brazilian ambassador to the United States, former senator, and one of Brazil's most respected economists, Campos complained about the mesmice (tedious repetition) of the country's problems. He reminded that in 1983, when he was elected to Congress, the crucial issues debated then were default and recession. "Sixteen years later", he said, "the pressing issues are once again recession and currency crisis."

"Brazil has a past of having a great future", he added, leaving Brazilians to wonder if that great future will ever materialize.

Marta Alvim is a Brazilian journalist, freelance translator and interpreter. You can reach her at mItdalvim@yahoo.com

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22 BRAZZIL - MARCH 1999

The Yanomami Bluff and Other Myths Forgotten by the Brazilian authorities for half the millennium, relegated to the condition of just another forest animal, at the dawn of the 21st century, the Indians come face to face at a crossroads. Either the indigenous people integrate into the civilization that surrounds them or choose the judgement of a certain anthropology which prefers to see them enclosed in a zoo, for contemplation by the men of the future.

JANER CRISTALDO

The century is coming to an end, the raging utopias that ravaged it are at the point of death, the Internet finally transformed the planet into a village, the USSR disintegrated, and Europe is unifying. In the middle of all this, Brazil is preparing to commemorate its discovery 500 years ago without yet having resolved, in its half a millennium of existence, the indigenous question. The national ego is inflated by having a Brazilian chosen by NASA for a trip into space, while woodland tribes still live in the Paleolithic age, depending on hunting, fishing, agriculture... and state charity.

According to legends fully divulged by anthropologists and other "ologists," there were around six BFtAZZIL - MARCH 1999

million inhabitants in Brazilian territory at the time the Portuguese arrived. The number is absurd and at the same time symbolic. Absurd, because such a census never could have been done by the torchbearers that landed on our shores. If with actual resources it is still not known if there are 3,000 or 10,000 supposed Yanomamis, it is impossible to imagine how the few sailors brought by Cabral could have mapped a continent of whose dimensions they didn't have the slightest idea. Symbolic, because they make us think of another round number, six million Jews.

The figure immediately points to genocide. Provoked by whom? By the white man, of course.

According to Darcy Ribeiro—one of the devotes of the six inillion thesis—"the expansion of the white man was the biggest catastrophe of human history".

Let's leave legend aside and deal in what is measurable. According tp the last census done by the Fundacao Nacional do Indio (Funai—National Indian Foundation) in 1995, there are today 325 thousand indigenous people in Brazil, that hold 11% of national territory. Further, according to Funai, close to 174,000 Indians survive only thanks to the distribution of40,000 "basic food baskets" from the governme t, distributed by the Programa de D istribuic de Ali entos (Food Distribution Program). Each basket[contains 5 kilos of rice, 5 kilos of beans, 5 kilos o pasta, 3 kilos of corn flakes, a kilo of manioc meal aitid two cans of soybean oil. The average cost of each one: $12. Holders of fabulous amounts of land unimaginable in contemporary times, half of the Brazilian indigenous population is living in misery and is f d at the cost of the government. Or rather, the taxpay r,-since the government doesn't make money.

It just 4ollects it.

"E4 nun queru nada du brancu. Nun queru mote') di bar u, nun quero panela, nun queru ispingarda, nun qu ru machado. Queru vive comu meu pai e meu ave."( I don't want anything from the white man. I don't want a boat engine, I don't want a pan, I don't want a rifle I don't want an ax. I want to live like my father and my grandfather), said Raoni one day, the Txucarramae, "poster boy" of the international entities that infest the Brazilian indigenous universe. If his speech in broken Portuguese satisfies the most Rousseauistic of the anthropologists, not all the Indians intend to continue living like primitives. The Indians that have had contact with white civilization understand what it is to be seen as animals and no longer want to be considered as such. The most dramatic testimony along these lines was given to the magazine Veja, in January 1990, by Marcelo Yanomami, a resident of Boa Vista, Roraima.

Since the reserves rest on top gold, niobium, diamonds, and cassiterita, who wants to explore the national "subsoil" becomes the national enemy ofthe "nations" of the peoples of the forest. The predator par excellence, the bridgehead established between whites and Indians, would be the prospector. While he is really nothing more than a poor devil that braves the ju gle in misery, he is elected scapegoat for the indige ous question. Marcelo doesn't feel the same way: "I m a Yanomami and I defend the right of the prosp ctors in indigenous lands. This may seem strang , but I happen to doubt that the life of the India s is going to improve with the departure of the prosp ctors, while the ecologists, the missionaries and the government see us as solitary, wild persons, without deciding anything, without the right to running water, electricity or television, without the right to ex ore the mineral riches of the Yanomami lands, whic no "civilized" person would hesitate in profiting b>1 if they were underneath his home. I am not the only I dian to have these ideas".

23

Marcelo lost his mother when he was eight and became an orphan, a fact which brought him closer to civilization.

According to his own statements, among the Yanomamis, when the mother dies, the child is abandoned in the village.

Adopted by a representative of Funai, today he has a comd parative vision of the world: "The story ended a long time ago of the Indian being content with just a whistle. And it wasn't just the prospectors that had influence in this change. The missionaries, the people from Funai, the researchers, and even the journalists didn't let the Indian think any longer that the world ended in his lands. The Indian no longer wants to live as if he was imprisoned in a large zoo being photographed by tourists".

Forgotten by the Brazilian authorities for half the millennium, relegated to the condition ofjust another forest animal, at the dawn of the 21st century, the Indians come face to face at a crossroads. The testimonies of Marcelo and Raoni are symbolic and define two possible paths: the indigenous people integrate into the civilization that surrounds them, the normal destiny of all cultures which do not have a written language, and therefore, without history, or choose the judgement of a certain anthropology which prefers to see them enclosed is a type of secular space in a zoo, for contemplation by the men of the future.

And it is precisely this anthropology—a mauvaise conscience of the West—in which dwell the hindrances to the ascent of the indigenous populations to the twentieth century. In its name, artificial nations are created, massacres are concocted, which malign Brazil internationally, cut the country in pieces, and absolve killers and rapists, that besides remaining free in the jungle like birds, are hailed by the media like heroes.

Raoni, the Killer In the last two decades, two indigenous leaders became better known in the international press than any writer or Brazilian politician. Raoni, the Txucarramae chief, marched his lip ring before the pope, kings and heads of state. Paiakan, the Caiap6 tribal chief, was on the cover of a magazine in the United States, which saluted him as "the man that can save • humanity ". Behind these images of these two show business stars, hide a killer and a rapist. In 1980 there were at least 30 peons killed by the Indians in two different slaughters, one of them in the Parque Nacional do Xingu, led by Raoni. On this occasion, the Botocudo showed in the papers the club that "helped kill 11 peons on a farm ". No Indian was charged for the crimes that were committed. Raoni even attempted hitting with a club the then president of Funai, Carlos Nobre da Veiga, on being asked about the massacre. Not only did he remain unpunished, totally indifferent to Brazilian legislation, he was received with honors of a chief of state in Europe. Pope John Paul II, Francois Mitterrand, and the king and queen of Spain, among others, received him as an indigenous leader. He even had the luxury of exhibiting his painting in Paris. One of the killer's paintings reached $ 1,600 on a price list that started at $1,000.

As if Raoni's initial success wasn't enough, the company K-Way International launched a clothing line with the brand name Raoni and ordered from the "new artist a work that he would never dare to do: transpose on paper the body paintings of his tribe, the geometric paintings that men and women display, like an immense tattoo, when they participate in purification ceremonies, when hunting season starts, or when they need to scare away evil spirits".

Raoni's patron in this circumnavigation through the West was Sting, who created the Rainforest Foundation in 1989 and raised $1.5 million dollars for the demarcation of the CaiapOs tribe, in the southern part of Para.

In reality, Raoni is Txucarramae, but his hanging lower lip and his Rousseauistic appeal serve to move the white "colo-

51

nizer . In April of 993, in an interview with Veja, the English rocker retre ed: "The Indians try deceive you all the time and they can be very frustrating. They see the whites more as a source of " resources tha,n as friends. I was very naive. I am leaving behind my jungle days ."

Too late: the'kille1, thanks to Sting's efforts, was already enthroned as a hero. aiakan, the Rapist The same aura was bestowed on, by the European and American media, another of our heroes "for export", Paulinho Paiakan. Ifrape, in some distant time was a sport of primitive tribes, today it is physical violence universally penalized.

Except in Brazil and when committed by Indians, of course.

In May of 1992, Paulinho Paiakan, the Caiapi5 chief, hailed by the American press as "the man who can save humanity", raped an 18 year old girl, with the complicity of his wife, Irekran, and until today, both remain free on their land. The rapists even confessed to having stuck their hands in the vagina of the victim. The process dragged on for more than a year and Paulinho—they are friendly the diminutive words ending in "inho"—warned: if he were to be condemned, he wouldn't leave his reserve. In addition, he threatened make white blood roll. And we thought that ethnic cleansing was the strategy of Serbs.

When a judicial prison order was issued against the Rousseauistic guru rapist, near the end of 1993, the Military Police of Para refused to send troops to the Caiap6 reserve in the southern part of the state to execute the prison mandate against the leaderof the adoring Americans, the bon sauvage tupiniquirn. The indigenous area is a region where the Military Police do not have the right to act, said the Commander. "If he leaves there, we'll get him ".

An arrest warrant was issued because Paulinho didn't show up at a hearing in Redencao, Para, for the lawsuit in which he was accused of rape. It was issued, but not served.

When the defendant is a savage, particularly if he is a star of the so-called Non-Governmental Organizations (NG0s)— this new entrenchment of the Kremlin widows—the judicial orderbecomes a joke. It wasn't carried out and that's the end of it. The disobedience to the bench rolled on for a month and the Justice Tribunal of Para ended up revoking the prison order.

Paiakan was later absolved, by an intimicPated judge, during the trial when he appeared backed by hundreds Caiapes armed with clubs. The judge alleged lack of evi41ence and considered Irekran not integrated to the culture of non-Indians, being unpunishable before the law. The defense alleged that the lesions in the vagina of the victim were caused by Irelcran's hands and nails. The court appointed expert disagreed upon stating that "the rupture of the hymen tan only have been done by a penis ". According to the prosecutor, Irekran could not be considered unpunishable for not being integrated with non-Indians. Proof of this, the prosecutor affirmed is,,that she understood Portuguese.

The power of therman that can save humanity" is shocking: for much less than this, Clinton I risked having his days counted in the presidency of theUnited States. But Paulinho is an Indian and can rape at will. In spite of spontaneously confessing his crime to journalists, the brave warrior opted to hide himself behind the skills of his wife. He continues free and exporting mahogany from his reserve, the same mahogany whose exportation constitutes a crime When done by white businessmen. These two episodes—the massacre led

by Raoni and the rape committed by Paiakan— deserve some reflection. The seriousness in all of th' is not just the rape or assassination, common crimes capi ted in the penal code and occurring in any civilization. We ow have a Brazilian citizen—or to what country do the Ca p6s belong?—with the charisma of

24 BRAZZIL - MARCH 1999

a savior of humanity, that tells very clearly that he does not accept the law of the country in which he lives. For Paiakan, a vida é combate, que os fracos abate, e os fortes e bravos so pode exaltar (life is combat in which the weak fail and the brave and strong can only hail) as Goncalves Dias sung in "A Cancao do Tamoio ("The Song of Tamoio")".

(Truthfully, Paiakan was better foreseen by Bernardo Guimaraes, in "0 Elixir do Paje", a rich parody of Indian poetry by Goncalves Dias. See poem an translation on our WEB site: http:// www.brazzil.com/p23mar99.htm) No authority condemned the civil rebellion of the CaiapO "nation". Much less the massacre that makes Raoni proud.

Neither did the Ministry of the Army worry about these men that refuse to acknowledge the national legislative and judicial system. On the occasion of these crimes, the eternal defenders of Human Rights remained silent. Also the feminists, so warlike in denouncing sexual harassment are so complacent when a "citizen of the peoples of the jungle" is granted the right to practice fistsex—this variety so appreciated by those cultivators of hardcore—with a defenseless girl. Bill Clinton is not forgiven for a cigar.

The Caiap6 "nation", that already has made ten million dollars in the last few years exporting mahogany to Europe, doesn't only not accept the national judicial system, as it still shelters and protects rapists. According to the law, a criminal cover-up also constitutes a crime. Except in the Caiapo country, where the laws are others and rape is not a crime.

Yanobluff The year of 1993 will remain in the history ofjournalism as that of the largest bluff registered in both the national and international press, the "massacre" of the Yanomam is by the wicked prospectors. Even without happening, the widespread disclosure of the farce provoked irreparable lesions in the international image of Brazil. The farce had a double effect. In the first place, it called international attention to a massacre that simply didn't happen. In second place, even not having taken place, it confirmed the existence of a tribe that doesn't exist in Brazil. The Yanomami nation, while belonging to the history of Brazil in some didactic, irresponsible manuals, isn't more than a fictional creation of the Swiss photographer Claudia Andujar—not a very Swiss name—that wandered around Roraima in the 70s taking pictures, vaccinating, and rebaptizing Indians of different tribes among themselves, speaking different dialects. The lesions of the country's image even reached the Brazilian public: today, hardly any Brazilian accepts the hypothesis that the Yanomarnis don't exist.

Brazilian justice took a year and a few days to officially recognize the death of representative Ulysses Guimardes, which took place on October 12, 1992. There is a photograph of the member of parliament entering into a helicopter that fell into the sea, the bodies of the pilot and his wife were found, and there is absolute evidence of his death. Meanwhile, this was only recognized on September 24, 1993, by judge Paulo Cesar de Almeida Sodre. Even so, Ulysses was only considered officially dead on October 15, 1993, when the judge's ruling was published in the Diario Oficial da Unieio. This delay of a year to acknowledge an obvious death was due to the fact that the body of the deputy had not been found.

BRAZZIL - MARCH 1999

But only 24 hours were necessary for Brazilian authorities to define as genocide a supposed massacre without any body "havi g taken place"... in Venezuela. The bodies of Czar Nicho as II and the imperial Russian family have been found, ass sinated by the Bolsheviks in 1918, and until today, ther is no news of one incident of any massacre taking plac in 1993, with international repercussions that threaten e sovereignty of Brazil over its territory. Initially, th e were 19 deaths, then 40, then 73, then 89, later 120, then 16, when in fact there was not one body. In short, a skeleto was found, from an unknown date, which didn't demons ate any indications of a massacre or any assassin.

The en Minister of Justice, Mauricio Correa, satisfied with this old skeleton immediately denounced genocide. Th • Federal Police, in spite of continual declarations that ther was no proof of the crime, did not hesitate in making report, more than two months after the date ofthe "massac e", denouncing 23 prospectors for the assassination of 1 Indians, of which not even a bone was found.

The pre 's showed pictures of heads that contained the ashes of remated bodies—which could not be examined, since they ere "sacred".

Withou proof of anything, the Attorney General indited 4 prospect rs for the crime of genocide, adding one more to those liste by the Policia Federal. For the first time, the Federal Pri secutor submitted to the Brazilian Justice Department t is type of indictment, revealing a notable lack of what to d The 24 people indited—in general by last name—ris ed 30 years in prison. Members of parliament, bishops a cardinals, diplomats, police, military people, journalists all were involved with the "massacre" and become acco plices to it. Congress, the Armed Forces, the National D fense Council, the Catholic Church, the national press, the i ternational press, sending specialists and correspondents om abroad, the Brazilian government and foreign gove ments, all fell for the story of genocide.

Life Imitates the Thesis Accor ing to attorney Aurelio Rios, interviewed at the time of th "massacre", the crime of "genocide" is "the type that requ res bodily proof. The assassination of six Yanomam s at the end of July didn't result in the opening of any inqui because the bodies were not found ".

Accor mg to the Manaus Federal Police's regional justice coord nator, Lacerda Carlos Junior, who accompanied the investi ations in Boa Vista, "while the bodies of the dead Indians ar not found, the hypotheses of a massacre cannot be accept that, according to Funai and the Attorney General, kille 73 people".

With e lack of bodies, the testimony of the North American nthropologist Bruce Albert is retraced, to give a golden lo to the affair. Not that Bruce Albert was a witness to the fac . He merely translated the report of the Indians that "surv ed" the massacre. Exclusively, he told the "secret history of he massacre" to the daily Folha de Selo Paulo (10/ 03/93).

Bruce lbert defended his doctorate thesis, "Temps du Sang, Te ps des Cendres" (Time of Blood, Time of Ashes), at the Uni ersity of Paris-Nanterre. The title is suggestively alliterate: ang, cendres . Once again, life imitates art: the time of bl i od, the time of ashes. The premonitory look of the anthropol gist, who at the time was working on the biography of Da i Kopenawa—who intended to be a candidate for Congress 'n 1994—foresaw the massacre. "There was a lot of impru ence with the numbers", said Bruce Albert. "I don't see he possibility of more than 70 Indians having died in the re ion ", he declared then. Later, refuting even his biograph potential said that he heard of 19 deaths on Radio Nacional, reduced to 16 the number of deaths and divided the massacre in two years... But he never saw a tangible, photograi hable body.

Bruce Albert then had the chance to brandish his thesis: "In the la e intercommunity funeral ceremonies that will be organize. in,homage to the dead, the ashes of the adults will 25

be buried together in the household ovens of their relatives and those of the children will be eaten with banana pap. On that occasion, the gourds, baskets and all the objects belonging to the dead will be burned or destroyed."

Rather, there were no bodies because they were reduced to ashes. They could not be examined because they were destroyed in funeral rituals. And the killers—or rather, the prospectors in general—should be prevented from entering into "Yanomami territory", concluded the North American citizen, that, from the look of things, made fun of the public faith in the presence of Brazilian authorities.

What was done with the cutoff legs, arms, heads and fetuses pulled out of the bellies of pregnant women, disclosed to the news agency Ansa, by the then Brazilian Attorney General Aristides Junqueira? Even if the prospectors were the most perverse possible—and why would they be?—who would have the stomach to cut legs, arms, heads and take fetuses from human beings? The 19, 40, 73, 89, 120 and finally 16 cadavers of the massacred, announced on the first pages of the whole world's newspapers, never were found. Not even the miserable three bodies initially "found" by the Federal Police.

The bunch of Ashaninka cadavers, massacred by the Shining Path, at the same time, did not move the national and international press. This massacre in Peru wasn't denounced

by NGOs to the UN or the Hague. When Indians kill dozens of whites in Brazil, among those the workers of the very entity from which they receive assistance, the word "massacre" is never heard.

When the frontiersman Gilberto Pinto was brutally slaughtered by the Waimiris-Atroaris in 1974, it was discovered that until then the Indians had killed no less than 62 Funai employees. Every time a massacre took place—with real, tangible bodies -, Funai would offer new presents to the Indians. In a declaration to the daily Estado de S. Paulo, the major-engineer of the Sixth Engineering Battalion said: "The Indian begins to believe that the evil that he perpetrates is good for the whites. And so he perpetrates new massacres, new attacks".

But these bodies don't deserve international headlines.

They are bodies of whites, the creators of the "biggest catastrophe in human history ".

-

Genocide or Pancide?

The Brazilian Federal Police investigated supposed crimes that, if they had occurred, would have occurred in Venezuela. This imbroglio—not even the Justice Minister knew which country he was in when he visited the location of the "crime"—creates some indignation. Since when is a crime committed in a foreign country typified by Brazilian law and investigated by Brazilian police? What legislation would judge the 23 prospectors indited by the Brazilian Federal Police for a crime that—if it had occurred—had been committed outside of Brazil? Since when do pictures of gourds that contained ashes constitute proof for any tribunal?

How to cremate bodies—that in modern ovens require 1,360 degrees Celsius for two hours, leaving two kilos of residue of bones mixed with flesh—in quick bonfires on the humid soil of a tropical forest?

The 19th of December, 1996, Itagiba Catta Preta, a Federal Judge in Boa Vista, Roraima, closed with a golden key the fiction fed during three years by the press: he condemned to 20 years of prison 5 prospectors, for genocide against the Yanomamis in 1993. Two prospectors are rejecting the suit in freedom and three do know not acknowledge it.

Bodies, not a one. But Judge Catta Preta doesn't have a doubt that there was a massacre. As proof of the crime, he accepted anthropologists findings about the cultural habits of the Yanomamis—the story of the ashes, formulated by 26

Albert—, besides the testimony of survivors. "I don't have any doubt that at least 12 Indians were killed from the depositions gathered".

If they died in Venezuela, it doesn't make any difference to Catta Preta. According to him, the penal code provides that genocide, when practiced by Brazilians, is subject to Brazilian law. If would be interesting to know what the Venezuelans think about this.

Without a body there is no crime, says good legal doctrine. The prospectors were condemned for a crime that didn't take place. Worse yet, for the assassination of an Indian tribe that doesn't exist. The farce was so flagrant that even today not one prospector is in prison. On that day in Roraima, the biggest journalistic, political and judicial farce that ever took place in Brazil was tied up with a topknot, with serious consequences for the territorial integrity of the country.

The press showed some signs of violence in the Venezuelan village where the massacre was to have taken place, some pans with gunshot holes in them. And just that. We would then have pancide, something that was never contemplated by any penal code.

The Photographer's Fiction If the anthropologist Napoleon Chagnon verified the existence of a tribe of Yanomamis in Venezuela, the extension of this ethnic group into Brazilian territory is far from being proved. The bluff of the massacre of Yanomamis in 1993 lies on top of a previous bluff, or rather, the existence of a Yanomami tribe in Brazil. Who makes this accusation is Colonel Carlos Alberto Lima Menna Barreto, in The Yanomani Farce" (Biblioteca do Exercito Editora, Rio, 1995). In terms of his occupation, the Gaitcho (from Rio Grande do Sul) military man worked in Roraima since 1969, where he had close contact with the region's population. And never knew of any Yanomamis, a word that invaded the Brazilian and international press only from 1973 on.

According to Menna Barreto, Manoel da Gama Lobo D'Almada, Alexandre Rodrigues Ferreira, the brothers Richard e Robert Schomburgk, Philip von Martius, Alexander von Humboldt, Joao Barbosa Rodrigues, Henri Coudreau, Jahn Chaffanjon, Francisco Xavier de Araujo, Walter Brett, Theodor Koch-Griinberg, Hamilton Rice, Jacques Ourique, Candido Rondon and thousands of anonymous explorers that traveled in the Uraricoera and Orenoco valleys, they never identified any Indians with this name.

Neither would the reader, who today is 40 or 50 years old, ever had heard mentioned, in his schoolbooks, such a tribe, which received a part of the national land equivalent to three Belgiums, as its Immemorial lands". Immemorial since when? Two decades ago?

The heart of the problem isn't the preservation of the Indian and his traditions. In the latest discussions about this in Brazil, one item is generally omitted, nothing less than the most essential: the proto chancellors of the supposed Yanomami nation laid claim for its dependents to the subsoil of land, which is very rich in gold, diamonds, niobium, and cassiterita. Not one NGO worries so emphatically with the cultures ofthe Miskitos in Nicaragua or ofthe Ashaninkas in Peru.

For Colonel Menna Barreto, there is nothing better than language to define ancestry and tell the story of human groups. In his first missions to the region, he found the Maiongongues classified as Caribbean Indians—and the Xirianas, Uaicas and Macus, speaking isolated languages. Like the first explorers and foreign scientists, he never heard anyone talking about Yanomanis.

"It is necessary to make clear, before anything else, that the Indians supposedly found by Claudia Andujar are the same ones from when I was there in 1969, 1970 and 1971. It BRAZZIL - MARCH 1999

could be that, seduced by promises, they have agreed to renege their own name, no longer being the valiant people they always were, to condescend to this sad part. Or, who knows, they could have been convinced to don the name of "Yanomamis" on top of their old names, thus a less detrimental type of whim against the indigenous traditions and values. Meanwhile, it is not to be doubted that, to the utmost disdain by Brazilian anthropologists, nothing has been done to veil the lie and that, with the exception of the most knowledgeable, the Indians continue being the same X irianas, Uaicas, Macus and Maiongongues as always, leaving this story of "Yanomanis" just for Brazilian and Venezuelans.

"But the Indians considered Yanomamis are the same that were there from 1969 to 1971. I am certain of this because I returned to the region in 1985, 1986, 1987 and 1988, as Security Minister, and I saw the huts in the same places and the Indians with the same faces as before. And, while this affirmation may seem reckless, because ofthe difficulty of distinguishing one Indian from the other in the same tribe, it is easy to see that in these 20 years there was no amplification of huts registered , nor any news regarding epidemics or wars among them. The actual inhabitants are the same that I visited, when I was Border Commander, or then, are their descendants".

For this Gaucho who knows close up—and for a long time—the tribes of Roraima, it is not permissible to put such different groups in one Indian nation, "to erase the differences and cultural variations, when Anthropology has as its objective the contrary, to differentiate them". According to Menna Barreto, the different tribes today designated generically as the heathen Yanomani, are well defined and distinct among themselves.

Yanomanization Menna Barreto continues: "the Uaicas, for example, have managed, contrary to the rest, to keep themselves practically immune to outside influences, be it from the terror that their ferociousness instills, or be it from the instinctive precaution to conceal themselves to avoid their own degeneration, and the decline and disappearance by being in contact with more advanced cultures. The Xiriands, in their tribes of the Alto Uraricaa, Motomoto and Matacuni, meanwhile, couldn't avoid this, more subject to the human, social force in the singular conditions in which they lived.

The first maintained close relationships with their subordinate Auaques and a rudimentary trade with neighbors of the Caribbean group. Those of Matacuni, for their part, linked themselves culturally and commercially to the lecuands of the High Auari".

The Xiriands of Matacuni and Uraricaa, according to the author, after having exterminated the Maracands, the Purucotos and the Auaques, became tame and sedentary.

While their brothers in the Motomoto, in their limited partnership with the Macus, only attained a certain artistic ability and a relative moderation of primitive brutality. Another parcel of the tribe, from the headwaters of the Orenoco and of Middle Mucajai, continue being nomads with wild habits, being incapable of constructing huts from trees, making canoes, or planting fields. In the same Yanomani reserve, there would be the lecuands-Caribe, named Maiongongues by the Macuxis and Maquiritares by the Venezuelans, plus remnants of the Guinaii and Iauarand tribes.

"With such a profusion of languages, races, and cultures, it is improper and absurd"—writes Menna Barreto—"to classify all of them as Yanomanis. To close one's eyes to this obvious farce is to support the hidden interest of other countries, to the detriment of Brazil—more than a scandal, it is treason".

Claudia Andujar, Yanomanized, a babel of tribes that BRAZZIL - MARCH 1999

had little or nothing to do with Yanomamis. Fiction took hold in the international press and the "Yanomamis" began to "exist". When Brasilia realized that the recognition of indigenous groups required knowledge in Anthropology, the harm had already been done: the photographer had created a nation. It's worth it to note that the profession of anthropologist, li,; e those of prostitutes or psychoanalysts, isn't regulated b law in Brazil.

Even s , in 1992, with a handful of lines in the international media, the then president Fernando Collor de Mello guaranteed Andujar's fiction, delivering three Belgiums to 10,000 Indians (or maybe half of that), that only I became Yanomamis after 1973. A miracle of electronic journalism: a nation is never built in such little time.

The Anthropologist's Vision With her photographs, Claudia Andujar transmits urbi et orbi an idyllic vision of her Yanomanizied Indians: beings almost ethereal, angelic, in perfect harmony with themselves, and with nature. The photograph's fiction contrasts with the vision of an anthropologist, the American, apoleon Chagnon, who has studied the problem for more tIlan 30 years and lived 60 months in Yanomami villages in yenezuela, precisely the country where the "massacre", if i had occurred, would have taken place.

In Yan manei (Stanford University, 1992), Chagnon describes primitive people that make war to obtain the women of e dead enemy. His study doesn't match the Eden like images of the photographer. Speaking of his experience with the Yanomami group Kaobawa, the anthropologist says: "Am ng the more significant results of my analysis were the f llowing facts, which put the nature and extent of violence a ong Kaobawa's people into regional perspective: 1. App oximately 40% of the adult males participated in the killing of another Yanomano. The majority of them (60%) kill d only one person, but some men were repetitively sucqessful warriors and participated in the killing of up to 16 oiher people.

2. Approximately 25% of all deaths among adult males were due to violence.

3. Approximately two-thirds of all people aged 40 or older had lbst, through violence, at least one of the following kinds of very close biological relatives: a parent, a sibling, or a child. Mcist of them (57%) have lost two or more such close relatives. 1his helps explain why large numbers of individuals are motivated by revenge.

"The nrst unusual and impressive finding, one that has been subsequently discussed and debated in the press and in academic journals, is the correlation between military success and reproductive success among the Yanomano. Unokais (men who have killed) are more successful at obtaining wives and as a consequence, have more offspring than men their own age who are not unokais.

"The most plausible explanation for this correlation seems to be that unokais are socially rewarded and have greater prestige than other men and, for these reasons, are more often able to obtain extra wives by whom they have larger than average numbers of children. Thus, 'cultural success' lads, in this cultural/historical circumstance, to biological success."

Chagn n shows us a group of individuals for which physical v olence—killing and even infanticide—are part of daily life. kn undesired child is killed immediately after its birth. Woinen are continually beat even cut with machetes and axes and further, they receive wounds from arrows in non-vital qreas, like the breasts or legs. All this when they are not killed.' The author narrates a dialog for us between two women, who discuss their scars on the scalp. One thinks that the others husband must like her very much since he beats her so frequently.

The attacks on neighboring villages to kill one or more 27

residents and kidnap women constitutes normal practice for the warriors. In reading Chagnon's book, we have a parade of killings and massacres of Indians by Indians, narrated to the author with the naturalness of someone who is making an Indian hut social chronicle.

A Cuba for Large Estate Owners The Uaicas, Xiriands, Iecuands, Macus and Maiongongues, according to Menna Barreto—or Yanomamis, as Andujar rebaptized them—today possess 9.4 million hectares, a territory that they will never manage to control. As if this immense area, delivered by Collor de Mello to a handful of primitive beings, incapable of establishing and administering a state wasn't enough, President Fernando Henrique Cardoso just demarcated an even larger area, of 10.6 million hectares (equivalent to the size of Cuba) in an area known as Cabeca do Cachorro (Head of the Dog), in northwestern Amazonas.

The demarcation, done with the patronage of the G-7 (a group formed by the United States, Japan, Canada, Germany France, Great Britain, and Italy) revokes and lumps together 14 discontinuous "islands" created during the Sarney government (1985-90). Before the new demarcation, the 14 "islands" had just 2.6 million hectares. This Cuba will be given to close to 30,000 Indians, almost 10% of Brazil's indigenous population, spread out in 600 communities of 23 ethnic groups, such as the Bare, Suriana, Maku, Baniwa and Tucano, among others.

Holders of 11% of the national territory, the 325,000 Brazilian Indians are candidates to being the largest landowners on the planet.

Ironically, they inhabit the same country in which the

If you are interested in Brazil, We are interested in you.

Movimento dos Sem-terra (the Landless Movement) (groups armed with rifles, sickles and machetes, organized by the Catholic Church) invade and raze productive properties, with guerilla tactics and under the flags of Mao Tse Tung and Che Guevara. The defenders of the "peoples of the forest" claim that all of the Brazilian territory belongs to them, since before the arrival of the Portuguese. It happens that the natives didn't ask Cabral for his passport, nor a visa to entry the country.

Without a constitutional State, no people can lay claim to the possession of any territory.

Put in quarantine by militant anthropology, isolated from this century by the official politics of Brasilia, a melancholy option is left to the natives of Pindorama (Brazil, land of palms): die of hunger or depend on public charity. Integrate into the 20th century never: the anthropologists need to preserve, frozen in time, their objects of study.

And so, Brazil prepares to enter into the third millennium. Leaving behind, lost in the past, its first inhabitants.

Translated by Barbara Maglio who can be reached at bimaglioAcompuserye.com Janer Cristaldo is a writer, translator and journalist. He got a Ph.D. in French and Compared Literature from Universite de la Sorbonne Nouvelle (Paris III) with the thesis La Revolte Chez Albert Camas et Ernesto Scibato (The Revolt in Albert Camus and Ernesto Sabato). He published among other books: 0 Paralso Sexual Democrata (The Democrat Sex Paradise) (essay) , Assim Escrevem os Gauchos (Thus Write the Gauchos) (anthology), A Forca dos Mitos (The Power of Myths) (cronicas), Ponche Verde (Green Poncho) (novel), Mensageiros das Ftirias (Messengers of the Furies) (essay). You can get in touch with him via his e-mail: cristalAibm.net

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Muita gente ha no Rio de Janeiro que unca la alturas. A mesma lentidao do andar, foi, muita havera morrido, muita mais nascera comparada a rapidez das outras Quando o conselheiro Aires e morrera sem lá p6r os pes. Nem todo podem pessoas, fazia desconfiar que era a faleceu, acharam-se-lhe na secretaria dizer que conhecem uma cidade inte ra. Um primeira vez que ali iam. Uma crioula sete cademos manuscritos, rijamente velho ingles, que alias andara terras terras, perguntou a um sargento: "Voce quer encapados em papelao. Cada urn dos confiava-me ha muitos anos em Londres que de ver que elas vao a cabocla?" E ambos primeiros seis tinha o seu niimero de Londres so conhecia ordem, por algarismos romanos, I, II, bem o seu clube, e III, IV, V, VI, escritos a tinta era o que lhe bastava encamada. 0 setimo trazia este titulo: da metropole e do Ultimo. mundo.

A razao desta designacao espeNatividade e cial nao se compreendeu entao nem Perpetua conheciam depois. Sim, era o ultimo dos sete outras partes, alem cadernos, corn a particularidade de de Botafogo, mas o ser o mais grosso, mas no fazia parte mono do Castelo, do Memorial, diario de lembrancas por mais que ouvisque o conselheiro escrevia desde • sem falar dele e da muitos anos e era a materia dos seis. cabocla que la reinaNao trazia a mesma ordem de datas, va em 1871, era-lhes All oracles have double talk, but they are understood. Natividade ended up corn indicacao da hora e do minuto, tao estranho e rem ounderstanding the old seer, even though como usava neles. Era uma narrativa; to como o clube. 0 she couldn't hear a word she was saying e, posto figure aqui o proprio Aires, ingreme, o desigual, now.

It was enough for her that the future o mal calcado da corn o seu nome e titulo de conselho, things would be pretty and that the e, por alusao, algumas aventuras, nem lade ira mortificachildren would be big and glorious. It was assim deixava de ser a narrativa vam os pes as duas enough for her to take from her purse a estranha a materia dos seis cademos. pobres donas. Nao 50,000 reis bill.

Ultimo por que? obstante, continuaMACHADO DE ASSIS A hipotese de que o desejo do vam a subir, como finado fosse imprimir este cademo se fosse penitencia, ern seguida aos outros, nao é natural, devagarinho, cara salvo se queria obrigar a leitura dos no chao, veu para seis, em que tratava de si, antes que baixo. A manha trazia certo mo imento; pararam a distancia, tomados daquele lhe conhecessem esta outra historia, mulheres, homens, criancas que desciam ou invencivel desejo de conhecer a vida escrita corn urn pensamento interior e subiam, lavadeiras e soldados, algum alheia, que é muita vez toda a Onico, atraves das paginas diversas. empregado, algum lojista, algum padre, todos necessidade humana.

Nesse caso, era a vaidade do homem que falava, mas a vaidade no fazia parte dos seus defeitos. Quando fizesse, valia a pena satisfaze-la? Ele nao representou papel eminente neste mundo; percorreu a carreira diplomatica, e aposentou-se. Nos lazeres do oficio, escreveu o Memorial, que, aparado das paginas mortas ou escuras, apenas daria (e talvez de) para matar o tempo da barca de PetrOpolis.

Tal foi a razao de se publicar somente a narrativa. Quanto ao titulo, foram lembrados varios, em que o assunto se pudesse resumir, Ab ovo, por exemplo, apesar do latim; venceu, porem, a ideia de dar estes dois nomes que o proprio Aires citou uma vez:

•Esau and Jacob

ESAU E JACO CAP. I COUSAS FUTURAS! Era a primeira vez que as duas iam aomorro do Castelo. Comecaram de subir pelo lado da Rua do Carmo.

BRAZZIL - MARCH 1999

olhavam espantados para elas, que al S vestiam corn grande simplicidade; mas ha u donaire que se nao perde, e nao era vulgar naquelas

Corn efeito, as duas senhoras buscavam disfarcadamente o niamero da casa da cabocla, ate que deram 29

corn ele. A casa era como as outras, trepada no morro. Subia-se por uma escadinha, estreita, sombria, adequada a aventura. Quiseram entrar depressa, mas esbarraram corn dois sujeitos que vinham saindo, e coseram-se ao portal. Urn deles perguntou-lhes fam i I iarmente se jam consultar a adivinha.

—Perdem o seu tempo, concluiu furioso, e hdo de ouvir muito disparate...

—E mentira dele, emendou o outro rindo; a cabocla sabe muito bem onde tern o nariz.

Hesitaram urn pouco; mas, logo depois advertiram que as palavras do primeiro eram sinal certo da videncia e da franqueza da adivinha; nem todos teriam a mesma sorte alegre. A dos meninos de Natividade podia ser miseravel, e entdo... Enquanto cogitavam passou fora urn carteiro, que as fez subir mais depressa, para escapar a outros olhos. Tinham fe, mas tinham tambem vexame da opinido, como urn devoto que se benzesse As escondidas.

Velho caboclo, pai da adivinha, conduziu as senhoras a sala. Esta era simples, as paredes nuas, nada que lembrasse misterio ou incutisse pavor, nenhum petrecho simbolico, nenhum bicho empalhado, esqueleto ou desenho de aleijOes. Quando muito um registro da Conceicdo colado parede podia lembrar urn misterio, apesar de encardido e roido, mas ndo metiamedo. Sobre uma cadeira, uma viola.

—Minha filha já vem, disse o velho. As senhoras como se chamam?

Natividade deu o nome de batismo somente, Maria, como urn veu mais espesso que o que trazia no rosto, e recebeu urn cartdo,—porque a consulta era so de uma,—com o flamer° 1.012. Ndo ha que pasmar do algarismo; a freguesia era numerosa, e vinha de muitos meses. Tambem nao ha que dizer do costume, que é velho e velhissimo. Reid Esquilo, meu amigo, rele as Eum6nides, Id veras a Pitia, chamando os que jam a consulta: "Se hd aqui Helenos, venham, aproximem-se, segundo o uso, na ordemmarcada pela sorte"... A sorte outrora, a numeracdo agora, tudo é que a verdade se ajuste a prioridade, e ninguem perca a sua vez de audiencia. Natividade guardou o bilhete, e ambas foram A janela.

A falar verdade, temiam o seu 30

tanto, Perpetua menos que Natividade. A aventura parecia audaz, e algum perigo possivel.

Nao ponho aqui os seus gestos; imaginai que eram inquietos e desconcertados. Nenhuma dizia nada. Natividade confessou depois que tinha urn nO na garganta. Felizmente, a cabocla ndo se demorou muito; ao cabo de tres ou quatro minutos, o pai a trouxe pela mao, erguendo a cortina do fundo.

—Entra, Barbara.

Barbara entrou, enquanto o pai pegou da viola e passou ao patamar de pedra, A porta da esquerda. Era uma criaturinha leve e breve, saia bordada, chinelinha no pd. Ndo se lhe podia negar urn corpo airoso. Os cabelos, apanhados no alto da cabeca por urn pedaco de fita enxovalhada, faziam-lhe urn solideu natural, cuja borla era suprida por um raminho de arruda.

Já vai nisto urn pouco de sacerdotisa. 0 misterio estava nos olhos. Estes eram opacos, ndo sempre nem tanto que nao fossem tambem lucidos e agudos, e neste Ultimo estado eram igualmente compridos; tao compridos e tao agudos que entravam pela gente abaixo, revolviam o coracdo e tomavam ca fora, prontos para nova entrada e outro revolvimento. Ndo te minto dizendo que as duas sentiram tal ou qua! fascinacdo. Barbara interrogou-as; Natividade disse ao que vinha e entregou-lhe os retratos dos filhos e os cabelos cortados, por lhe haverem dito que bastava.

—Basta, confirmou Barbara. Os meninos sdo seus filhos?

—Sdo. —Cara de urn é cara de outro.

— Sdo gemeos; nasceram ha pouco mais de urn ano.

—As senhoras podem sentar-se.

Natividade disse baixinho a outra que "a cabocla era simpatica", ndo tao baixo que esta ndo pudesse ouvir tambem; e dal pode ser que ela, receosa da predicao, quisesse aquilo mesmo para obter urn born destino aos filhos. A cabocla foi sentar-se a mesa redonda que estava no centro da sala, virada para as duas. Pôs os cabelos e os retratos defronte de si.. °thou altemadamente para eles e para a nide, fez algumas perguntas a esta, e ficou a mirar os retratos e os cabelos, boca aberta, sobrancelhas cerradas. Custa-me dizer que acendeu urn cigarro, mas digo, porque é verdade, e o fundo concorda corn o oficio. Fora, o pai rocava os dedos na viola, murmurando uma cantiga do sulk, do Norte: Menina da saia branca, Saltadeira de riacho...

Enquanto o fumo do cigarro ia subindo, a cara da adivinha mudava de expressao, radiante ou sombria, ora interrogativa, ora explicativa.

Barbara inclinava-se aos retratos, apertava uma madeixa de cabelos ern cada mao, e fitava-as, e cheirava-as, e escutavaas, sem afetacdo que porventura aches nesta linha. Tais gestos nao se poderiam contar naturalmente. Natividade nao tirava os olhos dela, como se quisesse le-la por dentro. E ndo foi sem grande espanto que lhe ouviu perguntar se os meninos tinham brigado antes de nascer.

—Brigado?

—Brigado, sim, senhora.

—Antes de nascer?

—Sim, senhora, pergunto se ndo teriam brigado no ventre de sua mde; nao se lembra?

Natividade, que nao tivera a gestacdo sossegada, respondeu que efetivamente sentira movimentos extraordindrios, repetidos, e dores, e insonias... Mas entdo que era?

Brigariam por que? A cabocla tido respondeu. Ergueu-se pouco depois, e andou a volta da mesa, lenta, como sonambula, os olhos abertos e fixos; depois entrou a dividi-los novamente entre a mde e os retratos. Agitava-se agora mais, respirando grosso. Toda ela, cara e bracos, ombros e pemas, toda era pouca para arrancar a palavra ao Destino. Enfim, parou, sentou-se exausta, ate que se ergueu de salto e foi ter corn as duas, tao radiante, os olhos tao vivos e calidos, que a mde ficou pendente deles, e ndo se Ode ter que lhe ndo pegasse das mdos e !he perguntasse ansiosa: —Entdo? Diga, posso ouvir tudo.

Barbara, cheia de alma e riso, deu um respiro de gosto. A primeira palavraparece que lhe chegou a boca, mas recolheu-se ao coracao, virgem dos labios dela e de alheios ouvidos.

Natividade instou pela resposta, que lhe dissesse tudo, sem falta...

— Coisas futuras! murmurou finalmente a cabocla.

—Mas, coisas feias?

—Oh! ilk)! ndo! Coisas bonitas, coisas futuras!

—Mas isso ndo basta: diga-me o resto. Esta senhora e minha irma e de segredo, mas se é preciso sair, ela sai; eu fico, diga-me a mim Serao felizes?

—Sim. —Serdo grandes?

—Sera.° grandes, Oh! grandes!

Deus bade dar-lhes muitos beneficios.

BRAZZIL - MARCH 1999

Eles hao de subir, subir, subir...

Brigaram no ventre de sua mae, que tern? Ca fora tambem se briga. Seus filhos sera() gloriosos. E so o que the digo. Quanto a qualidade da gloria, coisas futuras! La dentro, a voz do caboclo velho ainda uma vez continuava a cantiga do sertao: Trepa-me neste coqueiro, Bota-me os cocos abaixo.

E a filha, nao tendo mais que dizer, ou nao sabendo que explicar, dava aos quadris o gesto da toada, que o velho repetia la dentro: Menina da saia branca, Saltadeira de riacho, Trepa-me neste coqueiro, Bota-me os cocos abaixo, Quebra coco, sinha, La no coca, Se te da na cabeca, Ha de rachci; Muito hei de me ri, Muito hei de gosta, Lele, coco, CAP. II MELHOR DE DESCER QUE DE SUBIR Todos os oraculos tern o falar dobrado, mas entendem-se. Natividade acabou entendendo a cabocla, apesar de Ihe nao ouvir mais nada; bastou saber que as coisas futuras seriam bonitas, e os filhos grandes e gloriosos para ficar alegre e tirar da bolsa uma nota de cinqUenta mil-reis.

Era cinco vezes o preco do costume, e valia tanto ou mais que as ricas dadivas de Creso a Pitia. Arrecadou os retratos e os cabelos, e as duas sairam, enquanto a cabocla ia para os fundos a espera de outros. JA havia alguns fregueses A porta, corn os nameros de ordem, e elas desceram rapidamente, escondendo a cara.

Perpetua compartia as alegrias da irma, as pedras tambem, o muro do lado do mar, as camisas penduradas As janelas, as cascas de banana no chao. Os mesmos sapatos de um irmao das almas, que ia a dobrar a esquina da Rua da MisericOrdia para a de S. Jose, pareciam rir de alegria, quando realmente gemiam de cansaco. Natividade estava tao fora de si BRAZZIL - MARCH 1999

que, ao ouvir-lhe pedir: "Para a missa das almas!" tirou da bolsa uma nota de dois milreis, nova em folha, e deitou-a a bacia. A Irma chamou-lhe a atencao para o engano, Inas nao era engano, era para as almas do purgatorio.

E seguiram lepidas para o cupe, que as esperava no espaco que flea entre a igreja de S. Jose e a Camara dos Deputados. Nao tinham querido que o carro as levasse ate ao principio da ladeira, para que o cocheiro e o lacaio nao desconfiassem da consulta. Toda a gene falava entao da cabocla do Castelo, era o assunto da cidade; atribuiam-lhe um poder infinito, uma serie de milagres, sortes, achados, casamentos.

Se as descobrissem, estavam perdidas embora muita gente boa la fosse. Ao ve-las dando a esmola ao irmao das almas, o lacaio trepou almofada e o cocheiro tocou os cavalos, a carruagem veio busca-las e guiou para Botafogo.

CAP. III A ESMOLA DA FELICIDADE —Deus Ihe acrescente, minha senhora devota! exclamou o irmao das almas ao ver a nota cair em cima de dois niqueis de tostao e alguns vintens antigos. Deus Ihe de todas as felicidades do ceu e da terra, e as almas do purgat6rio pecam A Maria Santissitna que recomende a senhora dona a seu bendito filho!

Quando a sorte ri, toda a natureza ri tambem, e o coracao ri como tudo o mais. Tal foi a explicacao que, por outras palavras menos especulativas, deu o irmao das almas aos dois mil-reis. A suspeita de ser a nota falsa nao chegou a tomar pe no cerebro deste; foi alucinacao rap ida. Compreendeu que as damas eram felizes, e, tendo o uso de pensar alto, disse piscando o olho, enquanto elas entrAvam no carro: —Aquelas duas viram passarinh verde, corn certeza.

Sem rodeios, supos que as duas enhoras vinham de alguma aventura amorosa, e deduziu isto de tres fatos, que sou obrigado a enfileirar aqui para nao deixar este homem sob a suspeita de caluniador gratuito. 0 primeiro foi a alegria delas, o segundo o valor da esmola, o terceiro o carro que as esperava a urn canto, conio se elas quisessem esconder do cocheiro o ponto dos namorados. Nab concluas tu que tivesse sido cocheiro algum dia, e andasse a conduzir mops antes de servir As almas. Tambem nao creias 4ue fosse outrora rico e adultero, aberto de maos, quando vinha de dier adeus As suas amigas. Ni cet exces d'honneur, ni cette indignite. Era urn pobre-diabo sem mats oficio que a devocao. Demais, pao teria tido tempo; contava apenas vinte e sete anos.

Cumprimentou as senhoras, quandlo o carro passou. Depois ficou a olhar para a nota tat)

fresca, tao valiosa, nota que as almas nunca viram sair das maos dele. Foi subindo a Rua de S. Jose. JA nao tinha animo de pedir; a nota fazia-se ouro, e a ideia de ser falsa voltou-lhe ao cerebro, e agora mais freqiiente, ate que se the pegou por alguns instantes.

Se fosse falsa... "Para a missa das almas!" gemeu a porta de uma quitanda e deram-lhe um vintem,— um vintem sujo e triste ao pe da nota tao novinha que parecia sair do prelo.

Seguia-se um corredor de sobrado.

Entrou, subiu, pediu, deram-lhe dois vintens, o dobro da outra moeda no valor e no azinhavre.

E a nota sempre limpa, uns dois mil-reis que pareciam vinte. Nao era falsa. No corredor pegou dela, miroua bem; era verdadeira. De repente, ouviu abrir a cancela em cima, e uns passos rapidos. Ele, mais rapid°, amarrotou a nota e meteu-a na algibeira das calcas; ficaram so os vintens azinhavrados e tristes, o obolo da viava. Saiu, foi a primeira oficina, primeira loja, ao primeiro corredor, pedindo longa e lastimosamente: —Para a missa das almas!

Na igreja, ao tirar a opa, depois de entregar a bacia ao sacristao ouviu uma voz debil como de almas remotas que lhe perguntavam se os dois milreis... Os dois mil-reis, dizia outra voz menos debil eram naturalmente dele, que, em primeiro lugar, tambem tinha alma, e, em segundo lugar, nao recebera nunca tao grande esmola.

Quem quer dar tanto vai A igreja ou compra uma vela, nao poe assim uma nota na bacia das esmolas pequenas.

Se minto, nao é de intencao. Em verdade, as palavras nao sairam assim articuladas e claras, nem as debeis, nem as menos debeis; todas faziam uma zoeira aos ouvidos da consciencia. Traduzi-as em lingua falada, a fim de ser entendido das pessoas que me leem; nao sei como se poderia transcrever para o papel um rumor surdo e outro menos surdo, um mils de outro e todos confusos para o fim, ate que o segundo ficou s6; "nao tirou a nota a ninguem... a dona é que a Os na bacia por,sua tambem ele era alma"... A porta da sacristia que dava para a rua, ao deixar cair o reposteiro azul-escuro debruado de amarelo, nab ouviu mais nada. Viu urn mendigo que the estendia o chapeu roto e sebento, meteu vagarosamente a mao no bolso do colete, tambem roto, e aventou uma moedinha de 31

cobre que deitou ao chapeu do mendigo, rapid°, As escondidas, como quer o Evangelho. Eram dois vintens, ficavam-lhe mil novecentos e noventa e oito reis. E o mendigo, como ele saisse depressa, mandou-lhe atras estas palavras de agradecimento, parecidas corn as suas: —Deus lhe acrescente, meu senhor, e the d 'e...

CAP. IV A MISSA DO CUPE Natividade ia pensando na cabocla do Castelo, na predicao da grandeza e nanoticia da briga. Tornava a lembrarse que, de fato, a gestacao nao fora sossegada; mas so the ficava a sorte da gloria e da grandeza. A briga la ia, se a houve, o futuro, sim, esse é que era o principal ou tudo. Nao deu pela Praia de Santa Luzia. No Largo da Lapa interrogou a irma sobre o que pensava da adivinha. Perpetua respondeu que bem, que acreditava, e ambas concordaram que eta parecia falar dos prOprios filhos, tal era o entusiasmo. Perpetua ainda a repreendeu pelos cinquenta m il-reis dados em paga; bastavam vinte.

—Ndo faz mal. Coisas futuras!

—Que coisas serdo?

—Ndo sei; futuras.

Mergulharam outra vez no silencio. Ao entrar no Catete, Natividade recordou a manha em que ali passou, naquele mesmo cupe, e confiou ao marido o estado de gravidez. Voltayam de uma missa de defunto, na igreja de S. Domingos...

"Na igreja de S. Domingos diz-se hoje uma missa por alma de Joao de Melo, falecido em Marica". Tal foi o animcio que ainda agora podes ler em algumas folhas de 1869. Ndo me ficou o dia, o mes foi agosto. 0 anuncio esta certo, foi aquilo mesmo, sem mais nada, nem o nome da pessoa ou pessoas que mandaram dizer a missa, nem hora, nem convite. Ndo se disse sequer que o defunto era escrivdo, oficio que so perdeu corn a morte. Enfim, parece que ate the tiraram urn nome; ele era, se estou bem informado, Joao de Melo e Barros.

Ndo se sabendo quem mandava dizer a missa, ninguem Ia foi. A igreja escolhida deu ainda menos relevo ao ato; ndo era vistosa, nem buscada, mas velhota, sem galas nem gente, 32

metida ao canto de urn pequeno largo, adequada missa recondita e anonima.

As oito horas parou urn cupe A porta; o lacaio desceu, abriu a portinhola, desbarretouse e perfilou-se. Saiu urn senhor e deu a mao a uma senhora, a senhora saiu e tomou o brag() ao senhor, atravessaram o pedacinho de largo e entraram na igreja. Na sacristia era tudo espanto.

A alma que a tais sitios atraira um carro de luxo, cavalos de raca, e duas pessoas tao finas nao seria como as outras almas aui sufragadas. A missa foi ouvida sem pesames nem lagrimas.

Quando acabou, o senhor foi a sacristia dar as esportulas. 0 sacristdo, agasalhando na algibeira a nota de dez-mil-reis que recebeu, achou que eta provava a sublimidade do defunto; mas que defunto era esse? 0 mesmo pensaria a caixa das almas, se pensasse, quando a luva da senhora deixou cair dentro umapratinha de cinco tostOes. Já entdo havia na igreja meia duzia de criancas maltrapilhas, e fora, alguma gente As portas e no largo, esperando. 0 senhor, chegando A porta, relanceou os olhos, ainda que vagamente, e viu que era objeto de curiosidade. A senhora trazia os seus no chdo. E os dois entravam no carro, corn o mesmo gesto, o lacaio bateu a portinhola e partiram.

A gente local ndo falou de outracoisa naquele e nos dias seguintes. Sacristao e vizinhos relembravam o cupe, corn orgulho. Era a missa do cupe. As outras missas vieram vindo, todas a pe, algumas de sapato roto, ndo raras descalcas, capinhas velhas, morins estragados, missas de chita ao domingo, missas de tamancos. Tudo voltou ao costume, mas a missa do cupe viveu na memoria por muitos meses. Afinal ndo se falou mais nela; esqueceu como urn baile.

Pois o cupe era este mesmo. A missa foi mandada dizer por aquele senhor, cujo nome é Santos, e o defunto era seu parente, ainda que pobre. Tambem ele foi pobre, tambem ele nasceu em Marica. Vindo para o Rio de Janeiro, por ocasido da febre das ac5es (1855), dizem que revelou grandes qualidades para ganhar dinheiro depressa. Ganhou logo muito, e fe-lo perder a outros. Casou em 1859 corn esta Natividade, que ia entdo nos vinte anos e ndo tinha dinheiro, mas era beta e amava apaixonadamente. A Fortuna os abencoou corn a riqueza. Anos depois tinham eles umacasa nobre, carruagem, cavalos e relacOes novas e distintas. Dos dois parentes pobres de Natividade morreu o pai em 1866, restava-lhe uma irrna. Santos tinha alguns em Marica, a quern nunca mandou dinheiro, fosse mesquinhez, fosse habilidade. Mesquinhez nao creio, ele gastava largo e dava muitas esmolas. Habilidade seria; tirava-lhes o gosto de vir ca pedir-lhe mais.

Nao the valeu isto corn Joao de Melo, que um dia apareceu aqui, a pedir-lhe emprego. Queria ser, como ele, diretor de banco.

Santos arranjou-lhe depressa urn lugar de escrivdo no civet em Marica, e despachou-o

corn os melhores conselhos deste mundo.

Joao de Melo retirou-se corn a escrivania, e dizem que uma grande paixdo tambem.Natividade era a mais beta mulher daquele tempo. No fim, corn os seus cabelos quase sexagendrios, fazia crer na tradicdo. Joao de Melo ficou alucinado quando a viu, eta conheceu isso, e portou-se bem. Ndo the fechou o rosto, verdade, e era mais bela assim que zangada; tambern nao the fechou os olhos que eram negros e calidos. SO the fechou o coracdo, um coracdo que devia amar como nenhum outro, foi a conclusdo de Joao de Melo uma noite em que a viu ir decotada a um baile.

Teve impeto de pegar dela, descer, voar, perderem-se...

Em vez disso, uma escrivania e Marica; era um abismo. Caiu nele; tres dias depois saiu do Rio de Janeiro para ndo voltar. A principio escreveu muitas cartas ao parente, corn a esperanca de que eta as lesse tambem, e compreendesse que algumas palavras eram para si. Mas Santos ndo lhe deu resposta, e o tempo e a ausencia acabaram por fazer de Joao de Melo urn excelente escrivdo.

Morreu de uma pneumonia.

Que o motivo da pratinha de Natividade deitada A caixa das almas fosse pagar a adoracdo do defunto ndo digo que sim, nem que ndo; faltam-me pormenores. Mas pode ser que sim, porque esta senhora era nab menos grata que honesta. Quanto As larguezas do marido, ndo esquecas que o parente era defunto, e o defunto urn parente menos.

CAP. V HA CONTRADIOES EXPLICAVEIS Ndo me peps a causa de tanto encolhimento no anancio e na missa, e tanta publicidade na carruagem, lacaio e libre. Ha contradicOes explicaveis. Urn born autor, que inventasse a sua historia, ou prezasse a logica aparente dos acontecimentos, levaria o casal Santos a pe ou em caleca de praca ou de 'aluguel; mas eu, amigo, eu sei como as coisas se passaram, e refiro-as ta is quais.

Quando muito, explico-as, corn a condicdo de que tat costume nao pegue. ExplicacOes comem tempo e papel, demoram a acdo e acabam por enfadar. 0 melhor e ler corn atencdo.

Quanto a contradicdo de que se trata aqui, e de ver que naquele recanto BRAZZIL - MARCH 1999

de urn larguinho modesto, nenhum conhecido daria corn eles, ao passo que eles gozariam o assombro local; tal foi a reflexao de Santos, se pode dar semelhante nome a urn movimento interior que leva a gente a fazer antes uma coisa que outra. Resta a missa; a missa em si mesma bastava que fosse sabida no ceu e em Marica.

Propriamente vestiram-se para o ceu.

0 luxo do casal temperava a pobreza da °raga°, era uma especie de homenagem ao finado. Se a alma de Joao de Melo os visse de cima, alegrarse-ia do apuro em que eles foram rezar por urn pobre escrivao. Nao sou eu que o digo; Santos é que o pensou.

CAP. VI MATERNIDADE A princfpio, vieram calados.

Quando muito, Natividade queixouse da igreja, que Ihe sujara o vestido.

—Venho cheia de pulgas, continuou ela; por que nao fomos a S. Francisco de Paula ou a Gloria, que estao mais perto, e sao limpas?

Santos trocou as maos a conversa, e falou das ruas mat calcadas, que faziam dar solavancos ao carro. Corn certeza, quebravam-lhe as molas.

Natividade nao replicou, mergulhou no silencio, como naquele outro capitulo, vinte meses depois, quando tornava do Castelo corn a irma. Os olhos ndo tinham a nota de deslumbramento que trariam entao; jam parados e sombrios, como de manha e na vespera. Santos, quejá reparara nisso, perguntou-lhe o que é que tinha; ela nao sei se the respondeu de palavra; se alguma disse, foi tao breve e surda que inteiramente se perdeu. Talvez nab passasse de um simples gesto de olhos, urn suspiro, ou coisa assim.

Fosse o que fosse, quando o cupe chegou ao meio do Catete, os dois levavam as maos presas, e a expressao do rosto era de abencoados. Nao davam sequer pela gente das ruas; nao davam talvez por si mesmos.

Leitor, ndo é muito que percebas a causa daquela expressao e desses dedos abotoados. Já Id ficou dita Was, quando era melhor deixar que a adivinhasses; mas provavelmente nao a adivinharias, nao que tenhas o entendimento curto ou escuro, mas porque o homem na varia do homem, e tu talvez ficasses corn igual expressao, simplesmente por saber que ias dancar sabado. Santos nao dancava; preferia o voltarete, como distracao. A causa era virtuosa, como BRAZZIL - MARCH 1999

sabes; Natividade estava gravida, acabava de o dizer ao marido: Aos triata anos nao era cedo nem tarde; era imprevisto. Santos sentiu mais que ela o prazer da vida nova. Eis al vinha a realidade do sonho de dez anos, uma criatura tirada da coxa de Abraao, como diziam aqueles bons judeus, que a gente queimou mais tarde, e agora empresta generosamente o seu dinheiro As companhias e As naches. Levam juro por ele; mas os hebraismos sao dados de graca, Aquele é desses. Santos, que so conhecia a parte do emprestimo, sentia inconscientemente a do hebraismo, e deleitava-se corn ele. A emocao atava-lhe a lingua; os olhos que estendia esposa e a cobriam eram de patriarca; o sorriso parecia chover luz sobre a pessoa amada, abencoada e formosa entre as formosas.

Natividade nao foi logo, logo, assim; a pouco e pouco é que veio sendo vencicla e tinha já a expressao da esperanca e da maternidade.

Nos prime iros dias, os sintomas desconcertaram a nossa amiga. E duro dize-lo, mas e verdade.

La se iam bailes e festas, lá ia a liberdade e a folga. Natividade andava já na alta roda do tempo; acabou de entrar por ela, corn tat arte que parecia haver au i nascido. Carteava-se corn grandes damas, era familiar de muitas, tuteava algumas. Nem tinha s6 esta casa de Botafogo, mas tambem outra em Petropolis; nem carro, mas tambem camarote no Teatro LIiiico, nao contando os bailes do Cassino Flumi ense, os das amigas e os seus; todo o repert rio, ern suma, da vida elegante. Era nom ada nas gazetas. pertencia aquela duzia d nomes planetarios que figuram no mei° da lebe de estrelas. 0 marido era capitalista e d retor de urn banco.

No meio disso, a que vinha ag ra uma crianca deformd-la por meses, ob t igd-la a recolher-se, pedir-lhe as noites, ado cer dos dentes e o resto? Tal foi a primeira sensacao da mae, e o prime iro impeto foi esmagar o germen.

Criou raiva ao marido. A segunda seniacao foi melhor. A maternidade, chegando ao eio-dia, era como uma aurora novae fresca. Natividade viu a figura do filho ou filha brincand na relva da chacara ou no regaco da aia, corn tre anos de idade, e este quadro daria aos trinta quatro anos que teria entao um aspecto d vinte e poucos...

Foi o que a reconciliou corn o ma do. Nao exagero; tambern nao quero mal a esta senhora.

Algumas teriam medo, a major parte amor. A conclusao é que, por uma ou por ou a porta, amor ou vaidade, o que o embriao que é entrar na vida. Cesar ou Joao Fernandes, tud viver, assegurar a dinastia e sair do mund o mais tarde que puder.

0 casal ia calado. Ao desembocar na Praia de Botafogo, a enseada trouxe o gostij de costume. A casa descobria-se A distanci , magnifica; Santos deleitou-se de a ver, miroti-se nela,

cresceu corn ela, subiu por ela. A estatueta de Narciso, no meio do jardim, sorriu a entrada deles, a areia fez-se relva, duas andorinhas cruzaram por cima do repuxo, figurand° no ar a alegria de ambos. A mesma cerimania d descida. Santos ainda parou alguns instantes para ver o cupe dar a volta, sair e tornar a cocheira; depois seguiu a mulher que entrava no saguao.

CAP. VII GESTAcA0 Em cima, esperava por eles Perpetua, aquela irma de Natividade, que a acompanhou ao Castelo, e Ia ficou no carro, onde as deixei para narrar os antecedentes dos meninos.

—Entao? Houve muita gente?

—Nao, ninguem; pulgas.

Perpetua tambern nao entendera a escolha da igreja. Quanto a concorrencia, sempre the pareceu que seria pouca ou nenhuma; mas o cunhado vinha entrando, e ela calou o resto.

Era pessoa circunspecta, que ndo se perdia por urn dito ou gesto descuidado. Entretanto, foi the impossivel calaro espanto, quando viu o cunhado entrar e dar a mulher urn abraco longo e terno, abrochado por urn beijo.

—Que é isso? exclamou espantada.

Sem reparar no vexame da mulher, Santos deu um abraco A cunhada, e ia dar-the um beijo tambem, se ela nao recuasse a tempo e corn forca.

—Mas que é isso? Voce tirou a sorte grande de Espanha?

—Nao, coisa melhor, gente nova.

Santos conservara alguns gestos e modos de dizer dos primeiros anos, tais que o leitor nao chamard propriamente familiares, tambem nao é preciso chamar-lhes nada. Perpetua, afeita a eles, acabou sorrindo e dandolhe parabens. Ja entao Natividade os deixara para se ir despir. Santos, meio arrependido da expansao, fez-se seri° e conversou da missa e da igreja.

Concordou que esta era decrepita e metida a urn canto, mas alegou razhes espirituais. Que a oracao era sempre oracao, onde quer que a alma falasse a Deus. Que a missa, a rigor, nao precisava estritamente de altar; o rito e o padre bastavam ao sacrificio.

Talvez essas razhes nao fossem propriamente dele, mas ouvidas a alguem, decoradas sem esforco e 33

repetidas corn conviccao. A cunhada opinou de cabeca que sim. Depois falaram do parente morto e concordaram piamente que era urn asno;— ndo disseram este nome, mas a totalidade das apreciacOes vinha a dar nele, acrescentado de honesto e honestissimo.

—Era uma perola, concluiu Santos.

Foi a nItima palavra da necrologia; paz aos mortos.

Dali em diante, vingou a soberania da crianca que alvorecia. Nao alteraram os habitos, nos primeiros tempos, e as visitas e os bailes continuaram como dantes, ate que pouco a pouco, Natividade se fechou totalmente em casa. As am igas jam ve-la. Os amigos jam visitd-los ou jogar cartas corn o marido.

Natividade queria urn filho, Santos uma filha, e cada urn pleiteava a sua escolha corn to boas razOes, que acabavam trocando de parecer.

Entao ela ficava corn a filha, e vestialhe as melhores rendas e cambraias, enquanto ele enfiava uma beca no jovem advogado, dava-lhe urn lugar

no parlamento, outro no ministerio. Tambem lhe ensinava a enriquecer depressa; e ajuda-loia comecando por uma caderneta na Caixa Economica, desde o dia em que nascesse ate os vinte e urn anos. Alguma vez, as noites, se estavam s6s, Santos pegava de urn lapis e desenhava a figura do filho, corn bigodes,—ou entao riscava uma menina vaporosa.

—Deixa, Agostinho, disse-lhe a mulher uma noite; voce sempre hd de ser crianca.

E pouco depois, deu por si a desenhar de palavra a figura do filho ou filha, e ambos escolhiam a cor dos olhos, os cabelos, a tez, a estatura. Ves que tambem ela era crianca. A maternidade tern dessas incoerencias, a felicidade tambem, e por fim a esperanca, que é a meninice do mundo.

A perfeicao seria nascer urn casal. Assim os desejos do pai e da mae ficariam satisfeitos.

Santos pensou em fazer sobre isso uma consulta espfrita. Comecava a ser iniciado nessa religido, e tinha a fe novica e firme. Mas a mulher op6sse; a consultar alguem, antes a cabocla do Caste to, a adivinha celebre do tempo, que descobria as coisas perdidas e predizia as futuras.

Entretanto, recusava tambem, por desnecessdrio. A que vinha consultar sobre uma drivida,

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que dali a meses estaria esclarecida?

Santos achou, em relacdo a cabocla, que seria imitar as crendices da gente reles; mas a cunhada acudiu que nao, e citou um caso recente de pessoa distinta, um juiz municipal, cuja nomeacdo foi anunciada pela cabocla.

—Talvez o ministro da Justica goste da cabocla, explicou Santos.

As duas riram da graca, e assim se fechou uma vez o capitulo da adivinha, para se abrir mais tarde. Por agora é deixar que o feto se desenvolva, a crianca se agite e se atire, como impaciente de nascer. Em verdade, a mae padeceu muito durante a gestacdo, e principalmente nas riltimas semanas. Cuidava trazer urn general que iniciava a campanha da vida, a ndo ser urn casal que aprendia a desamar de vespera.

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ITAMARACA Only 50 km from Recife, Ilha do Itamaraca is a pleasant and popular weekend beach scene. During the week it's usually empty. There is a regular bus service to the island, but getting to its many beaches takes time if you don't have a car.

Beaches Itamaraca has a long history and a lot of beach. The better beaches are north and south of Pilar, Itamaraca's town beach. Two km north of town is Jaguaribe, a white-sand beach with barracas and reclining chairs for weekend sun worshippers. For more isolated beaches, hike five km further north along the coast to Praia Lance dos CacOes and Fortinho. Immediately south of town is Praia Baixa Verde, and every three km south are more beaches: Praia Rio Ambo, Praia Fomo de Cal, Praia de Sao Paulo and finally Praia de Vila Velha, which also is a historic old port near Forte Orange.

Forte Orange

This fort was built in 1630 by the Dutch and served as a base in a series of battles against the Portuguese colonies in Recife and Olinda. It's an impressive bastion, right on the water.

There's now a four-star hotel nearby and souvenir shops rearing their ugly little heads, but during the week it's still very quiet.

Other Attractions

Just past the island's agricultural penitentiary, Penitenciaria Agricola, is Engenho Amparo, an 18th-century

sugar plantation. Further from town is Vila Velha (1526), the first port in the Northeast, and its church, Nossa Senhora da Conceicao (1526) Take a VW bus to get to these and other distant points from the town of Itarnaraca.

Things to Buy

At Engenho Sao Joao, about 10 km in the direction of Igarassu, inmates from the agricultural penitentiary sell their products which include lithographs and carrancas (carved figureheads).

PONTAS DE PEDRA Pontas de Pedra, the last beach in

Pernambuco if you're heading north, does its state proud. The reef, two km offshore, provides for calm, shallow water, which is good for bathing and snorkeling Goiana, 22 km in from the coast, at the junction of BR-101 and PE-49, has a few restaurants and bars, but no regular lodging.

CARUARU

If you like folk art and you wake up in Recife on a Wednesday or Saturday feeling like a day trip, you're in luck. Caruaru, South America's capital for ceramic-figurine art, is only a couple of hours away.

Feira Livre

The Feira Livre (Grand Open BFtAZZIL - MARCH 1999

hsell'o' • e.toFoissa_i: ofraNcirder •..:c,rTuv in is a h y ; market as •ecome popular tourist attraction, and man items on sale are produced for tourist.

Alongside pots, leath bags and straw baskets are representations of strange beasts and mythical monsters crafted by artists as famous as Caruaru's master, Mestre Vitalino.

Fair), held in the center of Caruaru on We nesday and Saturday, is a hot, noisy crush ofNor stinos: vendors, poets, singers, rural and ton folk, tourists, artisans and musicians. Zabumb (drum) bands are accompanied by the music of ffanos (vertical flutes), and sulanqueiros (rag me chants) hawk their scraps of clothing.

The market has become a popular tourist attraction, and many items on sale are produced for tourists. Alongside pots, leather bags and straw baskets are representations of strang beasts and mythical monsters crafted by artists as famous as Caruaru's master, Mestre Vitalino. To see the artists at work, visit Alto do Moura (d scribed later in this section). If you want to bu some figurines, wait until you see what is of ered in Alto do Moura before buying at the mar et.

In addition to ceramic artwork, you an hear singers and poets perform the literatura d cordel (literally 'string literature'): poetry by an for the people, sold in little brochures which h g from the fair stands by string (hence the na e). The poems tell of politicalI events (the death ofT credo Neves is likened to a mother giving bi h to a nation and then expiring before she can suckle her

infant), national figures (Getirlio Vargas, Jose Sarney and Fernando Collor), miracles and festivals, as well as traditional comed' es and tragedies (for example, about a woman who lost her honor to Satan). Although its role in diffusing popular culture is threatened by TV, liter tura de cordel is still written, sold and perfo ed in

public by Caruaru's poets.

In a separate section of the main fair, there's the Feira do Troca-troca (Barter Market), where junk and treasure are traded.

Feira de Artesanato This handicraft market on Parque 18 de Maio is open daily from 6 am to 5 pm.

Feira da Sulanca This textile and clothing market, the largest in the Northeast, is set up

on Parque 18 de Maio on Tuesday and Thursday.

Casa da Cultura Jose Conde This cultural center on Parque 18 de Maio contains a couple ofmuseums.

The most interesting is Museu do ForrO, containing exhibits aboutforro, including records and musical instruments. It's open Tuesday to Friday from 9 am to noon and 2 to 5 pm, and on Saturday from 9 am to 1 pm.

Museu do Barro

This museum, containing displays of pottery produced by famous local artists, is inside the Espaco Cultural Tancredo Neves, at Praca Jose Vasconcelos 100. It's open from 9 am to noon and 2 to 5 pm Monday to Friday, and from 9 am to 1 pm on Saturday.

Alto de Moura Alto de Moura, six km from Caruaru, is a small community of potters which specializes in producing

figurinhas (figurines). Many of the potters are descendants of Mestre Vitalino, the most famous artist, who brought fame to Alto de Moura. Other noted artists are a Caboclo, Manuel Eudocio and Cunhado de Ze Caboclo.

Museu Mestre Vitalino (Master V italino 'Museum), housed in the simple home of the master, contains his tools and personal effects. It's open from 9 am to noon and from 2 to 5 pm Monday to Saturday.

35

You can wander the streets and browse through dozens of workshops and galleries. If you want to buy figurines, you're better off buying here than in Caruaru.

Places to Eat

Fortunately, there's plenty of cc:chap and sugar-cane broth to quench your thirst, and local foods like dobradinhas (tripe stew)chambaril and sarapatel (a bloody goulash of pork guts) to appease your appetite. Spartan, inexpensive places for this type of food are Bar do Biu, at Rua Sanharo 8, and Bar da Linguica, at Rua Nunes Machado 278.

If the appeal of these local foods fades, try Barrilcindia, at Rua Silva Jardim 71. It's a good pizzeria with the feel of a Wild West saloon. On the flip side, for excellent regional cuisine in a tasteful setting, pull into Estaclio Central, at Avenida Magalhaes 398.

Getting There & Away Caruaru is linked by shuttle buses to Recife every half-hour. The trip takes two hours and costs $4.50.

TRACUNHAEM Ifyou've missed the fair at Caruaru,

the next best thing, some say better, is to be in Tracunhaem for the Sunday fair. The village of Tracunhaern, 40 km from Recife in the direction ofCarpina, is Pernambuco's number-two craft center. Look for the ceramic work of master artisans Zezinho de Tracunhaem, Severina Batista and Antonio Lao. FAZENDA NOVA & NOVA JERUSALEM The small town of Fazenda Nova,

50 km from Caruaru, is famous for its theater-city reconstruction ofJerusalem, known as Nova Jerusalem. Surrounded by a three-meter-high wall with seven gateways, 70 towers and 12 granite stages, the reconstruction occupies an area equivalent to a third of the walled city of Jerusalem as it stood in the time of Jesus.

The time to visit is during Semana Santa (Holy Week, held in March or April—dates vary), when several hundred of the inhabitants of Fazenda Nova perform the Paixdo de Cristo (Passion Play).

Places to Stay There's a campground, Camping

Fazenda Nova, at Nova Jerusalem. In the center of Fazenda Nova, you can stay at the Grande Hotel (732- 1137), at Avenida Poeta Carlos Pena Filho, s/ n (no number), which has apartamentos costing $18/20 for singles/ doubles.

Getting There & Away

During Holy Week, there are frequent bus services direct from Recife, and travel agencies sell package tours to see the spectacle. During the rest of the year, there are daily bus connections between Fazenda Nova and Caruaru.

GARANHUNS Garanhuns, 100 km from Caruaru and 241 km from Recife, is popular as

a holiday resort because of its relatively high altitude (900 meters). It's not

exactly the `Suica Pernambucana' (Switzerland of Pernambuco) as touted in the tourist brochures, but it does have pleasant parks and gardens, and cool air—all of which are a respite from the oppressive heat of the interior of the state.

TRIUNFO This small town 448 km west of Recife lies at an altitude of 1000 meters. The cool climate and abundant vegetation have earned it the nicknante `cidade jardim' (garden city).

Things to See & Do The Museu do Cangaco (Bandit Museum) displays a collection of weaponry and assorted personal items used by cangaceiros, or brigands, whose most famous and fearsome leader was

Lampiao. Opening hours are 8 to 11 am and 2 to 4 pm Monday to Friday. ;- The town also has some fine ex ' ates of architecture: Cine Teatro Guarany (19 , ), on Praca Carolina Campos, is a stunning neoclassical piece. It's open daily from 8 am to noon.

For excursions in the region around the town, you could visit: Pico do Papagaio, which is a peak (1230 meters) with a great view, 10 km from town. Cachoeira do Grito, with a waterfall and swimming hole six km from town on the road to Flores, then one km on foot; or the pictographs t Sitio Santo Antonio, three km from town.

FERNANDO DE NORONHA The archipelago of Fernando de Noronha, with a population of 1500, lies 145 km from Atol das Rocas, 525 km from Recife and 350 km from Natal. The 21 islands of the archipelago cover a total area of only 26 sq km. In 1989, Fernando de Noronha was incorporated into the state of Pernambuco.

With its crystal-clear water (avernge water temperature 24° C) and rich marina life, the archipelago is a heavenly retreat for underwater pleasures. The main island is sparsely populated and tourism has become the main source of income for locals. It's now easier for independent travelers to visit, but it is possible that organized tours will be made compulsory again if numbers of visitors prove detrimental to the environment of the archipelago. Although Fernando de Noronha is now protected as a national marine park, the effects of tourism on its fragile ecosystem need to be monitored carefully.

Before You Go The rainy season is from February to July and the islands' time-zone is one hour ahead ofeastern

Brazil. Bring everything you'll need for your stay (e.g. suntan lotion, insect repellent, magazines and snorkeling gear) as prices are very high due to the cost of transporting goods from the mainland.

Definitely take sufficient Brazilian money with you. Don't rely on changing money on Fernando de Noronha, where the exchange facilities are virtually nil and the exchange rates are low.

History Several hundred km off the coast fro

ata , the archipelago was discovered by. Sanish adventurer and cartographer Juan de la Cosa. The islands first appeared on the maps by the name of Quaresrna (which means Lent). A Portuguese expedition under the command of Fernando de Noronha sighted the islands once again in 1504.

He was awarded the islands by his friend King Dom Manoel. It was the first inherited captaincy of the Brazilian colonies.

The islands, with their strategic positi n between Europe and the New World, were covet

by the English, the French and the Dutch who came to occupy the archipelago But by 1557 the Portuguese managed to reclaim Fernando de Noronha and build a fortress. All that remains today ofthe European battles is the ruins of the fortress of Nossa Senhora dos Remedios and a few sunken shipwrecks.

Over the years, the islands were used as a military base by the USA during WW II, a prison, a weather station, an air base and, most recently, a tourist resort.

There has already been some misguided tampering with the island ecology. The teju, a black-and-white lizard, was introduced to eat the island rats, which had come ashore with the Europeans in colonial days. Unfortunately, the tejzt prefers small birds and crab to rat.

A struggle between developers and environmentalists over the future of the island was resolved in 1988 when most of the archipelago was declared a Parque Nacional Marinho (Marine National Park) to protect the island's natural treasures. These Include: 24 different species of marine birds; two species of marine •tortoise—one, tartaruga-de-pente (Ereonochelys imbricata), that are in danger of extinction; sharks; stingrays; dolphins; whales; and a vast number of fish species.

Tourism has proved a blessing for the local economy and a bane for the ecosystem of the archipelago.

Rapidly growing numbers ofvisitors have prompted locals to convert mangrove swamps into plots for the kultivation of more food, thereby depriving marine life of important breeding grounds and food sources It has also been noted that fish have become accustomed to being fed by tourists and have taken to biting them.

Orientation On the largest and only inhabited island, the population is concentrated in Vi a dos Remedios Although Pico hill, the highest Point on the island is only 321 meters above sea level, it is Well over 4300 meters above the Ocean floor, as the island is an extinct Volcanic cone. The island-mountain is part of the mid-Atlantic ridge, an underwater mountain chain which is over 15,000 km long.

Information Tourist Office Information is available from the Departamento de Meio Ambiente e Turismo (619-1311), in the Palacio Sao Miguel in Vila dos Remedios. The PARNAMAR/IBAMA (619-1210) office is on Alameda do Boldro.

Emergency The Hospital Sao Lucas (619-1207), at Parque Flamboyant, looks after medical emergencies. The Policia Civil (619-1432) has its headquarters at Vila do Trinta.

BRAZZIL - MARCH 1999

Island Rules airfare to and from Ferand board on the island . This independent approach also Visitors are expected to obey the following nando de Noronha, lodgallows travelers to pick and choose their accommodation. rules: ing (apartamento, incluThe accommodation i ncluded in most of package tours • Don't dump rubbish or_ food on the ding full board) and is overpriced. ground, in the sea or on the- beach. guided tours ofthe island Getting Excerpts from Bra.:il • Don't take away or break off pieces of by land and sea. The Around coral, shells or marine creatures.

A Travel Survival Kit prices per person for Buggies, cars and • Don't use spearguns or traps. four/five/eight-day pacsmall motorbikes are 3rd edition, • Don't bring any plants or animals to or kages from Recife start available from several

by Andrew Draffen, from the archipelago. at around $630/710/869. operators, including Chris McAsey, • Respect areas set aside for ecological Higher prices apply • Eduardo Galvao de Leonardo Pinheiro, protection. during high season and Brit° Lira (619-1355), and Robyn Jones.

• Don't swim with the dolphins. for apartamentos with at Esmeralda do Atlan• Don't hunt under the water.

For more information air-con (which isn't tic° hotel, on Alameda As mentioned in the introduction to this really necessary). do Boldro. call Lonely Planet: archipelago, tourism has already had some Independent traveBoats are available (800) 275-8555. effect on the ecosystem, and it is hoped that lers can buy air ticket from Associacao NoCopyright 1996 Lonely observation of these rules will help redress directly from Nordeste, ronhense de PescaPlanet Publications. this problem. and should have little dores Anpesca (619Used by permission.

Beaches difficulty negotiating 1449), at Vila Porto de Inside the boundaries ofthe park, IBA MA lower price for lodging Santo Antonio. allows bathing at certain beaches, but restricts access to others to protect marine life.

The island beaches are clean, beautiful and almost deserted. The beaches of Calera, Praia da Atalaia and Ponta das Caracas have rougher waters than Praia da Conceicao.

Cacimba do Padre beach is the only one with fresh water.

Baia dos Golfinhos (Dolphin Bay) is strictly off limits to swimmers, but BEST SERVICE + BEST RATES access is permitted to Mirante dos AIR - IATA 01-1-9279-012 Golfinhos, a viewpoint where you OCEAN - FMC 3853 can watch hundreds of dolphins cavorting in the water every morning.

You can get to Baia do Sancho either by boat or by following a trail which leads through bramble and bush, past almond trees and over sharp TO ANY AIRPORT IN BRAZIL rocks. Once at Baia do Sancho, you may be lucky enough to witness an odd meteorological phenomenon: without a cloud in sight, rain falls mysteriously on a spot of land 10 meters wide.

FULL CONTAINER & DIRECT CONSOLIDATIONS Diving The Aguas Claras company WITHOUT TRANS LOADING IN MIAMI (619-1225) organizes scuba-diving excursions with instructors (of variable quality) and will rent diving equipment. You can ask if diving is still permitted in Baia de Santo Antonio, where the Paquisteio and Ana Maria wrecks lie seven meters under water. A Spanish corvette lies beneath 60 meters of water at Ponta da Sapata, the southwest tip of the island, but this area is now strictly out of bounds.

Getting There & Away Air Nordeste flies three times daily CONTACT DANIELA OR JULIET between Recife and Fernando de Noronha. The flight takes I V2 hours and a return ticket costs around $290.

Other options include flying from Recife to Fernando de Noronha, then on to Natal for around $260. A return flight from Natal to Fernando de Noronha costs around $230.

ToursOrganized tours sold by travel agencies in Recife usually include

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season Rio Around about 7 a.m. on a weekday morning, with the sun building strength and patches of dark sand glistening from the small waves creeping back into the ocean, hundreds of Cariocas, as Rio de Janeiro natives call themselves, could be found pacing briskly along the Avenida Atlantica, the wide, majestic thoroughfare that borders Copacabana Beach.

Across from the white Copacabana Beach Hotel, dozens ofnavy cadets in tank tops and olive-colored shorts accelerated their stride as they passed puffing, determinedlooking seniors wearing sun hats and tatty sneakers. On the beach itself, tai-chi classes were in full swing, and skinny, dark-skinned youngsters kicked sandy soccer balls into makeshift nets.

Here in this city where coastline and mountain peaks have contrived to create one of the world's most memorable settings, I was eager to join the communal morning ritual, even though I rarely jog at home. It seemed preferable to a few lonely laps in the pool back at the hotel and the refreshment was cheap too. For a real (about half a US dollar), I could stop at one of the tiny kiosks on the Avenida Atlantica and watch as the owner chopped the top off a fresh coconut and handed it to me with a straw to extract the juice.

I'd come to Rio last June and was anxious to see whether the city's legendary high spirits were the same in the off-season as prevailed during the fabulous February Carnaval. Luckily, World Cup fever (which ended up giving most Brazilians little more than a headache for their efforts) was in full swing and the street scene was livelier than most other places I've ever been.

The first thing that strikes you in Rio is the color, masses of it exploding in a wild palette wherever you look.

There's the Tijuca National Park with its forest of eucalyptus, cedar and trumpet trees—all 3,200 hectares of it less than a 20-minute drive from downtown BRAZZIL - MARCH 1999

The first thing that strikes you in Rio is the color, masses of it exploding in a wild palette wherever you look. Rio was cleaner and safer than I expected, a result of the city's drive to brighten an image that had been blackened during the 1980s by reports of tourists being subjected to muggings and theft.

JOHN FITZGERALD

or centro--and the hundreds of streetvendors' trucks that lumber along, seemingly enveloped by heaps of glistening fruit. There's the wide necklace of blonde sandy beaches that hug Rio's shores for some 80 kilometers and the elegant, pastel shades of many of its buildings.

Rio was cleaner and safer than I expected, a result of the city's drive to brighten an image that had been blackened during the 1980s by reports of tourists being subjected to muggings and theft.

Since the early 1990s, some 1,200 police have been assigned to patrol beaches and major tourist areas. The only trouble I had was having to choose from the dozens of youngsters I met who asked cheerfully to have their pictures taken.

Because I wanted to be close to the water, I avoided staying in Rio's dense, bustling downtown that overlooks Guanabara Bay, opting instead for Copacabana, the most celebrated of the ocean-side districts that follow one another along the coast from Leblon and Ipanema to Leme. More than five kilometers long, the Leme/Copacabana stretch of beach, which can accommodate up to 100,000 sun-worshippers, starts in Leme and curves along the Avenida Atlantica until it reaches Copacabana Fort, which juts slightly into the ocean.

Nearby the Fort, there's a small encampment used by fishermen to re, pair and dry their nets and it's where I was offered shelter one day (and a hefty , glass ofcachaca or sugarcane alcohol) to warm me up when a hard rain fell, unexpectedly and I was trapped with-, out cover.

But Rio is a lot more than beaches.

Early in my stay, like just about every other visitor to Rio, even those who've been there before, I made the pilgrimage by cable car to the top of Sugar Loaf mountain. Along with the Christ the Redeemer statue on the 914-meter high Corcovado or hunchback mountain, it's 39

one of those got-to-do's, like savoring the ceiling of the Sistine Chapel when you're in Rome.

Taking the cable car at Praia Vermelha, I ascended in about three minutes to the 225-meter high Urea Hill. From there, a further three-minute ride brought me to the Sugar Loaf summit. Despite the presence of refreshment stands and souvenir shops, nothing detracted from the extraordinary view of the city set between the mountains and ocean.

A Little History Although the Indians had lived in Brazil long before the arrival of the first Europeans, the site on which Rio now stands was "discovered" at the start of 1502 by the Portuguese Andre Gonealyes who was travelling with the great Italian explorer Americo Vespucci.

Navigating into Guanabara Bay and thinking it was the mouth of a great river, the men called it Rio de Janeiro or River of January.

With colonization beginning in 1530, Rio became first a trading port and then Brazilian capital in 1783, a role it would play uninterrupted (and through independence) until 1960 when the seat of government was moved to newly-constructed Brasilia. For 13 years that ended in1821, Rio also served as home to the Portuguese royal family whose members decided to set up shop in the city rather than face the wrath of Napoleon who was encroaching on home turf.

Rio's architecture, which I'd previously assumed was mostly Miami Beach deco, is full of glimpses of 17th, 18th and 19th century artistry. At the lovely Largo do Boticario, for example, brightly-painted colonial-era townhouses face a sun-dappled, cobblestone square. And many of the downtown buildings, especially those around the imposing Municipal Theatre, whose design was copied from the old Paris Opera, reflect an exuberant cultural sensibility.

The city's broad boulevards, like the Avenida Presidente Getitlio Vargas and the Avenida Rio Branco were built at the end of the 19th century and lined with a series of graceful Europeanstyle public buildings. You can see them today along the Avenida Rio Branco, which boasts not only the Municipal Theatre (the opera Aida was once staged in its opulent, Persianstyle restaurant) but such civic showcases as the National Library, the Palace of Justice and the National Art School, as well as many of Rio's major cinemas.

A mixture of pride and piety and a passion for ornamentation are evident in the Portuguese baroque style which graces Rio's old churches, like downtown's Our Lady of Candelaria at the foot of Avenida Presidente Vargas and the church and monastery of Sao Bento. Originally built as a fortress in 40

1589, Sao Bento's interior is a riot of intricatelypaneled, gilt-encrusted wood. More intimate but no less visually stunning is the small, tranquil Gloria Church or Nossa Senhora da Gloria do Outeiro that sits atop a steep hilt overlooking the Gloria Inlet with its small pleasure craft bobbing in the water.

In search of a place to rest my feet one day while strolling through the main business district.

I found the Confeitaria Colombo or Colombo Coffee House at Rua Goncalves Dias, 32 (Tel..• 232-2300). The massive two-story restaurant h Belgian mirrors franied with Brazil's famous jacanp anda wood and vintage crystal goblets peeking through tall cabinets set against the walls. It w built in Art Nouveau style back in 1894 and sti serves lunch and high tea on weekdays.

Because it is so close to Copacabana, I foun myself often in I panema and can recommend it for food. With some of its asphalt streets painted in zig-zag designs of pink, blues and yellows, the area contains many of the city's finer stores as well as bars and places to eat, from McDonald's to the expensive EsplanadaGrill and plenty ofchoices in between.

Along with the restaurant in the Caesar Park Hotel, Ipanetna's Casa da Feijoada (Rua Prudente de Morals, 10) is known throughout Rio for its feijoada, the Brazilian national dish whose influences can be traced back to when the slaves would collect whatever pieces Of meat were left over by the owners and cook them with beans. It's usually eaten on Saturdays after a morning at the beach.

Basically a hearty stew composed of black beans as well as any number of dried meats, bits of bacon, salt pork, ribs, sausages and pig's ear, tail and trotter, feijoada is accompanied by kale, orange slices, white rice, fried manioc flour or farofa, and a hot pepper sauce. To wash it down, you drink draft beer or caipirinha, the pleasurably potent drink that's part sugarcane alcohol, diced lemon and sugar with a few ice cubes thrown in.

With Brazil being one of the world's primary' sources of gemstones, Ipanema is also headqua4 ters of H. Stern and Amsterdam Saner, two of tht major international Jewelry chains. Both hay showrooms and museums that are open to the public with the Amsterdam Sauer Museum (Rua Garcia D'Avila, 105 ) showcasing 'emeralds, aquamarines, diamonds, topazes and tourmalines.

It also features an excellently-crafted miniature model of an inland mine shaft to give you an idea of how gemstones are extracted, Opulence of a different sort, albeit one with a rather solemn atmosphere, can be found at the the 19th-century mansion known as the Museum of the Republic (Rua do Catete,153). Formerly called the Catete Palace and used to house 18 of Brazil's presidents, the building and the large gardens surrounding it have seen both social events and suicide. In 1954, then President Getfilio Vargas, in the midst of a political crisis, killed himself in an upstairs bedroom, which has been preserved in all its morbid splendor.

The state rooms on the second floor throw together Roman, Moorish, French and Italian decorative styles with I 9' and 20th century sculptures and silverware but the third floor's exhibition of documents and photographs and other memorabilia spanning the country's repub• lican history-is-exceptional. = Because some of my associations have always brought her to mind, I couldn't leave Rio without

checking out the venue that honors Brazil's first international superstar.

Located just across from Avenida Rui Barbosa, 560, the Carmen Miranda Museum (Tel.: 551-2597) was founded in 1976, some 21 years after Miranda died Of heart attack in her Beverly Hills home at age 46. Containing costumes, shoes, photographs and records, the museum occupies a circular former playground pavilion in Flamingo Park and is presided over by a slight, thirty ish man named Ibere Magnani. He saw his first Miranda movie when he watched it on television the day NeilArmstrong landed on the moon and from then on, dedicated himself to Miranda's memoOnce one of the highest-paid stars in Hollywood, the so-called Brazilian Bombshell, who was actually born in Portugal, made her name during the 1940s when she was teamed with the Marx Brothers in such films as The Lady in the Tutti-Frutti Hat. Her flamboyant costumes always i ncluded a turban with fake fruit or some other concoction and huge earrings dangled from her ears. "Fabulous, no!" exclaimed Magnani as I photographed him holding one of the diva's turbans topped with multi-collared umbrellas. Fabulous indeed.

IF YOU GO Both United Airlines and yang Brazilian Airlines fly daily from New York to Rio. Varig has non-stop service and United stops in Miami. Shops are open from 9 a.m. to 6 p.m. weekdays and 9 a.m. to 1 p.m. on Saturdays.

Major museums include National Museum of Fine Arts (Tel.: 240-0068) with its collection of Brazilian art from the colonial period, as well 19th and 20" centuries. There's also the Banco do Brasil Cultural Center (Tel.: 2160202) and the National History Museum (Tel.: 240-2003) that traces Brazil's development from 1500 to the Proclamation of the Republic in 1889.

The Botanical Gardens (Tel.: 2748246), which has over 5000 species of plants are reputedly the loveliest in South America.To hear live Brazilian music, check out Arco da Velha (Praea Cardeal Camara, 132—open Wed.-Fri. from 7 p.m.-11 p.m.), 0 Fino da Bossa (Rua Maria Angelica, 29 —open daily from 9 p.m.) and Coisa da Antiga (Rua do Lavradio, 100).

John Fitzgerald's travel articles have appeared in a number of international publications including the Financial Times, The Sunday Times (London), The Japan Times, The South China Morning Post (Hong Kong), Ladies' Home Journal and Europe, the Washington-based magazine of the European Union. He first became interested in Brazil stout 10 years ago when a friend introduced him to feipada. He can be reached at: fitzaAsvmpatico.ca BRAZZIL - MARCH 1999

•When record companies view good music as a liability, artists have no choice but to take matters into their own hands.

DANIELLA THOMPSON

BRAZZJI_ - MARC H

Singer Rita Peixoto and pianist/arranger/composer Carlos Fuchs are a duo, both professionally and personally, with two collaborative discs to their joint name. Rita Pe ixoto and singer/composer/ guitarist Dil Fonseca are old friends and former bandmates. Carlos Fuchs has just produced Dil Fonseca's first solo CD. All three are independent artists who create high-quality music with no help from any record company.

They're not alone.

More and more artists are resorting to independent production, and sometimes, like Rita and Carlos, to independent distribution as well—just to get their music out. None of them has become rich out of self-publishing. In fact, even being a star is no guarantee of a steady income from one's recorded output. Beth Carvalho said recently that her income has always been derived from live shows and never from discs. After twenty-five years of performing, the world-class guitarist Paulo Bellinati has only now begun to make a living out of his music.

Our trio of artists is in a like boat. All are veterans, with musical careers that began approximately twenty years ago.

All produce music at the highest level.

Yet the road to recording has been rocky.

Rita Peixoto, a highly expressive singer with superb vocal ability and taste, spent years as a cantora da noite (club singer) before releasing her first solo CD with Carlos Fuchs in 1993. The couple's selftitled disc was released on the Leblon label, which was no guarantee of adequate distribution or promotion. Leblon is the same label that allowed the great sambista Elton Medeiros' 1995 disc, Mais Feltz, to sink without a trace. Not surprisingly, Rita & Carlos decided to pull their disc out of Leblon and distribute it themselves. For their second joint effort, Na Minha Cara (1998), they opted for self-distribution from the outset.

Now, anyone with access to e-mail can buy their discs directly from the source.

Dil Fonseca's situation is slightly different. Dil has been composing gorgeous songs since the early '80s, yet his musical career has consisted mostly of accompanying others, although he is an excellent singer in his own right. He's now cut his first solo CD, Marubd, produced by Carlos Fuchs in his private studio. But Dil feels that as a first effort, the disc would stand a better chance of getting noticed if it were distributed by a label. To that end, he's currently talking to record companies.

Musically, the friends' output has little in common. Rita's stylistic range is 41

very wide. In her first CD, she sang unusual songs by well-established names such as Chico Buarque, Paulinho da Viola, Cartola, and Gilberto Gil, along with newer compositions by Guinga and Luis Capucho.

Carlos accompanied her on the piano in spare and elegant arrangements with a strong erudite flavor. Nothing in that CD betrays the fact that the piano was recorded in Carlos' parents' living room, in a particularly noisy section of Rio (the piano was heaped with oriental rugs as makeshift insulation), or that Rita sang some of the songs in the apartment's guest lavatory.

In Na Minha Cara the pair becomes more adventurous, performing mostly new and often experimental compositions

by Carlos himself and a coterie of modern composers who happen to be friends: MathildaKOvak, Antonio Saraiva, Rodrigo Campello, Luis Capucho again, Paulo Baiano, and Marcos Sacramento. The arrangements are more elaborate than they were in the previous disc.

On a parallel track, Rita is a member of the hottest new samba vocal group in Brazil, Arranco (formerly Arranco de VarsOvia). To non-Brazilians, this five-person ensemble may best be described as the Manhattan Transfer of Samba. Arranco has released two marvelous albums, Quem E de Sambar (1997) and Samba de Cart ola (1998).

Dil Fonseca forges his own route, recording only his own compositions. The songs in Maruba evoke the golden days of MPB. If one were forced to make comparisons, the younger Milton Nascimento and Ivan Lins would come to mind. There are people who say that Dil's voice reminds them of Djavan's.

But all such comparisons wouldn't be fair to Dil, who is an original songwriter and singer. He wrote most of the lyrics as well as all the music and the arrangements in Maruba. The songs are infectious; it's impossible not to want to hum them for days on end. Maruba is one of those discs that you leave on your CD player indefinitely for continuous play. I have.

A conversation with Dil Fonseca Brazzii—Let's start with something I ask everyone: what's your musical background?

Dil Fonseca—Singer, composer, and guitarist. I started my professional musical life in 1982. At the beginning of the '80s, I founded with Rita Peixoto and other musicians a group called Chama de Banda. This group presented a repertoire of its own original compositions, as well as the work of yet unknown contemporary composers such as Paulo Baiano and Marcos Sacramento, Arrigo Barnabe, and Rodrigo Campello, among others. Chama de Banda was a contemporary of the group cao Sem Dono, [Baiano & Sacramento's group] with whom I participated as a guest in shows and recordings. I played guitar with Ca° Sem Dono on the soundtrack of the medium-length film E a Proposito do Rio, directed by Roberto Moura in 1984.

Brazzil—How did you get into music?

42

Dil Fonseca-1 was born in Volta Redonda, 100 km from Rio de Janeiro. I taught myself to play the guitar at the age of nine. When I was fourteen I had music and guitar lessons at the conservatory of our town. It was around that time that I began to compose my first songs. At the age of seventeen, I moved to Rio de Janeiro to begin biology studies at the university. They were soon exchanged for music studies at the Institut° Villa-Lobos. During this time I participated in symphonic chorales like the AssociacAo de Canto Coral under the direction of Cleofe Person de Mattos and Coral Pro-Arte under Carlos Alberto Pinto Figueiredo, while at the same time being involved in popular music.

Between 1988 and 1991 I spent four years living among the Indians in Amazonia, after which I resumed my classic guitar studies at the Universidade Federal do Rio de Janeiro. More recently, I've come to work in music for theatre.

Brazzil—W hat were your musical influences?

Dil Fonseca—During my childhood, at home, all my musical influence came from my four older siblings, who listened to popular music of the period (those were the '60): Caetano Veloso, Chico Buarque, Gilberto Gil, among others. At the beginning of the '70s I discovered the Beatles, who for five years filled my ears daily. I knew all their songs and played the harmonies on the guitar.

Other than this, my father has a great passion for Beethoven and has an enormous collection of classical discs. In my adolescence, I came into contact with the music of Milton Nascimento, which became unquestionably my major musical influence. Beyond that, I discovered jazz—not as a musical form but as a way to make music, which opened my horizons. Miles Davis, Dizzy Gillespie, Duke Ellington, Astor Piazzolla: I became impassioned with all of them. I also discovered choro and instrumental Brazilian music (that is, in fact, jazz!): Pixinguinha, Villa-Lobos (especially his works for guitar or orchestra), Radames Gnattali, Tom Jobim, Hermeto Paschoal, Dori Caymmi, Egberto Gismonti, and others. Those remain my musical preferences, but there are also new composers that I hear and get to like.

Brazzll—Would you give us an outline of your musical career thus far?

Dil Fonseca—With the group Chama de Banda, I participated in numerous activities that were part of the cultural scene of Rio de Janeiro. Among numerous other shows, we took part in 1987 in the Projeto Carnavalesca of FUNARTE [the Brazilian government's cultural foundation] with the legendary singer Emilinha Borba and Jao Roberto Kelly. We recorded an LP that was never launched.

In 1993, together with Ricardo Gilly, I did the musical arrangements for Marcos Sacramento's show Samba& Amor, part of the Musisferio project at the Espaco Cultural Sergio Porto. Since then, I've worked and traveled throughout Brazil with BRAZZIL - MARCH 1999

the theatre piece Contos, Cantos e Acalantos, directed by the actor Jose Mauro Brant, for which I've done the arrangements. Having received much acclaim by the press, this piece is a candidate for the Coca-Cola Award for children's theatre. In March 1997, I participated with the singer Luciane Antunes in a spectacle revolving around the work of Ary Barroso—part of the Great Composers Series promoted by SESC-Barra Mansa. In 1998, again with Jose Mauro Brant, I took part in the spectacle Canc.:7o para Lorca [A Song for Lorca] of the project Lorca na Rua [Lorca in the Street] which was promoted by SESC-Sdo Paulo. It was presented in more than 25 cities throughout the interior of the state of sao Paulo.

Brazzil—You mentioned Samba &Amor.I saw the concert program. I saw several original songs there that aroused my curiosity. For example, "Lapa" (Sacramento). Was that an early version of the hip-hop "Rapa da Lapa" from Caracane?

Dil Fonseca—No. "Lapa" is a small, unrecorded song, with lyrics by Sacramento and music by Ricardo Gilly. It is, in fact, a blues.

Brazzil—What about your two collaborations with Sacramento on the same program, "Safada" and "Carnavaleska"?

Dil Fonseca—"Safada" is a song in the style of samba-maracatu, with lyrics by Sacramento that I set to music later. "Carnavaleska" is a blues that was composed at the time of the Projeto Carnavalesca with Emilinha Borba. At the end of that run (Thursday through Sunday, twice a day for three weeks) I was with some friends: Rita Peixoto, Sacramento, and some others. After a few vodkas and between one song and another, we began to compose this song. Six years later, Sacramento decided to sing it in Samba & Amor.

Brazzll—Since we're talking about your friends who are also your colleagues, would you tell us how you got together and how you work together?

Dil Fon`seca—The people who influenced me in contemporary music have already been mentioned: Paulo Baiano, Marcos Sacramento, Rita Peixoto, Carlos Fuchs, Antonio Saraiva, Dodo Ferreira,

The Waimin-Atroan hut •

Delia Fischer, Rodrig Campello, and Suety Mesquita, among others. People who, ith their sensitivity and musicality, also influenced me to m e music of the kind I'm making. With Sacramento, he alway writes the lyrics and I set them to music later. With Suely Mesquita it's the same way. When arranging the music for "Escorrer" Maruba], which I did with Paulo Baiano, I provided th basic ideas and structures and he added the final details. We' e friends who stay always in contact, exchanging ideas and bowing new compositions to each other.

Brazzii—What's nex for you?

Dil Fonseca—My pri cipal plan for 1999 is to expose the CD Marubd as much as p ssible. At the moment I'm looking for a record label that would be interested enough in the material to release it. Following that, I'd like to do the show and, I hope, never to stop playing. On a parallel track, I'm already selecting the songs and prepari g others for the next CD. Mamba track by tra k Dil Fonseca—My CE is the first production of the studio of Carlos Fuchs, which le's tentatively calling Toca da Raposa [Fox's Lair]. The title of the CD is Marubd, a Waimiri-Atroari word. I lived for four y ars among the Waimiri-Atroari Indians, in the state of Roraim northern Brazil.

Brazzil—How did thi come about?

Dil Fonseca—A child ood friend invited me. He was involved with an educational p ject among the indigenous population.

He needed people willo were disposed to carrying out this adventure. At the begi ning I didn't think of staying so long, but the time just passed. vy future wife, Edith Lacerda, joined me there. She ended up j ining the teaching staff and dedicated herself to the study of the Waimiri-Atroari language. Edith had more facility with Ian uages than anyone else who worked on this project. When weireturned to Rio in December 1991, she took an advanced co*se in indigenous Brazilian languages, besides her work in ar4 education.

Our task was to teach the Indians to read and write in their own language. Theirs was a illiterate society, with no experience of any kind of writing. W collected myths from older members of the community and trarslated them with the help of the younger ones, who spoke Portuguese. Since we had to index (i.e., list all the words in alphabet' al order) the entire vocabulary of the texts of those myths, tille idea of compiling a Waimiri-Atroari dictionary naturally cai1ne up and was eventually implemented.

Brazzil—W hat is the onnection between your disc and the Waimiri-Atroari?

Dil Fonseca—Maruba is a Waimiri-Atroari ritual. In fact, the disc isn't only about the Marubd, but about celebration, which is the key word for understanding this event, in which explode the affirmations, contradictions, cultural signs, passions, disillusions, myths, and rites of passage; an imaginary space in which to celebrate the profane explosion of Camaval as well as the technical excel-

BRA7_ZIL -MARCH 1999 43

lence of a great concert artist, a pop show, or the sound of Gregorian chant in a medieval monastery.

When people get together to listen to music, the general posture is always one of reverence, be it in a classical or popular context. The singer, the interpreter, the instrumentalist, or the choir functions as a point of reference, as a catalyst of expectations. Everyone expects happiness, joy, peace, or some other sentiment as a result of that musical moment. In the same fashion, Maruba is an expression of culture and faith, whatever and wherever it is.

When I talk of faith, I relate it to culture. It could be a belief in God or in 'Sex, Drugs & Rock 'n Roll,' as the slogan used to be in the '60s. What I'm trying to say is that music, when it's performed live, is always connected to the desire to celebrate something with someone.

Brazzil—T ell us about the song "Mamba" that opens your disc.

Dil Fonseca—It's a song in which I tried to express a little of the universe of an indigenous celebration. The arrangement hangs on the flutes and chocalhos [rattles], since the great majority of the indigenous Brazilian groups have no drums. They use flutes and chocalhos almost exclusively.

Brazzil—It does have the feel of a folk song (in the sense of a modern urban folk song). The flutes are wonderful, as is the chorus. You list both flute and flute in G. How is a flute in G different from an ordinary flute? Is it just the tuning or does it have a different shape?

Dil Fonseca—The flute in G is tuned a fourth below the•flute in C, which is better known. The timbre is similar, since both are made of metal.

Brazzil—How is the chocalho made?

Dil Fonseca—Chocalho is what we also call here ganza. It's basically a can (it could be a beer can) containing a few seeds or small stones.

Brazzil—The second track is "Paulo," a very lyrical composition that reminds me a bit of Ivan Lins' work, although I can't say why.

Dil Fonseca—"Paulo" is an older waltz, in which I talk about the great thrill Sao Paulo gave me when I was there for the first time.

In the arrangement I cite two other songs: Caetano Veloso's "Sampa" and Paulo Vanzolini's "Ronda." It's an explicit homage.

44

about the boys on the street in the sense of neighborhood, friends, and the network of relations with the persons closest to us, those we grew up with.

Notice the beautiful cello solo of Lui Coimbra, from the group Aquarela Carioca.

Brazzil—I like the jazzy piano and the vocal repetitions, as well as the gorgeous cello.

On track 4 you have a big favorite of mine— "Boreste"—a very sensual song with a marvelous vocal interplay between you and Sacramento.

Dil Fonseca—This is the earliest song I've written with Sacramento. Originally it was composed on the piano, and later I made the arrangement for guitar, which is my instrument.

Brazzll—How -long ago was it composed?

Dil Fonseca—I composed it in 1984.1 shared an apartment with Sacramento and Baiano. He [Sacramento] had the habit of writing lyrics and spreading them on the living-room piano (that belonged to Baiano). During that period, I was taking piano lessons, and between one lesson and another, I took the lyrics and created a harmonization for them on the piano. It was the first and only time that I composed a song using the piano as the instrument of creation. For the recording, I transposed the music a third lower from the original tone, because this sounded better for voice, and rearranged the guitar for this tone.

I wanted to make a more elaborate vocal arrangement for this track, and we spent the day in the studio, Sacramento, Carlos Fuchs, and I, elaborating the vocals. I really like the result.

Brazzil—Y ou have every reason to be pleased; it's a wonderful recording, and the vocal arrangement is really superb—I can listen to it all day long. It's a song full of surprising modulations: just when one thinks that this is a pop song comes an erudite part, and as soon as one's settled into that groove, it goes pop again.

Dil Fonseca—The interesting detail is in the percussion. For many days I tried to contact the percussionists to record this track; at the time, none of them could make it, because they all had professional commitments. Finally I said to my producer, Carlos Fuchs, "Let's do the percussion ourselves." We placed the microphones close to the studio's sofa and beat on the sofa's side for the bumbo-like sound. Then I scratched the upholstery with my nails to get the chocalho-like sound.

We also made a sound by closing the left hand and clapping on it with the fingers of the right hand.

Brazzil—That's clear—and a very beautiful song, not one I would associate with Sao Paulo at all; very idealized.

Next we have a pickup in tempo with "Meninos da Rua."

Brazzil— "Sambeto" is your confession of not having grown up in the samba.

Dil Fonseca—Contrary to what you might imagine, "Meninos da Rua" has nothing to do with the expression meninos DE rua [street urchins] which is very common in Brazil. The lyrics are, in fact,

Dil Fonseca—This was an instrumental samba I had composed in 1984, to which I added lyrics a year and a half ago. It talks about what samba did BRAZZIL - MARCH 1999

to my general vision of music. I defined the arrangement with a typical "samba de boteguim" ["bar samba"]; it may be the best batucada [drumming] on the disc. I find that the lyrics demanded this kind of instrumentation and arrangement.

Brazzil—It's very successful. The syncopation is infectious; it makes one want to jump up and dance. Yet your voice is so tender—not what one would expect in this type of samba. A beautiful juxtaposition. I also like all the citations from famous sambas.

Dil Fonseca—This juxtaposition wasn't done on purpose. At least, it wasn't conscious. I'm glad you saw it that way. I began to play when I was nine. At the age of twelve or thirteen I was an absolute fan of the Beatles, Yes, and Led-Zeppelin; I didn't have an ear for many other things. As an adolescent, with the discovery of Brazilian music, something made me change the sounds of my musical perception. It didn't just make me hear the Beatles, Rolling Stones and so many others in a different way, but it opened the perception of other rhythms, like jazz, folkloric music, and a lot more.

I discovered a musical world that was so close and infinite and that! never suspected was there. What an irony, isn't it?

Brazzil—Next comes the very brief samba "Chapada."

Dil Fonseca—This is only a short vignette that serves as introduction to a typical bossa nova in which the Jobinian influence is clear.

Braun—Not just Jobinian. but also Gilbertian, in the guitar. "Chapada" is an interesting rootsy introduction to the bossa nova "Nau do Amor."

Dil Fonseca—"Chapada" is, in fact, a complete samba of which I extracted a portion. I composed it during a trip to Cuiaba. Ricardo Gilly, when he made the flute arrangements for "Nau do Amor," asked me to attach a samba in the form of street batucada to the beginning. It was his concept for the arrangement. I already had this samba ready and used the initial musical theme as a vignette. In my next disc, this samba will be recorded in its complete form.

"Nau do Amor" has the presence of Rita Peixoto, who sang this song during the era of Chama ae Banda. As I mentioned, the flute arrangement was done by Ricardo Gilly. The percussion was handled

by Laudir de Oliveira (ex-Chicago). The cuica stands out.

Brazzil—T his is another of my great favorites on this disc. It's so rich, with that slow, delicious buildup: first the guitar, then your voice, the cufca, the flutes, and finally Rita's entrance.

She's really superb. I have this quirky little theory that if a cufca is present in the arrangement, the work can never be brega [kitsch].

You've certainly managed to give this song an BRAZZIL - MARCH 1999

edge. Jobim's influence may be noted, but the song sounds completely original onetheless. And that ending! Belfssimo!

Dil Fonseca—I want d very tnuch for Rita to participate in this track; first, because he is a great singer and a special friend; second, because she ad already sung this song with Chama de Banda back in the ' Os. Laudir de Oliveira created a special climate with his cuica, a magical atmosphere that's very appropriate for this type of son Laudir is an expert percussionist to whom you don't have to say much—he picks things up from the air...

Ricardo Gilly, whom asked to make the flute arrangement, is a musician who particip ted along with Ian Guest in the creation and revision of many of A ir Chediak's Songbooks. Ricardo spent a considerable amount f time with Tom Jobim, working on his Songbooks [publishe by Lumiar Editora]. When Ricardo finished the flute arrang ment, my only comment was: "You really did make those Songb oks of Tom's, didn't you?.." It's obvious.

Thank heaven!!!

Brazzil—Now comes an instrumental piece called "Pedal."

Dil Fonseca—This is theme for solo guitar, with a very Brazilian character. Here, too, e percussion is by Laudir de Oliveira.

Brazzil—The music e okes Garoto, Rabello, Bellinati...

Dil Fonseca—In rece t years I've dedicated myself to the guitar as I've never done in y entire life. Studies and preludes of VillaLobos, pieces by Marc Pereira, Radames Gnattali, Garoto, Sonatas by Bach and Sor, th Spanish composers—all this made me see the instrument in a (I. erent light. This piece has a bit of that immersion in the inst inent. I don't consider myself an instrumentalist, a guitarist ike those you mentioned; I'm more of a composer who plays d composes on the guitar.

Brazzil—The next so g is "Bobagem," another partnership with Marcos Sacram nto and essentially a song about messedup love.

Dil Fonseca—There' a very interesting story attached to it: I made the music base on a lyric of his that was absolutely depressing, really do At the same time, I loved the song, because it had the char teristics of a samba de gafieira [dancehall samba]. I told Sacrame to! was going to record it but thought that the music deserved a b tter lyric. Two days later he called me and gave me the new lyri s on the phone. The saxophone quartet provided the gafieira t ne that! imagined for the song.

Brazzil—Both the hor s and the percussion are a great foil for the voice. Once agai , what works so well is the surprising juxtaposition betwee the lyrics (one would hay expected Slow music)an the lively rhythm and pla ful instrumentation.

A

Dii Fonseca—This s ng was created the same Y made all the others in artnership with Sacramen o: I took one of his lyrics nd set it to music. As! said the song was depressing; h wever, the melody was up.

This was in 1987. Ten y ars 45

later, when I prepared to record the disc, I asked him to write another lyric. I think it was the first time that he added lyrics to an existing melody.

Brazzil—We're at track 10 with "Escorrer."

Along the riv goes the Indian tc search for food to celeb sugar cane, banana, ber tapir, guariba,2 rmitu bring -what Maw b7ings to me on the point of the arrow tat lances tte point of the arrow, poi

Dil Fonseca— On this disc, it's the arrangement that received the highest praise, and I'm delighted, because this is one of my favorite songs. I made the basic arrangement, the introduction and the instrumentation, and Paulo Baiano helped me complete the details. The lyrics revolve around the history of Brazil, the discovery of the country, and some of its personages.

Peiorionacanoa, vaiolndio pm buscar comida ytua celebrar cana, banana e beiju ants, guatiba e mut= VON truer o que Mawal ,• filmier pra tnint naponta da flecha, a ponta que lanca na ponti •flecha, npontar

Brazzil—It is beautiful. You got a lot of mileage out of the strings.

Pela tritha da floresta, vai o indict pra buscar palha pra corda para celebrar tocla vida, todo nascimetito oda morte, todo ctistlitiento homein a a e terra„ sol e e triulher na corda que bate, acorda criatica na corda que bate, acordar

Through the trail in the fo Indian to search for straw celebrate every life, every b every death, every wedding water and earth, sun and moon, man and woman the rope that beats, wakes the child the rope that beats

Vou fazer meu Mantba you festejar VON pra festa pra cantar e dancar vvatalctiroarare, waiiirriut)cararell

II make my Afarubd, 5 1.11 celebrate 111 go to the party to sing and dance watakumarare, waiantutrararet6

Dil Fonseca—I consider it the best-resolved arrangement on the disc. I did the draft of the initial strings theme for viola and bass, and Paulo Baiano helped me finish the cello part. I invited Delia Fischer to play the part of the strings on the keyboard. I think we achieved an excellent sonority by mixing real strings with virtual ones. I like this kind of experience that only in the studio can come out with the desired effect. In fact, the keyboard "strings" enter as the shadow of the real strings; they are there only to reinforce the real strings. In addition, we had the unexpected "tabla" effect in the contrabass during the introduction, an effect that only the bassist could have suggested to me, because I never imagined it existed. The moringa provided the final percussive note.

Brazzil—And the final tender song, "Nu."

Notas: • Set Criador para INIavva: indiosWauniri-Atroan habitatt.tes da Amazenia watakumarare, waiatnutzarare: Canto us4do nos rituals dos wahoiri-Atman

Dil Fonseca—It' s the most intimate moment in the disc. A song of guitar and voice that talks about our coming into this world and leaving it without taking anything.

Notes: Beiju: Am manioc 2 GuaribEt: a azoniall monkey redblack Ant Antazontart 'Mutum: a big citrassovv 4Mawa: The Creator in the Vaimir Atroari myth° °gY i al 'Mamba: the Waal rt_Atroari ritual 6watakun t vrammuncance: ch larar•n• Atroati

Marubd (CD; pre-release) htto://members.tripod.coml-DilFonseca

Brazzil—T hat says it all.

Dil Fonseca-1 thought it was an appropriate song for ending the disc, as the general sonority of the CD is very varied, and this song invited a cleaner and simpler finale. A naked finale. I added "Chapada" as a final vignette, because as they say here in Brazil, "Tudo sempre acaba em samba... " [everything always ends in samba].

Dil Fonseca (voice, acoustic guitar & percussion) Dodo Ferreira (acoustic & electric bass) Antonio Saraiva (flutes, soprano sax) Alexandre Bittencourt (flutes & flutes in G) Rodrigo Campello (electric guitar, cavaquinho & bottle) Billy Teixeira (acoustic guitar) Tina Werneck (viola) Lui Coimbra (cello) Carlos Fuchs (piano, voice & percussion) Di Lutgardes (percussion) Sidon Silva (percuss,on) Celso Alvim (percussion) Laudir de Oliveira (percussion) C.A. Ferrari (percussion) Guest vocalists: Marcos Sacramento :"Boreste") Rita Peixoto ( "Nau do Amor") Chorus: Paulo Baiano, Marcos Sacramento, Rita Peixoto, Eleonora Falconi, Luciane Antunes, Clara Sandroni, Dil Fonseca & Carlos Fuchs

Additional information about Dil Fonseca and Marubd is available at Dil's website: http://members.triood.com/-DilFonseca Coming in Part II: an interview with Rita Peixoto and Carlos Fuchs.

Daniella Thompson is a writer and preservationist living in northern California. She can be reached at daniv@ips.net.

I. 46

BRAZZIL - MARCH 1999

Paulo Paulo (Dil Fonseca) (Translation: Edith Lacerda) Sao Paulo o mar espera-te, em mil cancOes cantar-te-ei es como urn colosso atroz, fio ruas em retros ora a Liberdade passa sobre nOs e ela é japonesa, e ela japonesa urn portal vermelho, Japao em plena avenida

Sao Paulo, the sea awaits you in a thousand songs I will sing you you're an atrocious colossus wire, streets in a reel now Liberdade' passes by us and it's Japanese, and it's Japanese a red portal, Japan in the open avenue

Nao vejo a hora de yoltar ver-te em vertente, outras cancOes ao rever nao me acharei, nem te reconhecerei se, a fe e a Se nao passarao pra ti e ela 6 nordestina, e ela é nordestina na rua Direita, forrn cordel em plena praca

I don't see the hour to return to see you at the source, other songs when seeing you again I won't find myself nor recognize you only faith and the Se' will not pass you by and it's northeastern, and it's northeastern in Direita Street, forr6, 3 cordel4 in the open square

Sampa cantei pra te flertar sob o fascinio dos neons mar de luz, cinza do ceu, labirinto em torn menor guardarei teu nome em torn maior pra mim e ela 6 tao bonita, e ela é tao bonita you versar teu nome, Paulo nao vi tua garoa

Sampa5 I sang to flirt with you under the allure of neon Sea of light, ash of sky labyrinth in minor tone I'll keep your name in major tone for me And it's so pretty, and it's so pretty I will versify your name, Paulo I didn't see your drizzle

Arrangements: Dil Fonseca, Ricardo Gilly ("Nau do Amor") & Paulo Baiano ("Escorrer") Tracks: Marubd (Dil Fonseca) Paulo (Dil Fonseca) Meninos da Rua (Dil Fonseca) Boreste (Dil Fonseca/Marcos Sacramento) Sambeto (Dil Fonseca) Chapada [vignette] (Dil Fonseca) Nau do Amor (Dil Fonseca) Pedal (Dil Fonseca) Bobagem (Dil Fonseca/ Marcos Sacramento) Escorrer (Dil Fonseca) Nu (Dil Fonseca) Chapada [vignette] (Dil Fonseca) BRAZZIL - MARCH 1999

Notes: ' Liberdade: a district of sao Paulo 'Se: a square in Sao Paulo 3 Forro: Brazilian northeastern music 4 Cordel: popular poetry from northeastern Brazil 5 Sampa: Caetano Veloso's song about Sao Paulo; a nickname for the city

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BRAZZIL - MARCH 1999

Movies Just-released American movies: Elizabeth (Elizabeth), The Game (Vidas em Jogo), I Still Know What You Did Last Summer (Eu Ainda Sei o Que Voces Fize am no Verao Passado), Shakespeare in ove (Shakespeare Apaixonado), Gods and onsters (Deuses e Monstros), Dial M for Murder (Disque M para Matar), P tch Adams (Patch Adams: 0 Amor E Co tagioso) A Hora Magica (The Magic Hour)— razi1/1 998—Comedy. In the 50s radio star gets involved by a woman in a wet of intrigue. By Guilherme de Almeida Pr do, with Raul Gazolla, Julia Lemmertz, k ite Proenca, and Jose Lewgoy.

Contos de Ligia (Ligia Tales)—Br zil/ 1998—Drama. Adaptation of three s ort stories by writer Lygia Fagundes Tells to the screen. Directed by Del Rangel, ith Gianfrancesco Guarnieri and Nat lia Thimberg.

Central do Brasil (Central Station)— razi1/1 998—Drama. A woman who w tes letters to illiterate people for a living together with a little boy goes looking fo his father. Directed by Walter Salles, ith Fernanda Montenegro, Vinicius de Oliv ira and Marilja Pera.

La Vita E Bella (A Vida E Bela)---It ly/ .1997—Comedy-drama. A Jewish an taken to a concentration camp uses his imagination to hide from son the H locause s horrors. By Roberto Benigni, ith Roberto Benigni, Giorgio Cantarini, d Nicoletta Braschi.

Hana-bi (Hana-bi: Fogos de Artifici Japan/1997 Drama, By Takeshi Ictano, with Takeshi Kitano and Ka ko Kishimoto. Detective has a hard timed aling with his own rage after a friend is ot on duty.

Le Feu Follet (Trinta Anos Esta Noite — France/1963 —Drama. An alcoholic an in the hours before his suicide. By L uis Malle, with Maurice Ronet.

Festen (Festa de Familia)—Denm rk/ 1998—Drama. A family gets togethe to celebrate the 60th birthday of the p larch. By Thomas Vinterberg, with Henn ng Moritzen.

Uma Aventura do Zico (An adventur. of Zico)—Brazi1/1 998—Adventure. Soc er hero Zico is cloned to satisfy the whim of a rich boy. By Antonio Carlos da Fonto ra, with Zico playing himself.

Zoando na TV (Getting Crazy on TV — Brazil/1998—Adventure. TV star Ange ica gets inside the television screen to save er boyfriend from the hands of the mean es.

Directed by Jose Alvarenga Jr., ith Angelica.

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Fax (805) 547 9469 E-mail . clandis466@aol. om [155] Tall, blonde, bl e-eyed, L. A. business owner seeks petite, dark-skinned Br ileira to be my woman. (800) 6 5-5869 [154] PERSONAL MAN SEEKS MAN

Very handsome, professional, 40's WM seeks sincere, VGL/ black/Brasil man. Truly love the

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Friendship/Marriage/Correspondence. Men, ladies, worldwide. Large information packet $2 (no inmates). Ladies in Brazil, about 80 names, addresses (no pictures) $12. Agarwal, Box 10020, Glendale, CA 91209 [149] PSYCHOTHERAPY

Emotional & psychological help - Elizabete Almeida MFCC licensed psychotherapist. English/Portuguese. Reasonable rates. (310) 281-7536. [158]] RENTAL

Rio de Janeiro -Apartment for Rent - Great Area! - Beat Hotel Prices! (510) 236-3684 [164] TRANSLATION & INTERP.

Dialogo Translates from and to Brazilian Portuguese: http:// www.brazilstudy.com [155] TRAVEL

Globotur Travel Services Passagens aereas para o Brasil.

Consulte nosso preps: 1-800998-5521. De Houston: (281) 304-9479 http:// www.globotur.com [157] Receba seu cartao de socio do Club Brasileiro enviando $2.00 por ano corn seu nome e endereco para A ITT SERVICES - (909) 627-2171 - 12400 Cypress, 88, Chino, CA 91710 e tenha 10% de desconto na passagem para o Brasil. [164] Touristic services in Salvador da Bahia: Dialog째, http:// www.brazilstudy.com [155] 51

Boston Books Livraria Plenitude (800) 532-5809

Consulate Consulado do Brasil (617) 617-542-4000

Dentist Sylvio P. Lessa (617) 924-1882

Food & Products Brasil Brasil (617) 561-6094 Jerry's Cachaca (617) 666-5410

Instruction Approach Student Ctr (617) 787-5401 Braz. & Amer. Lg. Inst.

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Publications The Brazilian Monthly (617) 566-3651 Bossa: Braz. Jazz Guide (617) 262-9997

Restaurants Café Brazil (617) 789-5980 Ipanema (508) 460-6144 Tropicalia (617) 567-4422 Pampas Churrascaria (617) 661-6613

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An excerpt 1 nourished illusions through the years about the agricultural potential of the greater Amazon Basin—from Henry Ford's disastrous effort to grow rubber in the 1930s, to the Brazilian military dictatorship's decision to build the Trans-Amazon highway and offer a variety of tax incentives in the 1970s. The facts of the region contradict them. The great barrier to agricultural development of the Amazon Basin is and has always been the vast tropical rain forest. It makes overland travel impossible, leaving the rivers as the only mode of transportation in earlier eras Portuguese origins • (which air travel is added today).

Contact and clash with in• More fundamentally, because rain digenous peoples leaches the soil if the vegetable Forced importation of mil• cover is cut down, these lands lions of African slaves cannot be used for conventional Creation of a multiracial so• agriculture, leaving the area with ciety insufficient carrying capacity for Consolidation and expan• intense human settlement. sion of Portuguese-ruled territory The Northeast includes the Establishment of an • states of Maranhao, Piaui, Ceara, export-based economy Rio Grande do Norte, Paraiba, Beginnings of an indepen• Pernambuco, Alagoas, Sergipe, dent Brazilian cultural and political and Bahia. This region, which consciousness Any explanation of Portugal's covers 18 percent of the national historic role in the Americas territory, was the heart of the coA brief overview of Brazil's curmust begin with the link lonial settlement. Since the ninerent scale, climate, and geography between the crown and teenth century, however, it has provides the context for the story. overseas exploration. The been in economic decline, with discovery of Brazil fits squarely its once-flourishing export agriThe Country the Portuguese into that relationship. culture no longer competitive in Created in the New World world markets. The result has been THOMAS E. SKIDMORE continuing poverty for the popuPresent-day Brazil covers lation, which now constitutes the 3,286,488 square miles. It extends for largest pocket of misery in the almost 2,700 miles from north to south, Americas. Much of the coast is a and roughly the same distance from humid strip (zona de mata) that east to west. By the 1991 census it has lent itself to plantation agrinumbered 146.8 million inhabitants, RAZ 1,4 culture, especially cane sugar and 52 percent white, 42 percent mulatto, cotton. Behind this relatively nar5 percent black, 0.4 percent Asian, row humid zone lie two other and 0.2 percent Indian. As we shall zones that are less hospitable to see, these racial categorizations are agriculture: the zona de agreste, a much less rigid than in the United semiarid region, and the sertao, a States. And Brazil boasts virtually larger region subject to periodic every mineral needed for a modern drought These latter two regions industrial economy, with the conspicuwere famous in the twentieth cenous exceptions of coal and petroleum (although offshore wells are now helptury for the Brazilian bandits, such ing to produce 60 percent of domestic as Lampiao, immortalized in verse, song, and film. The Northneeds).

Brazil's climate has been much east is also notable for the effectiveness with which its politicians maligned. "Insalubrious" has been used historically to describe it, though have represented the region's inpublic health precautions were all it terests (historically synonymous took to subdue the hideous tropical with the landowners' interests). diseases that so frightened chroniThe Southeast comprises the clers in the past. Although many areas are states of Minas Gerais, Espirito Santo, typically humid, the extreme cold temperaRio de Janeiro, and SAo Pa0o. This is the tures afflicting North America and Europe are heartland of Brazilian industrialization, unknown, and the high temperature extremes occupying 11 percent of the national are certainly no worse than those of the United States.111nricanes territory. The state of Minas Gerais is growing rapidly, having and earthquakes are also unknown, although floods and drought recently succeeded in combining agriculture with industry. are relatively common threats.

Present-day Espirito Santo relies primarily on agriculture, espePresent-day Brazil covers five major regions. The following cially coffee and cacao. Rio de Janeiro was the political capital description focuses on the twentieth-century features of these of Brazil until the 1960s. In 1960 it lost its premier status when regions. Their characteristics in the colonial era will be discussed the national capital was shifted to Brasilia, a modernistic new later in this chapter. city built from scratch in the interior. Since then it has been losing The North includes the states of Rondonia, Acre, Amazonas, industry to surrounding states. Sao Paulo was an economic Roraima, Para, and Amapa. It also includes the Amazon Basin backwater until the second half of the nineteenth century, when and is by far the largest region, accounting for 42 percent of the it became the world's primary coffee-producing area. In the national territory. Enthusiasts, both Brazilian and foreign, have twentieth century, for reasons still not perfectly understood, it

Only four countries in the worldCanada, Russia, the People's Republic of China, and the United States (if Alaska is included)—are larger than Brazil. This chapter tells the story of how Portugal, a country far smaller than almost all of its competitors in the race for colonial territory, imposed its authority and culture on a country that spans more than half of South America.

The focus of this chapter is on key themes that dominate Brazilian colonial history and help explain Brazil today:

A Country Is Born

54

BRAZZIL - MARCH 1999

has become the industrial giant of Brazil, as well as the champion producer of non-coffee foodstuffs.

The South consists of Parana, Santa Catarina, and Rio Grande do Sul. A temperate region, it was and remains a cattle and grain-growing area with only modest industrialization. It is the smallest of the regions, occupying only 7 percent of the national territory. Historically, the most important state in the region has been Rio Grande do Sul, primarily because it borders both Argentina and Uruguay. The residents (known as gazichos) flirted with separatism in the 1840s and 1890s, but have since become known as among the most nationalistic of Brazilians. Like Espirito Santo in the Southeast, Rio Grande do Sul experienced a heavy inflow of German immigrants after 1890. Parana was a marginal state until the 1950s, when the coffee culture moved south from Sao Paulo and touched off an agricultural boom. Parana was also a prime destination for immigrants from Japan, Germany, and East Europe.

The final region, the Center-West, includes the states of Mato Grosso, Mato Grosso do Sul, Goias, and the Federal District (greater Brasilia). Traditionally underpopulated, this has become one of Brazil's fastest growing areas. It covers 22 percent of the national territory, including much of the cerrado, or interior farmland, which has become highly productive since the 1970s, especially of soybeans. The building of Brasilia (inaugurated in 1960) was a great stimulus to growth in this region, bringing modern transportation for the first time, and thus the capacity to market products to the rest of Brazil.

HOW COULD THE PORTUGUESE DO IT? Any explanation of Portugal's historic role in the Americas must begin with the link between the crown and overseas exploration. The discovery of Brazil fits squarely into that relationship. The series of events leading directly to the discovery ofBrazil began in early March 1500, when King Manuel of Portugal attended a solemn mass in his capital city of Lisbon to celebrate the launching of a new ocean fleet. Larger than any of its predecessors, it was to include thirteen ships carrying a total of 1,200 crew and passengers. Barely a year earlier, the great Portuguese navigator Vasco da Gama had returned to Lisbon from the epic voyage (1497-99) that opened the sea route to India. His success, with its promise of future trading riches, stimulated the Portuguese court to sponsor and organize this new voyage.

The commander of the new expedition was Pedro A lvares Cabral, a distinguished nobleman who gave it a social distinction the earlier voyage had lacked.

The stated intent of this expedition was the same as the earlier one: to head for

BRAZZIL - MARCH 1999

the southern tip of Africa, sail around the Cape of Good Hope, and head no h toward India through the Indian Ocea . Almost as soon as the fleet had set out t sea, however, disaster appeared to strike The lead ship, commanded by Cabral, s ung off course into the Atlantic, sailing due west. Cabral and his crew event ally reached the coast of what is now the Brazilian state of Bahia, arriving on Apr 123, 1500.

They had stumbled on what turne • out to be a vast continent. Or was it more than stumbling? There has been conside able speculation over the years that the P rtuguese navigators knew exactly what they were doing, that they had in fact pla ned this "accident" to outflank the Sp ish, who had already claimed so much o the new world, and that they were reall following the route of previous secret oyages to Brazil. Historians have fail ;d to uncover any evidence in the Portug ese archives or elsewhere to support this version of events. If there were, indeed, previous secret voyages to the new conti ent, they are still secret. Nor, ofcourse, wa the continent new to the several million indigenous Indian people who already lived there.

There is no record of what the Indian residents thought as they were "dis overed" by a band of strange sailors with odd clothes and a bad smell, but their reacjtion can well be imagined. The reactioi of Cabral and his men is known: They vere fascinated by what they saw. Their thoughts were captured in an official account written for King Manuel by Pero Vaz de Caminha, the fleet's scribe. His "Carta" (letter) demonstrated a ty ical late-Renaissance perception of the ew land, naturally emphasizing what wa exotic to European eyes. Vaz de Cam nha depicted a realm where the resourc s— human and environmental—were t ere for the taking. The native women ere described as comely, naked, and wit out shame, and the soil as endlessly fe ile.

The image of endless fertility was to capture the imagination ofthe Portuguese and later the Brazilians, a romanticization that has led to a variety of overoptimistic estimates of Brazil's potential. This description of Brazil sounded seductively different from the hardscrabble life facing most Portuguese at home. It was also designed to encourage the monarch to send followup expeditions.

Cabral's feat, though dramatic, w in fact part of the continuing success of the Portuguese at overseas exploration. •espite their relatively meager resources he Portuguese population was about 1 illion, compared with England's 3 milli n, Spain's 7 million, and France's 15 illion; Holland was closest with 1.5 illion), the Portuguese were, during th se years, in the process of creating a trad ng empire reaching all the way to Asia. V co da Gama's arrival in India in 1498 mar ed

the creation of the Estado de India, a network ofcoastal enclaves running along the Indian Ocean, from Mozambique, around the Malabar coast of India, and all the way to Macao on the coast of China.

The resulting wealth had made their kingdom a major international power in fifteenth-century Europe.

Such success was made possible by a combination of factors: early consolidation of the monarchy, and a social structure that respected trade, along with leadership in navigational technology, long-standing involvement in oceanic trading networks, an instinct for trade rather than colonization, and a collective thirst for adventure.

Like Spain, Portugal had to fight a long war against the Muslims, who had occupied the Iberian peninsula since the eighth century. But the Portuguese had liberated their kingdom from its Arabic-speaking occupiers by the thirteenth century, two hundred years earlier than the Spanish. In addition, they were able to resist repeated attempts by the kingdom of Castile (the bureaucratic and military core of modern Spain), to manipulate the succession to the Portuguese throne. To strengthen its position against Castile, Portugal forged an alliance with the English crown in 1386. This alliance, which remained the bedrock of Portuguese foreign policy for the following five centuries, was to lay the basis for England's involvement—especially its economic involvement—in modern Brazil. The marriage of Portuguese King Joao -I to the granddaughter of England's Edward III consolidated the Portuguese dynasty (known as the house of Avis, 1385-1578) and created the stable monarchical base that facilitated the country's foray into world exploration and trade.

In addition to early political stability, Portugal was helped by a social structure in which the merchant class played a major role. Portugal's economy in the fifteenth century combined commercial agriculture, subsistence agriculture, and trade. The merchants were the key to trade and were respected by the crown. Thus, they had the support of their sovereign as they maneuvered on the world stage, pursuing exploration and trade and gaining the cooperation of foreign merchants, especially the Genoese in what is modern-day Italy.

The power of the merchants and the interest ofthe crown combined to produce the resources necessary to make Portugal a leader in perfecting the technology necessary for traveling long distances by sea.

One of her relative advantages in maritime skills was in shipbuilding, about which the Portuguese had learned much from their Basque neighbors in northern Spain. For example, they produced the caravel, the first sailing ship that was reliable on the high seas. Previous European ships were designed for coastal sail-

55

ing or for use in the relatively calm inland sea of the Mediterranean. When sailed on the open ocean, they were apt to be swamped by ocean waves and often capsized. The Portuguese also excelled at navigation. In particular, they pioneered development of the astrolabe, the first instrument capable of using the sun and stars to determine position at sea. Finally, the Portuguese were skilled at drawing maps, which were based on the increasingly detailed geographical knowledge accumulated on their voyages. Such maps made possible systematic repeat trips. (The astrolabe and the map-making skills give some credence to the speculation that Cabral "discovered" Brazil by design.)

Portugal had yet another asset: a long-standing involvement in the trade routes that linked the Mediterranean and Northern Europe. Over the preceding centuries Lisbon had been a regular stop for Genoese traders traveling from the Mediterranean to European Atlantic ports. By 1450, as a consequence, Portugal was already integrated into the most advanced trading network of the time. Portugal's location on the Atlantic also stimulated a natural focus west, as compared with fleets that had set out from ports inside the Mediterranean.

Portugal was also helped because its small population made it impossible to settle nationals in the colonies on the scale soon to be launched by the English and the Spanish. Rather than subjugate the indigenous population politically, the Portuguese established a network of trading posts—militarily fortified and minimally staffed—in order to exchange goods with the local population. They negotiated in order to obtain the local products (spices, gold, rare textiles, etc.), which would be produced for export by local labor, with minimal Portuguese involvement. Such trading was established in Africa and Asia in the fifteenth and sixteenth centuries to obtain spices (black pepper, ginger, cinnamon, cloves, nutmeg) and other foods.

The Portuguese also hoped to find gold or other precious metals.

Between 1450 and 1600, the Portuguese established the most viable network of European trading forts. Greatest competition came from the English, the Dutch, the French, and especially the Spanish— competition that soon made soldiers and naval gunners as vital to the Portuguese kingdom as its navigators and traders.

The catalyst that brought all these factors together was a combination of individual characteristics that led the Portuguese people to excel in exploration and trade. First, they believed in the religious mission to convert the heathen. The sails of their ships bore a cross to announce their commitment to evangelize for the Holy Faith. But their zeal was more pragmatic than that of the Puritans who settled New England. Unlike the PuritanS, for example, they did not stress their theo-

56

logical mission in the reports of success they sent back to their homeland. Second, they preferred to solidify trade rather than to impose formal political authority over the indigenous peoples they encountered. This contrasted with the Spanish, whose first order of business in the Valley of Mexico for example, was to claim legal dominion over the millions of Indian inhabitants of the region. Finally, and perhaps most important, they had a collective thirst to discover the new and the exotic, which drove them to travel the high seas in spite of the obvious and frequently confirmed dangers. Of Cabral's original fleet of thirteen, for example, six went down at sea. This drive to succeed in spite of the odds was captured by the fifteenth century Portuguese poet CamOes in his epic poem The Lusiads, which remains the literary document of Portugal: "We must sail!" (Navegar é

precisoo SECURING THE FRONTIERS Running through the story of colonial Brazil is Portugal's continuing struggle to expand its hold on the continent, even as it warded off the efforts by other countries to encroach on the land it had already settled. The likelihood of competition between the Spanish and the Portuguese in the New World had been foreseen by both sides almost from the beginning. As early as 1493, only a year after Columbus's first voyage and seven years before Cabral had reached Bahia, Pope Alexander VI issued a series of papal bulls dividing up the New World between the two crowns. Everything to the west of the dividing line was to be Spanish, everything to the east was to be Portuguese. The Portuguese resisted the Pope's demarcation (was it because that Pope was Spanish?) and a year later reached an independent agreement with Spain, the Treaty of Tordesilhas. This treaty moved the line of demarcation between what was to be Spanish and what was to be Portuguese 270 leagues to the west—not very much of a difference.

On today's map, that imaginary line goes from the mouth of the Amazon through the coast of the present-day state of Santa Catarina, giving the Portuguese dramatically less territory than is occupied by present-day Brazil. No one could see that, of course, because the area was almost completely unknown. In any event, the Portuguese were to exploit the vagueness over the centuries to come, pushing farther and farther west.

The Treaty ofTordesilhas-did not hold.

The •French, though Catholic, refused to honor The papal bulls or the treaty. They began their own exploration of the Brazil-

ian coast as early as 1504 and continued their incursions throughout the sixteenth century. In the 1550s, led by Nicolas de V illegaignon, a naval officer, they controlled the area of Rio de Janeiro, which was to be the base of what the French saw as "Antarctic France," a future refuge for French Protestants. The French were driven out of Rio by a column of Portuguese and Indian troops in 1565, the year of Rio's official founding by the Portuguese. This did not end the French incursions, however, which continued throughout the sixteenth century. One of the most contested regions was the Amazon Basin. Here the French settled at Sao Luiz, located on the Atlantic coast. The Portuguese finally drove them out in 1615.

The Spanish also proved a threat to Portuguese America. In the 1520s and 1530s, in spite of the Treaty of 1494, they settled on the coast south of Sao Paulo.

Between 1540 and 1560, they established settlements on the coast of modern Santa Catarina. These settlements did not survive, however. Spanish settlements thereafter were mostly in the Rio de la Plata basin, where the Spanish and Portuguese collided head on. The Portuguese originally claimed sovereignty all the way to the Plata River (including the area of present-day Uruguay, which eventually was ceded to Spanish control). The modern boundaries between Brazil and Spanish America in the south emerged only in 1828, when Britain forced recognition of an independent Uruguay.

Portuguese expansion to the west did not encounter resistance from other colonial powers. Exploration of the interior lay in the hands of armed Portuguese bands, which went west to capture Indians and look for precious metals. These bandeirantes, whose expeditions originated primarily in the coastal region of present-day Sao Paulo, were the prime explorers of inland Brazil and became the heroes ofmuch folklore and mythification by the Sao Paulo elite of the twentieth century.

In all their efforts to secure the frontiers of Brazil, the Portuguese were helped immeasurably by the Portuguese Jesuits.

This aggressive religious order established mission networks in many parts of Brazil, particularly in the Amazon valley, harnessing vast supplies of Indian labor to work the Jesuit-run ranches and vineyards.

In so doing, they helped "pacify" (read: subjugate) the local Indian peoples and establish the Christian religion. They also played an important role as dultural brokers. Jesuit linguists, for example, were the persons who established a standard . form of Tupi, the principal native Ian-

BRAZZIL - MARCH 1999

guage. As late as the end of the seventeenth century, this lingua franca was more widely spoken than Portuguese, and its standardization eventually facilitated the spread of the Portuguese language.

HOW THE PORTUGUESE ADMINISTERED THE COLONY In the first three decades after Cabral 's. voyage, Portugal treated Brazil as merely another set of trading posts, established on the model of the feitorias (trading stations) set up earlier in Africa and Asia.

Asian exploration and trade was its primary interest, where it had a commanding lead over its European rivals and reaped rich profits. By the early 1530s, however, the incursions by the French and Spanish, and the need for more trade to replace declining activity in the Indian Ocean, forced the Portuguese crown to reconsider its position. Since it lacked the resources to strengthen its foothold in America, it resorted to a semifeudal system of hereditary land grants, or captaincies. These were given to rich nobles, in the hope that they would exploit the Brazil wood and other resources, gaining personal profit while also serving the crown. Fourteen captaincies were granted between 1534 and 1536.

Unfortunately for the crown, the risks were too great and the rewards too uncertain to persuade the grantees to make the required investment. Only two captaincies were successful: Sao Vicente and Pernambuco. The former was south of the present-day city of Sao Paulo, and the latter was in the northeast.

In 1550, in a new sign of royal commitment, the Portuguese crown created a governor-generalship. Governor Tome de Souza arrived in 1549. He founded the city of Salvador, which was to remain the capital of the colony for more than two centuries.

In 1572, the threats of French and Spanish penetration near Rio and the South persuaded the government to divide its administration between Salvador and Rio de Janeiro, a dual governorship that was ended in 1578. Two years later, Portugal entered a sixty-year "union" with Spain, as lack of a royal heir in Portugal led to Spain's formal takeover of the Portuguese crown. The Spanish control of Brazil lasted until 1640, when a suitable successor to the Portuguese throne was again found.

Interestingly, the Spanish did not use their formal authority to take over the Portuguese colony in earnest. Their one major activity in Brazil was the constructive one of regularizing administrative

BRAZZIL - MARCH 1999

and judicial procedures, including d velopment of new civil and penal cod s in 1603. Otherwise, Spain's energies ere engaged in fighting to retain its po sessions elsewhere in the New World.

Brazil was not entirely free of t ose struggles. The Dutch, in particular, ook the occasion to attack this new outpo t of "Spanish" imperialism by invading Brazil's northeastern coast in 1624. These Dutch invaders (who were sponsored by the Dutch West India Company) man ged to maintain control for thirty years, o cupying Recife and taking over the lucraltive sugar trade. During the occupatioij of Recife by the Dutch, under Gove nor Maurice of Nassau (1637-44), score of distinguished and mostly Dutch scien ists and artists----such as the naturalist J rge Marcgrave and the painter Frans Po t— descended on the area to documen its flora and fauna. In 1654, a coalitio of Brazilians of all social classes, suppo ed by the local planters' desire to escape their debts to the Dutch, finally drove the D tch off the coast. Brazilian patriots often p int to this resistance campaign as the bid of Brazilian nationalism.

The seventeenth century saw the ramatic expansion of territorial con rol (north, west, and south) by the Po uguese. The Portuguese administration accommodated this expansion though ac dification and extension of the existing uthority to newly secured locations, rat er than changing the administrative str cture. There were two exceptions to is continuity. The first was creation of he position ofjuiz de fora, a regional judgeship, which was intended to reduce he power of the rural landowners. The second was creation in 1620 of a new state, Maranhao, which included the Upper Northeast and the entire Amazon Basin.

Maranhao was divided into six hereditary captaincies, following the precedent set in Bahia and Pernambuco. Unlike those other states, however, Maranhao xisted as a separate unit u til 1774, reporting directly 'to Lisbon even though the official administrative center of Brail remained in Salvador. The i petus for the establishment of Maranhao was Portugal's ne d to consolidate its control of the North after the expulsion of the French. The action was also explicit recognition of the geographical separateness pf Maranhao—a consequence f the prevailing southeasteijly winds, which often made tra el up the coast from Salvador i possible. Land travel was not a realistic alternative, given hostile Indians and jungle terrain. It was common at that time for overland journeys in Brazil to take months. Rivers were used where possible, but the Amazon flows from west to east, and the most important river in the

northeast, the San Francisco, is broken by falls so vast as to be impassable The eighteenth century was dominated by the rise and decline of the mining industry, following the discovery of gold in Minas Gerais and Mato Grosso in the early 1690s. The resulting shift in population southward to those regions did have an effect on the administrative structure of the colony. In 1709 the crown created the new captaincy of Sao Paulo and Minas de Ouro. Then, in 1721, the separate captaincy of Minas was created and in 1748 separate captaincies were established for Mato Grosso and Goias. Inevitably, as discussed further in chapter 2, the capital was finally moved from Salvador to Rio de Janeiro in 1763 to keep closer administrative control over the lucrative mining area.

THE PEOPLES OF BRAZIL One of the best-known facts about Brazil is the multiracial nature of its population—a mixture of indigenous Indian, Portuguese, and African, with the later addition of Japanese, Middle Easterners, and non-Portuguese Europeans. This section gives a brief overview of the Indians and African in colonial Brazil.

When Cabral arrived in 1500, a far-flung and complex network of indigenous peoples was already there. The Indians numbered more than one hundred separate language groups, from the Charrua in the far south to the Macuxi in the far north. These "Indians" (indios, the term used by the Portuguese and later the Brazilians) differed significantly from the best-known native peoples of Mesoamerica and the Andes. In both of those regions, at least some of the indigenous civilizations had reached a high level of complexity, as in the ceremonial city-building of the Aztecs (more properly known as the Nahua) in the Valley of Mexico and the Inca in the Peruvian highlands.

The city-building societies were highly disciplined. They mounted armies to resist the Europeans, fighting set battles involving thousands of Indians under strictly organized command. Once defeated, however, as their leaders were disgraced or died, they became leaderless.

This dissolution of the Nahua and Inca societies facilitated the Spanish creation of an economy manned by an Indian labor force that was forced to do what it was told.

From the beginning, Portuguese colonists also saw the Indian as an indispensable source of labor. However, the Brazilian indigenous peoples were hunters and gatherers. The Indians inhabiting Brazil did not form set armies and were not inclined to stand and fight. Nor did they have a Nahua- or Inca-style social hierarchy that the Portuguese could take over to enforce work discipline.

57

Scholars disagree on the number of Native Americans living, when the Portuguese arrived, in the area that is now Brazil. Plausible estimates range anywhere from 500,000 to 2 million, with one going as high as 8 million. However large this population may have been in 1500, it shrank drastically after the Europeans arrived. Epidemic disease was a major cause.

The Europeans brought such infectious diseases as smallpox and measles to an American environment lacking any previous exposure—and therefore immunity— to them. Harsh treatment by the Portuguese, who met native resistance with brute force, further decimated indigenous populations.

Disease and harsh treatment took a heavy toll on the indigenous peoples of Spanish America also, but those who survived were often relatively easy to track down and organize into work crews. The Indians who survived in Brazil retreated into the rain forest or the temperate interior, where the Portuguese had trouble pursuing them. These indigenous peoples were scattered into more than a hundred separate language groups, almost all unintelligible to one another. The language group that proved most important was the Tupi-Guarani, found especially in coastal Brazil. Theirs was the language standardized by Jesuit missionaries under the label of Lingua Geral that became so widely spoken throughout Brazil. But there were other Indian peoples scattered to the west and south who were slowly encountered by the Portuguese in the course of their sixteenth- and seventeenth-century explorations. And there were many language groups in the rain forest of the Amazon Basin whom the Portuguese had no contact with in the colonial era.

The Indians in Brazil were a revelation to the Portuguese. Even before Columbus, Europeans had developed a lively fantasy world to describe the humans, animals, and plants they expected to find beyond the Atlantic horizon. Vaz de Caminha's report reinforced the European prejudice that Portugal had discovered an idyllic world where evil was unknown. As Portuguese King Manuel wrote to his fellow monarch in Spain, "My captain reached a land... where he found humans as if in their first innocence, mild and peace-loving." Jean-Jacques Rousseau later based his optimistic theory of human nature at least in part on these early descriptions of the Brazilian Indian.

In his letter describing Cabral's voyage in 1500, Vaz de Caminha described the Indians as "tough, healthy, and innocent." Another alleged Indian trait, bestiality, became the stuff of legend in Europe. A particularly famous example was Hans Staden's 1557 chronicle, The True History and Description of a Land of Savage, Naked, Fierce, Man-Eating People Found in the New World. Staden,

58

a German, was shipwrecked on the Brazilian coast and survived imprisonment by Indians. His bloodcurdling narrative described natives who delighted in cooking and devouring their captives in a form of ritual cannibalism. The woodblock illustrations of the book showed human limbs being readied for the boiling pots. The pictures confirmed what Staden's European readers were ready to believe.

Throughout the sixteenth and seventeenth centuries, European illustrations of Brazil fixed on cannibalism (about whose extent present-day anthropologists disagree). The existence of this "barbarism" gave the Portuguese further legitimacy for their claim that they were bringing civilization to "savages." It also made easier the theological and legal arguments for subjugating the Indians. As with the Nahuas of Mexico, the image of flesh torn from helpless (especially white) bodies served to justify seizing the land and exploiting native labor, a rationale the Church was eager to support.

The colonists who actually lived in Brazil had a less fanciful and more arrogant attitude towards the Indians, as they coexisted, cohabited, and clashed with them. Their arrogance is epitomized in the words of a chronicler writing in 1570 that the language of all the coastal Indians "lacked the three letters F, L and R, which is startling because it means they have neither Fe [faith], nor Lei [law], nor Rei [king] and live, thus, without justice or order."

The Indians who remained under Portuguese control in the sugar-growing area of the Northeast dwindled as they died from contagious disease and maltreatment, obliging the Portuguese to seize fresh Indians to maintain a labor force. By the end of the eighteenth century, Indians were hardly visible in the Northeastern coastal sugar society. Indians survived in any numbers only in the interior, where they lived relatively free from contact with the Portuguese colonists. This scattering reinforced the fact that, unlike Mexico or Peru, Brazil does not have the glories of an indigenous civilization hovering over its modern existence. There are no massive pyramids such as at Teotiohucan or hidden cities such as Macchu Picchu. This does not mean, however, that the Indian left absolutely no trace on modern Brazil.

In language (the place names), diet (the ever-present manioc root), and medicine (innumerable herbal cures), links can still be found.

As the Indian labor force dwindled, the Portuguese turned to Africa. Even before reaching the New World, the Portuguese had used Africans as slaves. As they explored the West African coast in the fifteenth century, they brought back slaves to work on the plantations of the Azores and Madeira islands. By the 1450s, Africans were being brought into Portugal

itself at the rate of 700 to 800 a year. It has been argued—most notably by Gilberto Freyre, 1900-87, the Brazilian anthropologist-writer who became the most influential twentieth-century interpreter of Brazilian character and society—that the Portuguese were less prejudiced than other Europeans against Africans, partly because of Portugal's long exposure to the darker skinned Moors, who represented a high culture. But the picture that emerges from the archives does not altogether support Freyre's view. Portuguese writers at times expressed extreme distaste of the physical characteristics of Africans they saw. In 1505, Duarte Pacheco, for example, a Portuguese who traveled extensively, dismissed West Africans as "dog-faced, dog-toothed people, satyrs, wild men and cannibals." In fact, both ' private and public discourse in Portugal was rife with such concepts as "clean blood," "purity of blood," and "infected races." Yet this trait of prejudice, traceable to such different roots as an aesthetic reaction to Africans and a dogmatic reaction to non-Christians (especially Jews and Muslims), was to play itself out, as we shall see, in unpredictable ways in Brazilian history.

As the Portuguese realized, as early as the 1530s, that the Indians could not provide sufficient labor for the harvesting of Brazil wood and the cultivation of sugar cane, they turned to obtaining slaves from West Africa, where Portuguese slave traders were well established. By 1580, the Portuguese were importing more than 2,000 African slaves a year to work the sugar plantations of Northeastern Brazil.

Thus began the slave trade in Brazil, which continued until 1850 at a human cost that was staggering. Shipboard conditions were indescribably bad and disease rampant.

More than half the slave cargoes typically died en route. It was a tragic story repeated throughout the Atlantic slave trade. In 1695, the noted Jesuit missionary Padre Ant6nio Vieira, for example, gave this evaluation of the South Atlantic slave trade: "The kingdom of Angola on the opposite Ethiopian shore, by whose sad blood, and black but fortunate souls, Brazil is nurtured, animated, sustained, served and preserved." Brazil received more African slaves (at least 3.65 million, and some estimates are considerably higher) in total than any other region in the Americas. Present-day Brazil, as a result, has the largest population of African descent of any country outside those of Africa itself.

Excerpted from the first chapter of Brazil: Five Centuries of Change

by Thomas E. Skidmore, Oxford University Press, Inc. (http://www.oup-usa.org), 1999, 254 pp.

BRAZZIL - MARCH 1999

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