Brazzil - Year 7 - Number 122 - February 1996

NG TO UNDERSTAND OUR CHORINHO

1CWC-"BRINZIL,

*ar 7— No. 122— February 1996

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SPECIAL: ESCOLA DE SAMBA'S DRAMA & PAGEANTRY

COMPARISON: BEING B CK IN BRAZIL AN EXICO

MOVIES: A FILMMAKER'S PERSONAL HELL

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NEWS from BRAZIL - FEBRUARY 1996

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POR VOCE! NEWS from BRAZIL - FEBRUARY 1996

ON LINE http://home.earthlink.net/-brazzil --------

Carnaval to t diaday the whole' country stops, takes a deep breath, sheds all inhibition, and dives into We are dedicating a big chunk of revelry. this issue to Carnaval. Besides beIt's the purest form of catharsis and ing the subject of our cover story, sublimation. The poorest from the the theme comes back in a tale by Rio's slums forget their predicament our worldwide best-seller writer • and become kings, queens, politicians, Jorge Amado and then in an excerpt authority, whatever their imagination from the recently released book The makes them. The men and the women, Brazilians. who have been anonymous servants Carnaval, and Rio's Escolas de throughout the year, dress as a noble Samba in particular, have become and go to the streets to be shown live an integral piece of this puzzle called on prime-time TV. Brazilian soul. From Friday of From pricey seats and bleachers

celebrities and the well-to-do from all over the world applaud and envy that show of vitality and make-believe put on by the same people who tomorrow will be back cleaning their homes, sweeping their streets, taking care of their children. At least for those few days the roles are reversed and the mutual signs of mistrust and fear give place to admiration and gratitude.

To understand Carnaval is to get a special invitation inside Brazil's psyche. Welcome to the party!

R.M.

29 Literature

Cover

Jorge Amado's "Domingo de Carnaval"

Get crazy! That's Carnaval!

35

16

Debate

Samba

Blacks in Brazil & Mexico

Carnaval in the US

17 Filmmaking

The State's heavy hand

19 Banks

Wave of bankruptcies

21 Economy

Future is promising

Cover by Aylan Mello

DEPARTMENTS 6 Rapidinhas 14 Letters 45 Brazilian Notas 46 The Cultural Pulse 47 Por ai 49 lassified 50 *U.S.A. Calendar 52 That's Brazilian

37 Travel

The beaches & traditions of Santa Catarina

40 Music

Choro, Brazilian music par excellence

54 Special

The samba school myth TIME TO RENEW?

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Fax: (213) 257-3487 - INTERNET: brazilnews@aol.com Publisher and Editor: Rodney Mello / Editorial Assistant: Graciela Castellanos / Entertainment Editors: Sam & Harriet Robbins / Book Review: Bondo Wyszpolski / Representatives: MIAMI : Nosso Guia (305) 972-3427 - WASHINGTON, DC: Wilson Velloso (Correspondent) (301)585-6549 - BRAZIL: Celso Sawaia (011)885-9288 E-mail: csawaia@brhomeshopping.com.br NEWS from BRAZIL is published monthly by News from Brazil -2039 N. Ave. 52,,Los Angeles, CA, 90042-1024. Application to mail at secondclass postage rate is pending 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. Alloys:, 5 to 7 weeks to receive your first issue. You may quote from or reprint any of the contents with propercopyright credit. Editorial submissions are welcome. Include a SASE (self addressed and stamped envelope), if you want your material mailed back. News from Brazilassumes no responsibility for any claims made by its advertisers.

POST MASTER: Please, send address changes to News from Brazil - P.O. Box 2536 - Los Angeles, CA - 90050-0536 NEWS from BRAZIL - FEBRUARY 1996

cioII oripo lur " Roaring status After spending the New Year's holidays in Angra dos Reis. a close-to-Rio paradise for the wealthy, Richard Boechat, better known as Swann, wrote in his social column in Rio's daily 0 Gloho: E "The sky reminded us o: Vietmlal during the Nixon era." He was referring to the Francis Coppola 's movie Apoca„ /vpse Now to describe the favorite way of transportation for the Carioca (from Rio) and Paulista (from Sao Paulo) rich people nowadays: the helicopter. Keeping up with the well-to-do Joneses now means to have the last version of the Esquilo or Jet Ranger, the favorite models of choppers. But for some to those belonging to the socalled Nova Sociedade Emergente (Emergent New Society), NST, for short, using a helicopter is not only exhibitionism.

It's a protection against the increasing wave of kidnapping and an escape from interminable traffic jams in the big cities.

Drinkable art Compared to king of silkscreen prints American , pop artist Andy Warhol and called "prince of contemporary pop art b some Yankee critics,"( Miami-based Brazilianborn Romero Britto, 30, is happening big time.

The Swedish royal family, actor Arnold Schwarzenegger, forme American presidents Jimmy Carter and George Bush, all have works by Britto, but now he is going to the masses.

Eleven of his paintings will be shown all over the world in one billion cans of Pepsi. You can't hope for a bigger public. The

so-called Pepsi collebtion' has already been released in Brazil.

Harder to get

Explode Coracdo (Explode, Heart) the latest primetime novela (soap opera) from Globb TV continues to generate controversy and to raise its share of public. The feuilleton, which mixes unscrupulous businessmen, power-hungry beautiful women, Internet lovers, gypsy families and even a smart and macho transsexual, was taken to Court.

Mirian Stanescon, a lawyer and gypsy, who helped novela writer Gloria Perez compose the main character gypsy Dare and who believes to be Perez's inspiring muse, went to Justice to prevent the showing of a scene in which Dara loses her virginity out of wedlock.

Stanescon, who says she was a virgin when she married at 32— a cousin of her disputes that contends that the gypsy tradition bans sex before the marriage.

Initially the justice upheld the argument but then Globo won an appeal. The polemic episode ended up being aired on January 3, and thanks to all the free publicity, soared to 52 points (12 more than the average rate that the novela was having) on the IBOPE, the main Brazilian TV-rating system.

Dara, interpreted by Tereza Seiblitz, was deflowered by businessman Julio Feick* (actor Edson Celulari) on a deserted beach, at night. Stanescon says she approached Perez to try to convince her to scrap the sex scene. According to the lawyer, the only answer she got was: "Gosh, gypsy, I am not killing her, All she is going to do is to screw." rosperi y

Accidental tourist, not If there were some Brazilians left in Brazil the latest holiday season that's because there are 160 million of them and there were not enough planes to take them all.

Only in two weeks in December 150,000 Brazilians went for a trip outside de country. According to ABAV (AssociacaO Brasileira de Agentes de Viagem), in 1995, a total of 3.1million people did the same thing.

This last year two in every 100 Brazilians traveled abroad. Compare this to 1970 when only two in each 1,000 Brazilians went overseas. The main reason for this is the strong currency. A trip to New York is cheaper now than to a domestic location.

With this, Florida's Disney World, for instance, has seen an influx from Brazil that's bigger than from any other country but Canada and England.

Since January 15 Brazilians saw their limit to buy foreign products by mail lower from 51,000 to $500 and taxes on imported product were raised to 60%. Once again, in its effort to open Brazil to foreign markets, the government succumbed to the domestic industry pressure.

This is the third time the rules change for those willing to import gadgets.

According to the previous rules, products up to , $50 paid no tribute. After: that the rate was 40%.'

The new taxes are applied to any amount and a $100 purchase for, ' example will cost $160.

Booked for 200O" Ad agency DM9 has surprised the competition by reserving space in the %covers of the main newspapers and magazines for January 1, 2000.

To make it a round package, the publicity company has also booked commercial time with Globo, SBT and 13andeirantes TV networks for their changeof-millennium schedule.

Daily 0 Estado de SE. Paulo and Globo TV among others, have already letters of intention committing themselves to the DM9 agency. "We cannot run the risk of being withou ad space in a occasion in which so many sponsors will be dying to celebrate with big projects the arrival of Century 21," said Affonso Serra, one of the company's directors.

NEWS from BRAZIL - FEBRUARY 1996

By the buckets The ice cream buffet mania started in Porto Alegre (Rio Grande do Sul) a few summers ago.

But now it has spread north to Sao Paulo and Rio. The self-service places work the same way as the so-called restaurants by the kilo.

People serve themselves from a large counter with 30 or more choices of ice cream and close to 100 different toppings. A pound goes for around $4 and it's much cheaper than buying by the scoop. One of the new places in So Paulo is called Ice Tit Bit. And the company Zero Grau (Zero Grade) has opened 12 news ice cream parlors in four months.

Paper chase The President and Brazilian congressmen don't have to go to Rio or Brasilia's outskirts anymore to see how the poorest people are living. Now they have the homeless on their own backyard. Close to 200 people built a favela (shanty town) with 50 shacks just behind the Supreme Court building, which is across the street from Palacio do Planalto, the President's headquarters. In an ironic homage to President Fernando Henrique Cardoso the place was named Favela FHC. The district federal 's government has tried ta get rid of the nuisance, but it can find no place to put these homeless who survive by collecting waste paper from the buildings around and selling them for I 0¢ .

NEWS from BRAZIL - FEBRUARY 1996

Say the right thung The flirting and mating season is citiAti Brazil. With temperatures due to summer and Carnaval at their highest and inhibition and clothing at their lowest, passions are blooming. Now is the time to catar, dar um lets, azarar, morder and rasgar. Only these words — for t lose who understand Portuguese — don't mean what you've learned they mean. It's time to learn some X-generation slang to survive the romance scene.

In Rio: azarar—(literally to bring bad luck) to flirt dar mole — (lit, to give soft) same as azarar do bicho — (it's the beast) that's the best morder — (to bite) to romance without commitment pagar o mico — (to pay the monkey) to be duped, to incur blame pegar — (to pick up) to philander so/tar o freio — (to release the brake) to go all the way In Salvador (Bahia): Armar (to set up) same as morder

Jogar catiopil —to screw Pe de boi (ox foot) ugly woman Recife (Pernabuco): Cevar — (to fatten) same as azarar Tirar casquinha — (to scrape the veneer) to heavily pet In Sao Paulo: Catar—(to pick up) same as armar Dar uns fight (to give a fight) screw Pagar urn pau (to pay a stick) same a azarar Rasgar — (to ip) to seduce Ralo— (drain) heavy petting

The dollar rally It seems that the rule that one real cannot be more than one dollar is going to be dropped soon. It's expected that the real will cross the $1 barrier between May and July.

At the start of the Plano Real in 1994, the parity of the new currency with the dollar was presented as a guarantee for the plan's success. Now, with , the real consolidated and the inflation still in the two digits, it would be 1 suicidal to continue to 1 aintain the real stronger than its richer cousin the green back.

Pleem, pleem!

Often on the cutting edge of imagination, the world's fourth largest TV network (only behind the American three sisters) Brazil's Rede Globo has created a series of anthological micro-films to start and end their commercial breaks.

Twenty four of them were aired in 1995 and 18 news were just announced for the new year. G lobo tells its viewers when it's time to run to the refrigerator or to come back fast through the presentation of the company's logo and a sound that's better known as "plim The story boards were made by the best Brazilian cartoonists, including Miguel Paiva, lque, Borjalo, Age and Ziraldo, and different conductors were invited to make the sound track for the little animated masterpieces. The stories last from 5 to 15 seconds. In one of them there is a group of cowboys in an Old West saloon rowdily drinking. Suddenly, silence. It's time to watch TV. They press the remote • control on button and the "plim plim" sounds.

In another, a man in a bar tries everything to woo a woman. A rose, a pair of earrings, even a diamond don't make the trick. But when he offers her a condom, her eyes get brighter and she extends her hand to take it. That' s when the "plim plim" clangs.

been If you hav .r.then during Car know Braz 1,ysou ha louched 4-)•.-the enekg'i F "samba'sc then of: wffh u r ',nut : azilFa n ce d watj..,,ngBcizrff tans 07,1 8

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"After Carnaval we will talk," "We can't do anything before Carnaval," "Can't you wait just until antaval?, ' "I know you from another Carnaval", In Brazil, these phrases are repeated y leaders;busftiessmen, students and the people in the streets. Every year is the same thing. The year doesn't seem to start before Carnaval — which happens in the days preceding Lent. In 1996 Ash 'Wednesday, the day when the revelry stops, is February 21 Rivale4 only by Soccer, with everyp assing year this tinpular celebration has stretched fromi just a two-day part to one of several days. By and large, the fotia (rneny making) now starts on Friday guaranteeing 5.5 days of parties (nobody goes to wo):1( before Wednesday noon). In some areas, lio*ever, the whole week preceding Shrovetide, has been taken by Carnaval festivities.

The goVernment has learned to deal with the phenomenon and the latest economic plans instituted in Brazil have all happened around or just after CardavaL One of them was even called "Carnaval Plan". Then there was the Summer Plan, the .Pruzado Plan, the Collor Plan. The present economic program,- the Real Plan, was also implemented in the weeks preceding Carnaval. Critics have said that the purpose is to introduce thechanges during a time when people are anestftetized and more interested in which costume they are going to wear than how much money they are going to get.

According to some more productive minds, Brazil cantill afford to stop the country for a w h o I e waecekheoNi r y y ieoa r 1, Ile the eseotas de samba (samba , ),trioss e etricos (musical trucks), and biocosk(dtance groups) take over the streets bringing the traffic to a halt. After all, besides more traditional holidays like Christmas, Labor Day and Independence Day, in Brazil there are states and cities add their own also national no-work a days — holidays: April 21 (Tiradentes martyof independence), Holy Friday, Corpus Christi, October 12 (Nossa Senhora Aparecida‘ Brazil's patroness), November 2 (Ftnados -pay of the Dead). Not too long ago, SaintJoseph, Saint John, Saint Peter, all had their national hdlidays.

There iSn' t much to complain about. however.

Besides boosting the people's moral to unbelievable highs. Carnaval is also a money-making 1 festivities bring more than half a $e_ million to ists from all over the world to Rio, Salvador ,(Bahia), and Recife and Olinda (PernambuCo) the main showcases of the pagan feast. At least 50,000 of them are foreigners.

During Cantival the occupation rate of hotels in Rio is around 911%. Carnaval heats up the domestic economy causing a frenetic search for plane tickets, hotel rooms, special clothing, confetti, ballroom rentals, beer and condoms. Booze and promiscuity, however, don't tell the whole story.

Rio's eseelas de samba for example guarantee a year-rountijob to thousands of artists, craftsmen, seatnsters. All in preparation of 90 minutes of ecstasy on the avenue.

The so-palled barracjes (warehouses) where all these people work have an average of 80 employeesi The money to pay them come from Liesa (Ligts Independente das Escolas de Samba

;

NEWS from BRAZIL - FEBRUARY 19

DNS from BRAZIL - FEBRUARY 1996

A Gente Bronzeada da Portela Jorginho Don, Picole da Portela, Renatinho do Sambola e Carlinhos Careca Chegou a hora Portela alegremente vent cantar Corn urn brilho atraente de suingue irreverence Fazendo assim o mundo inteiro delirar Melodias que se torrtaram marcantes De artistas delirantes Iluminados pela estrela do criar Como "inemOrias" de PauBubo da Viola, Mestre Cartola Eu you cantando para os males espantar Canta iaid pra ioio, canta ioio pra iaid, urn samba quente, urn chorinho de amor Na onda do ie-ie-ie eu sou o Rei pra. voce Fazendo a festa ate o dia amanhecer Chega de saudade Meu peito invade, eu lembro do meu amor Linda é a garota de Ipanerna, sett gingado 6 urn poema Na asa branca sou eterno sonbador Pra no dizer que nao falei das flores You me expressar mostrando todo o meu valor Eu sou arte que embala esperanca Onde passou sou bonanca Bela aquarela brasileira decantou A Portela demorou mas abalou E o ovo canta novamente ja ganhou

Unidos da Tijuca

Ganga-Zumbi Expressao de uma Raca Beto do Pandeiro Ecoou novamenre os atabaques de Pa(mares Ressoou, é canto, 4 danca, C festa, libenlade Salva a forca da cor guerreira Herdeiros de Zumbi A sua hora C esta Tijuca C o Quilombo C sua a festa Capoeira, alua e mutt° mats Tern reza forte para os Orixas Capoeira, alua e multo mais Tern reza forte para os Orixas Ao som do Batacoto No toque do Agogo Negro levanta a poeira Entre oferendas para o Rei Xango E pedras preciosas No clarao da lua cheia Dunga Tara Sinher4, 4, e, 4, C Dandara Mae Sabrina Rei Zurnbi Cjôia rara

A cerca dos macacos harmonia Dia e noire, noire e dia Paz, amor, libertacao, seu ideal flolandeses, portugueses Todos os mocambos do local Traziam ouro, prata, louvacao Ao lider para sempre Cultura, vida, mito, mestre imortal Vern amor 6, 6 Soltar sett canto !lyre pelo ar (pelo at) Alagoas 4 o berg° deste genio que viemo < exaltar

Before an escola de samba ever venture on the Avenue it has to choose a theme, it's the samba enredo (samba plot) which must deal with a national matter or even international if it is a popular subject. By October each escola has already chosen their favorite among several songs composed to be the plot. Well before Carnaval, all the sambas enredo from group A are reunited into an album which sell more than a million copies every year. he carnavalesco — every school has its own —, a kind of art director, is the one who chooses the enredo and takes care of all the details so that the final product is true to his conception. He has been accused of commercializing and eliminating the popular roots of the escolas. Others, however, think that thanks to him the escolas have professionalized and were able to survive and prosper.

Even those who have had a chance to look frequently and upclose at the escolas de samba desfiles will be waiting with anticipation for the next parade. Despite all the public rehearsals, every escola keeps always something in secret until it's revealed during the show in the streets. It can be a sound effect, a special choreography or even a whole float. Portela, for example, introduces every year new special effects for its symbol, the eagle.

Beija-flor is becoming famous for holding out on its always mysterious candelabra.

Using the enredo Ratos e Unibus, larguem minha fantasia, (Rats and Buzzards, leave my costume (or fantasy) alone) controversial carnavalesco Joaozinho Trinta planned a surprise showing of Christ as a beggar in 1989. The news leaked and Rio's archbishop went to the Justice "to prevent the sacrilege." The Christ has never shown his face but was nonetheless the sensation of that year. Joaozinho Trinta's Jesus, came to the streets covered with a black plastic bag and the sign: "Even banned, look for us."

Naked bodies and the exposure of women's breasts have become a tradition during the desfiles, even though the show is seen by children in the streets and at home on TV. But in 1989 incensed by model Enoly Lara's no-parts covered apparition, which was taken as a provocation, the Liga Independente das Escolas de Samba decided to ban "disrobed genitalia." That same year Joaozinho Trinta used his enredo Todo Mind° Nasceu No (Everybody Was Born Naked) to show dancer Jorge Lafond starknaked on a float's top. For some, keeping clothes on during the parade seems something impossible. Gorgeous model Luma de Oliveira, for example, threw her elaborated bra on the streets during her 1987 appearance alleging discomfort. The public loved it and months later she was starring on TV Globo's prime-time novela (soap opera).

Despite some cleaning-up in the last few years, Rio's drug lords (bicheiros) continue to be the main benefactors of the escolas de samba. That they haven't lost the grip on their "schools" was very patent recently when Luizinho Drumond, a well-known bicheiro gave the order that the escola de samba Imperatriz Leopoldina shouldn't spare any money to try and win the Carnaval parade for the third consecutive year. How much they are going to be spending, however, is a state secret.

Bicheiro Drumond, who has been a Maecenas for ImperatriZ, is in prison serving a six-year sentence, but he continues to do all this business from jail. Several other bicheiros also behind bars . are doing the same. It's even expected that Luisinho will get a , special authorization February 19 to watch the parade from the .., Samb6dromo's bleachers.

For the first time, Imperatriz Leopoldinense will be paying homage to princess Carolina Josefa Leopoldina, daughter of allpowerful Autria's emperor Francis I, and the woman after whom the escola was named. To be truthful to history, carnavalesca Rosa Magalhaes traveled to Vienna to complement her research on Carolina's life. The enredo Leopoldina, lmperatriz do Brasil (Leopoldina, Empress of Brazil) will show Leopoldina's life from her childhood in Austria to her wedding with Brazil's emperor Dom Pedro I. There will be nine carros alegoricos (floats) to tell the whole story. The most luxurious one will probably be float number 7 in which the princess, then 19, is received by the Brazilian court upon her arrival in Rio.

T

NEWS from BRAZIL FEBRUARY 1996

44

Rio's escolas de samba parade has become the main showcase he Tanned_ Folks from Portela for TV artists and models interested in getting a jump start on their careers. Anything goes in this effort to b,a noticed: flirts, little or The time has come no clothing, and physical fight when everything else fails. It was Portela happily sings during last Carnaval that model and call girl-Lilian Ramos became an enticing splendor of irreverent swing famous after pictures of her with Making the entire world wild With everlasting melodies then President Itamar Franco were The main escolas de From wonderful artists published worldwide showing her Blessed by the star of creation samba most intimate secrets. Ramos scanReminiscent of Paul inho da Viola, The year they were dalized the nation wearing nothing Ismael, Mestre Cartola founded more than a T-shirt, which revealed I will sing to scare evil away Their colors her pantyless anatomy every time Sing laid a hfor clinoi; asing bold for ialc'z, she raised her arms to dance. She Estacki Primeira da Mangueira (1928), samba, was the first one to defy the genitagreen and pink On the waves of ec l :iveela c ll;irinh° your lia ban from 89.

Gremio Recreativo Escola de Samba da king Carioca Valeria Valenssa has Portela (1923), white and blue Making the party last until sunrise become a top-model after being Unidos de Vila Isabel (1946), white Stop the longing and blue spotted by Globo TV in 1992 rehat invades me, I remember my Imperio Serrano ( 1947),white and green hearsing for the parade on her love Beija-flor de NilOpolis (1948), white Caprichosos de Pilares escola dc The girl from Ipanerna is beautiful, and blue samba. Three years ago models her walk is poetry Academicos do Salgueiro (1953), white Andrea Guerra and Denise Lima On white wings that make me and red endlessly dream slapped each other to guarantee a Estacio de Sa (1955), white and red So you won't say I didn't talk about place on the main float of AcadeMocidade Independente de Padre flowers I'll show you all my worth micos do Grande Rio, a smaller Miguel (1955), white and green I am art that lullabies hope school which has been calling atThat left tranquillity behind tention because its main female Singing praises of picturesque The winners Brazil dancers usually show up topless.

Prizes for the best escolas de samba Says Babi Fontoura, an agency have been awarded since 1930. Estacao took Portela some time, but it Ford model: "To get a contract Primeira da Mangueira won the first shook the nation during Carnaval you don't have to four years. In the 40s Portela was the And the people sings, 'it's the talk to anybody. All you have to do winner for seven consecutive years. In winner' 1952 too much rain prevented the show is to be seen and to cause a good Ciarlga ZLimbi and 1960, five escolas were declared impression.

Expression of a champions. io's official parade has also a special place for Palmares's drums have echoed 1980 — A tie between Imperatriz the blocos, groups less again Leopoldinense, Portela and Beija-flor t resonated, it's song, dance, party, aI i organized than the escolas which de Nilopolis freedom have between 200 and 500 people.

1981 — Imperatriz Leopoldinense es the warrior's power They can be blocos de enredo 1982 — Imperio Serrano Heirs of Zuiribi 1983 — Beija-flor de NilOpolis (theme groups) or blocos de Your time has come 1984— Estacao Primeirada Mangueira empolgacao (excitement groups). s Quilombo, the party is 1985 —Mocidade Independente de Payours Three of the blocos de empolgacao dre Miguel became legendary and are consid1986 — Estacao Primeira da Mangueira oeira, alud, and much more ered hors-concours. They are Bafo ith powerful prayers for the 1987 —Estacao Primeirada Mangueira da Onca (Jaguar's Breath), BoeOrixds 1988 — Unidos de Vila Isabel mios do Iraja (Iraja's Bohemians) ,aluà, and much more 1989— lmperatriz Leopoldinense powerful prayers for the and Cacique de Ramos (Ramos 1990— Mocidade Independente de PaOrixas Chief). Among the best known dre Miguel 1991 — Mocidade Independente de Pablocos de enredo there are the Bafo the sounds of the Batacooig' dre Miguel de Bode (Goat's Breath) and Quem To the beat of man tite,A s 1992 — Estacio de Sa Fala de Nos Nab Sabe o que Diz Black tirsgg dust 1993 — Academicos do Salgueiro (Whoever Talks About Us Doesn't een 'eBl offerings for the King 1994 — Imperatriz Leopoldinense Xarig Know What He Says).

1995— lrnperatriz Leopoldinense And precious stones Carnaval has also been a fertile of the full moon soil for popular songs. Tunes from the 30s, 40s, and 50s are still among the most popular during the Dunga Tara Sinher& 6, 6, Danda.

Carnaval season. They are almost invariably very easy to rememMother Sabrina, King Zurnbi is rare jewe ber: vibrant, short and repetitive. Often they are also very irreverAboutthe harmony monkeys ent and it seems there is no taboo they can't break. The news and and night, night and day history have given much inspiration to gifted composers like Y love, liberty, your ideal Lamartine Babo, whose Historia do Brasil from 1934 is still very Dutch, Portuguese popular. The lyrics, which talk about Indians, feijoada (Brazil's the black villages arourfd ought gold, silver, praise typical dish), and Rio, start with: "Quem fai que inventou o To the everlasting leader Brasil? / Foi seu Cabral / Foi seu Cabral / No dia 21 de abril / Dols es'alyth, immortal master meses depois do Carnaval." (Who was the one who invented Brazil?! It was Mr. Cabral / It was Mr. Cabral / On April 21 / Two Come love months after Carnaval). Lamartine was also the one who celly throngh the lit ebrated the arrival of the hot-dog mania in Brazil in his 1928 this whiz we have come to pfaise marcha Cachorro Quente: Cotner cachorro quente la no bar / por certo a moda vai pegar / por na'o ser vulgar (To eat hot-dog in the

R

NEWS from BRAZIL - FEBRUARY 1996

Race

11

.1Inidos de Vila Isabel

Heroica Cavalgada de um Povo '‘Tilio.Grande e Cafu Ouro Preto Blida minha porta-estandarte tom a Vila vent mostrar toda a erno9 hereica cavalgada de UM patV0di ao histdria, seus costumes e ra 9 tiaraju conquista a terra luta contra a fovea das mvasaes 4 Fez da bravura sua arma efendendo os seta povos das missdes „$ari Pedro do Rio Grande do Sul Sc fez provincia, ganha capital Porto dos casais e charqueadas Lancerros negros dancam nas congadas Etopeia farrouFra, clamor da voz C imangos aragatos 0 Rancho b aclamado o grande heroi •Progresso, miscigenacao O vento sopra e traz a colonizaeao Cerveja, danea, culinaria Festa da uva e o famoso chimarrao Brilha no ar a senhora liberdade E no rincao um canto de felicidade Boitata é mandingueiro Cuida do rebanho.

Negrinho do Pastoreio E a salamanca do jarau Nao existe nada igual No folclore brasileiro Voando na folia A minha Vila Isabel Faz o GRE-NAL mais bonito Corn Lupicinio e Noel Estacio de Sá

De urn mundo novo eu sou uma cidade nova sera Orlando, Adfison Gaviao, Deo e Caruso Em Aguas claras naveguei, naveguei,..

Aqui cheguer Vim ern busca de riqueza, que beleza Me encantei Bravo Estado foi a luta Urn hared nesta disputa Tudo o que ere fez valeu Assim o Rio passa a ser a capital Da relacao entre Brasil e Portugal Balanca, balanea, quero ver pesar Os portos se abrem, vamos exportar Ciclo do pau-brasil, ouro e café Na industrializacao entrei corn fe Sou capital, eu sou das artes no Pais Minha beleza natural Deixa voca feliz E o artista pintando a sua emocao Entrando em cena o seu coracao Do peito brotando uma linda cancao uma nova cidade no Estado flutu E o mundo mais perto do nosso Brasil A noticia, o fato e a informacao Entao... a evolucao vai pedindo passagern Q samba fazendo a sua homenagem A telecomunicaeao 9 teleporto esta no ar E nessa que eu von me ligar Na era da modernidade Uma nova cidade sera 12

bar / for sure the fashion is going to catch on / since it's not vulgar).

As in the last few years, the favorite songs for this Carnaval are coming from Bahia, a northeastern state. All over the country everybody seems to be singing these days Asa de Aguias's Xo„Satanas (Beat It, Satan) and Gera Samba's Segura o Tchan (Hold the Charm). The first ditto, which talks about exorcism and religion, couldn't be more in tune with the zeitgeist. The Catholic Church and the establishment have been in a tug of war with the prosperOtis and street-smart evangelical sect Igreja Universal do Reino de Deus.

Quasi-monopoly Globo TV has been incessantly pounding Universal which has a competing TV network.

Segura o tchan, the other song, has risque lyrics filled with sexual innuendos. Nothing new. Decades ago, Chiquita Bacana, who had nothing but a banana peel to cover herself became a big hit and continues to be played year after year.

In Bahia there are no escolas de samba, even though there are blocos, generally with African names like Muzenza and Ara-Ketu. Carnaval there is less a show and more a participatory spectacle in which everyone is invited to sing and improvise steps on the streets following the trio eletrico (a huge truck with a light and sound system), while players and percussionists guarantee the ceaseless syncopated rhythm of 'rev°, axe, samba, and new musical styles that bloom anew each Carnaval season. The first trio eletrico happened in 1950, when composer Dodo, all dressed up as a rainbow, connected the guitar to his car's battery.

Nowadays, a trio ele.trico is so powerful that the energy it consumes would be enough to power a 30.000people town.

That's why Baiano composer Caetano Velloso wrote for a past Carnaval a frevo song that says:

-.4tras do trio eletrico so tido vai quemjO morreu.." ("Only the dead will not follow the trio eletrico).

Bahia and Rio have been in constant rivalry in the last few years to see who dishes out the best Carnaval.

Hundreds of thousands of Brazil ians and foreigners have joined in Bahia's celebrations and many consider theirs the fairest of all. But there are still millions of die-hard Rio Carnaval fans. Those who want to be closer to the trio eletrico must buy a colorful costume called mortalha (shroud), which helps finance the

Tchan Cao Lima, Bieco do Tchan e Cicinho Pau que nasce torto Nunca se endireita Menina que requebra.

Pega na cabeca Domingo ela nao vai, nao Vai, var. vai (bis) Segura o tchani Amarra o tchan Segura o tchan, tchan, tchan, tchan, tchan Tudo que é parfait° a gente pega pelo brace' Joga la no meio Mete em cima Mete embaixo Depois de nova meses voce a 0 resultado Este a o Gerasamba Arrebentando no pedaco Joga la no meio Mete em cima Mete ernbaixo (Start all over again)

NEWS from BRAZIL - FEBRUARY 1996

Tchan A tree that is born bent Will never get straight A girl who shakes her rump, mom, Hold on the head Sunday she won't go, no go, go, go (twice) Hold the tchan Tie up the tchan Hold the tchan, tchan, tchan, tchan, tchan All that's perfect we take by the arm Throw in the middle Put on the top Put on the bottom After nine months you'll see the result This is Gerasamba Making it happen in town Throw in the middle Put on the top, put on the bottom

NEWS from BRAZIL - FEBRUARY 1996

moving bands. A mortalha can cost from $100 to $250. If you don't have a mortalha, you still will be able to pular (jump) Carnaval, but you will be called pipoca (popcorn).

During a typical Salvador (capital of Bahia) Carnaval, which officially lasts for six days, close to 500 shows are presented, 2 million people go to the streets and ballrooms to dance and look. And around 200 blocos, cordoes and afoxes (groups who sing in African dialects) plus 100 trios eletricos help to enliven the celebrations. To guarantee the order 10,000 police officers are on duty during these days.

Timbalada and Olodum, both fairly recent phenomena, are the two most respected Carnaval groups in Salvador. Created by percussionist Carlinhos Brown, Timbalada is a band with ten singers and 250 musicians who play timbales (kettledrums)and other percussion instruments such as agogo (cowbell which is hit by a wooden stick) and surdo (drum). Olodum, which means "supreme divinity" in Yoruban was founded in 1979 under the leadership of Mestre Neguinho do Samba and it has become an industry with memorabilia, international shows and periodical record releases. Paul Simon used the group as background on his album The Rhythm of the Saints. Olodum is also a bloco and it has more than 3,000 members.

Outside of Rio and Bahia, Pernambuco is the state with the best Carnaval in Brazil. In Recife, the state's capital, and Olinda, people go to the streets to dance to the sounds of maracatu, the regions typical rhythm. But it's thefi-evo that everybody mentions when talking about Pernambuco's Carnaval. Sao Paulo, which represents 60% of the Brazilian economy, has never been famous for Carnaval. Cariocas (native from Rio) have always derided what they see as the awkwardness of Paulistas when sambaing.

Proud Carioca, diplomat, composer, poet, bohemian Vinicius de Moraes has called Sao Paulo samba's grave. The city, however, has been emulating the Cariocas and even built a Sambodromo similar to the one in Rio de Janeiro.

Its escolas are far from the splendor of its Carioca counterpart, but have been improving and even some passistas (samba dancers) have been daring enough to show up stark naked on the avenue, dancing on the floats.

The Heroic Cavglcade,.: of a People Dance my flag-bearerAnd come show all your emotion with Vila ' (Isabel) The heroic cavalcade of a nation Its history, its costumes and tradition

Sepe tiaraju conquers the land In his fight against the invaders He used his bravery as a shield To defend the seven races of the missions Saint Peter of Rio Grande do Sul Was made into a province and then the capital , Port of couples, farms Blacks lancers dance in congadas Ragamuffin epopee, voice's clamor

Chimangos or Maragatos (revolutionaries) The gaucho is proclaimed the great hero Progress, miscegenation The wind blows and brings colonization Beer, dance and cooking The grape party and the famous chimarrao tea Lady liberty shines in the air And there is a song of happiness in the countryitside

Boitato (bogey) is a sorcerer Take care of the herd Pasture's little black guy

And salamcanca dojarau There is none like it In the Brazilian folklore Flying in the revelry.

My Vila Isabel Makes the Gre'mio-Internacional (soccer game) more beautiful With Lupicinio and Noel

From a New World I am and a New Town it Will Be I traveled the clear ocean That brought me here I came in search of riches, what beauty I became fascinated Brave Estacio went to war A hero of this struggle verything he did was worth it And now Rio is the capital In the relationship between Brazil and Portugal Swing, scale. I want to see it weighted The harbors are wide open, let's export

Pau-Brasil, gold and coffee cycles entered industrialization with faith I am the art's capital in the nation My natural beauty Leaves you happy And the artist paints all of his emotion His heart is displayed in his art "rom his chest a pretty song flows 'Finally, a new city was born in Estacio Then... evolution wants to go ahead The samba pays its respect To telecommunication The teleport is on the air I will be tuned-on To the modern-age It will be a brand new city 13

NOT FAIR! This is about -America. the Ugly" (News from Brazil -- January '96) the article on Ana Maria Bahiana's book. One of the problems with being one of the biggest countries in the world as well as one of the richest is that people tend to start believing that we're also the best. Yes, certainly, Americans as a whole know little about Brazil or any other country, but by generalizing about 255 million people, Ms. Bahiana becomes guilty of the very thing she accuses us. I say "us- although I wasn't born here, either. I came from Denmark 27 years ago and started living as an American.

There's not enough room in the Letters section to share all the points on which I disagree with Ms. Bahiana. It's quite clear that she understands sadly little about Americans. Even more sad is the fact that by publishing the book in Brazil she contributes to the gap that does exist between our two peoples. She repairs nothing, offers no solutions, does not make our world better.

Kirsten Weinoldt West Boylston, Massachusetts

DID THEY PULL YOUR LEG? 1 was intrigued by your item stating that the CIA's Internet home page had a photo of Buenos Aires and identified it as Rio, an then compounded the error by saying Rio is the capital of Brazil. So I did a search and found the CIA's home page.

I didn't see any photos of Buenos Aires or any photo labeled as Rio, capital or otherwise. What gives? Did someone put something over on you guys? I enjoyed the bottle dance story (Rapidinhas - December issue). If I'd seen that earlier! might have flown down to Brazil to see my namorada in Fortaleza rather than have her fly north.

Steven Koenig Silver Spring, Maryland

BEGGING FOR CORRECTIONS I enjo,, our magazine. Articles are interesting and written in a lively intelligent way. But you need a little more proofreading. A few errors in the December issue (pages 6 and 7): 1. Romance in Portuguese is novel in English, not -romance- 2. More than hats and coats are taken off, not -taken out- 3. Brazil's capital was moved to Brasilia in 1960, not has been moved 4. Mi Buenos Aires querido, not -querida".

Don Galfond San Francisco, California

QUITE DISAPPOINTED

HELPING HAND

I saw your News from Brazil On Line mentioned on Internet's soc.culture.brazil newsgroup. Your page took a long time to download and I almost pushed stop. And then there wasn't really much to see. I will not even click on another link because I don't want to wait.

Peter J. Schoenster Germantown, Tennessee

I am a Technical Editor who writes computer manuals. I would like to help to get some more Washington, D.C., Baltimore and Maryland coverage into News from Brazil.

Dan Gresser Columbia, Maryland

QUITE PLEASED Please, accept my subscription to News from 4razil. It was quite a surprise for me to see such a well designed WEB page as yours is. It is really one that's worth the ride. I am a college student in Santa Barbara, and most of all, proud of being a Brazilian. I wish you the best on this noble task of enhancing our country's image in the US. Rodrigo G. Debiasi Santa Barbara, California

Se RRY, NO OLDIES Delighted about finding you on line!

Look forward to receiving News from Brazil. How much would it cost to order all previous 1995 copies? I would like to place such an order. Muito obrigado.

Greg Stemm Tampa, Florida

SEASON'S GREETINGS I am giving myself a late Christmas present by subscribing to your magazine.

Having lived in Brazil as a student in 1994, ,I enjoy your comprehensive and balanced presentation of the Brazilian scene. I look forward to keeping in touch with -men Brasil- through News from Brazil.

Addison La Platta Atlanta, Georgia

BEING OF SERVICE Enclosed find check for a two years' subscription. I work at the Northern Regional Library Facility (regional storage and circulation of books from UC campuses at Berkeley, San Francisco, Santa Cruz and Davis). Just discovered you on line yesterday and am looking forward to using your service.

John McCartney Richmond, California

AH, IT WAS A BALL

MUSICAL TWIST

Reading about the Jovem Gziarda (Cover story -- January '96) was very emotional for me. Everything I lived was there and I sang the songs and had much fun thinking about old times. Then I realized that I am 46 years old. I am a Portuguese teacher from Belo Horizonte, Minas Gerais, and I want to give News from Brazil to my students. This is a gift and it will help my classes because we will have many subjects to talk about. Thank you for this great work.

Adelaide Davies Denver, Colorado

lam very interested in you culture and am a great fan of Veloso, Buarque, Lins, Jobim & Elis. Last year I was privileged to meet Eliana Elias and Toninho Horta who in addition to being very talented were very nice people. Enclosed is a check for a one year subscription. I heard about News from Brazil on the International Channel.

Deborah K. Schmitt Pittsburgh, Pensylvannia

SURE WE ARE I write a Brazilian electronic zine called Barata Eletrica. It's available at ftp.efforg at pub/Publications/CuD/Barata_Eletrica. I wonder if you guys are interested in an article about Brazilian hackers.

Derneval Cunha Soo Paulo, Brazil

25¢ A COPY

BRAZILIAN MEXICAN I get very excited every time I receive my new issue of News from Brazil. I would like to have more information on Brazilians living in the states of Oregon or Washington so I can communicate with them My interest is to promote the Brazilian music and culture even though lam Mexican. On a past life I'm sure I was Brazilian Yolanda Segura Bend, Oregon

NEWS""13PAZIL Mail to

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Yanke Samba Dandy Is Brazilian Carnaval becoming an American institution? You can count on a myriad of Carnaval lovers all around the US to make this happen before long.

VIOLET WELLES In 1969, the same year that North Americans stepped on the moon, a group of San Francisco's Bay Area Brazilians took a small but historic step of their own.

Opening the doors of a tiny hall in South San Fran cisco, they invited the world in. There were no costumes. The music was taped. By Rio or Bahia standards, the celebrants, mostly American, were sedate. But it was the first Brazilian Carnaval Ball on the West Coast.

Twenty seven years later, the event has become one of partyminded San Francisco's favorite entertainmments and the longest running Brazilian Carnaval Ball in the United States. It is now called the Bay Area Brasilian Club/Friends of Brazil Carnaval Ball to reflect a progressive shift of leadership a few years ago.

By any name, this one nightful of fun is what finances the Club's activities year round. Many of these concentrate on serious community needs: seminars on immigration, work, drugs, emergency family funding. Others concentrate on culture: concerts by Brazilian musical artists like Joao Bosco and Beth Carvalho, a film exhibition and San Francisco's First Children's Day. But on Carnaval night, revelers concentrate only on samba, frevo, marcha, samba reggae and axe.

Since 1984, the San Francisco Carnaval has been held in the Galleria, a soaring, multi-tiered building, which adapts naturally to festivity. Each year at Carnaval, it is embellished with banners, streamers, serpentines.

Last year, twin cardboard cutouts of a two-stry high 16

Carmen Miranda smiled down on the crowd.

This year â&#x20AC;&#x201D; "The Night of the Masquerade" decorations will be topped by a 24 by 24 foot Carnaval Mask winking seductively $ at the two to three thousand people who are expected to attend.

(Included among them is an upscale group from the Domaine Chandon Club, most of whom, it is likely will be attending their *first authentic Carnaval Ball.

And authentic is the key word. Through the years traditional Carnaval idols like Elsa Soares and Emilinha Borba have come up from Riot° join local Brazilian performers. Carnaval regulars through the years have included Lisa Silva; Aquarela, directed A by Maria Souza; Carlos Aceituno's Fogo na Roupa; and Oxumare, guided by Gilda Maria. On-sta4e also,, for the past 11 years has been The Brazilian All Star Big Band, under the direction of Celia Malheiros.

Although most of the Band's members are professional performers, there are some whose every day lives are very different. Among the bespangled entertainers are Marilu, who details foreign cars; Marisa, a travel agent; and Roberto, one of the top Portuguese court interpreters in California.

The evening will also include a tribute to Neuza Brown, a ,native of Rio, who took a rhythmic step of her own in the history of Bay Area Carnaval Balls. She was the first sambista, the first person to bring the fantastic costumes and the fiery spirit of the escolas de sambas to the Bay Area dance floor.

Carnaval '96's theme, A Nolte dos Mascarados (The Night of the Masquerades) is one that has been popular among revelers at Carnaval Balls for hundreds of years, in Italy, France and Portugal. Both the elegant Carnaval Balls and the raffish, downright dirty pre-Lenten entrudos of the Portuguese poor were exported to Brazil and, like so much else in that country, it was the mixing which made Carnaval different than any other celebration on earth.

Despite the theme, the masks are optional One member of the Club, toddled lightly by poetic inspiration, explains: 'Wear a mask or don't wear one To the Brazilian night of fun!"

While San Francisco celebrants wrestle with that one, Brazilians and non-Brazilians all over the US are following their own traditions and preparing their own Carnaval Balls.

New York actually held the first Cnrnaval Ball in the country at the Waldorf Astoria Hotel but there have been some years when the event was skipped. This year, 'however, there will once again be a Carnaval Ball at the Waldorf.

Los Angeles will hold the 15th Carnaval Ball sponsored by Samba e Saudade, at the Hollywood Palladium. Florida Brasileiros will samba at the Seville Beach Hotel in Miami Beach, their ninth such celebration.

Made-by-Brazilian Carnaval Balls have also appeared, from time to time, in Chicago, San Diego and even Ariwila.

More and more the spirit of Felebration, the excitement of the upcoming change of seasons and just the desire to have one rare old time makes the Brazilian Carnaval Ball more popular each year.

Someday, perhaps, it may even challenge the New Orleans Mardi Gras in popularity as a "all American entertainment institution." s NEWS from BRAZIL - FEBRUARY 1996

Brazil will spend, in a single movie, public money enough to produce 10 good Brazilian films! Brazilian cinema is not an industry, a ft business like in Hollywood, but when actor Guilherme ▪Fontes's overbudgeted project Which will deal with TV and newspaper mogul Assis Chateaubriand received official approval,i t ' reminded me of director Michael Citnino's disastrous superproduction ▪Heaven's Gate and I asked myself: "What are we getting for so much money? ; Where are the bad judgment or the irregularities in - this case?"

Irregularity number I — In 1994, as published on s the Diario Oficial da = Uniao, Parliament approved for the year 1995,a 'total value dedicated to Brazilian Cultural Projects enough toproduce 80 moving pictures with an average duration of 1:30h and average cost of $1,200. In Brazil, actors and technicians don't demand Hollywoodian wages. It happens that the Culture Ministry has given one eighth of the national yearly cake to one single film project. This when there are nearly 100 movie projects waiting for this chance.

Irregularity number 2 — That project was approved "ad referendum", which means it has not been judged by the Film and Video Committee (CN1CIBAC) as other film projects have to be.

Irregularity number3 — Authorized on December 11, the Chateaubriand project gave only 20 days and this during the Christmas season — for the people involved to raise the budget money from sponsors. It's known that even experienced producers as Dona Flor and Her Two Husbands's Luis Carlos Barreto usually take more than one year to raise funds for a middle-budgeted film.

NEWS from BRAZIL - FEBRUARY 1996

And if we shared those millions?

Actor Guilherme Fontes, through some very good contacts in the federal government, has assured millions of dollars for a project to film the life of Brazilian media mogul Assis Chateaubriand. This too sweet of a deal angered many filmmakers who were on line to get some federal financing. Here, a filmmaker blows the whistle.

MARCOS MANHAES MARINS

Irregularity number 4 — That privileged project had no budget until the beinning of December 95, while there is a pioneer project called Cabeca de Paraiba with exactly the same objectives --producing a movie with miniseries version. telling the life of Assis Chateaubriand, the father of Brazilian TV being developed together with the Culture Ministry since 1992. And this miniseries screenplay has been published and registered since May I 1, 1994„ before the release on August 4, 1994 of journalist Fernando de Moraes bestseller Chute, o Ret do Brasil.

Brazil was producing 100 films a year in the' 70s but his number had fallen' to zero 1992 when President Fernando Collor de Mello closed Embrafilme.

Recently, the national movie industry has shown signs of life. An important mark of the renaissance of the Brazilian Cinema was the film Carlota Joaquin

by Carla Camurati . It cost a about $600,000 and it a big hit in Brazil, se more than $4 millfo tickets.

E Walter Sal e Terra strungeira (Foreign Land), another successful quality film cost even less and was invited to compete in the US Sundance Film Festival.

The 'most expensive movie finished in 1995 was 0 Qztatrilho, produced by Luis Carlos Barreto, who previously produced Dona Flor and Her Two Husbands”. Barrett) spent $1.6 pillionsin 0 Quatrilho ad was able to sell 60% of its shares at the Stock Exchange, Mr. Barreto produced a first class film which has received applause frtnif the audience and has even been considered for an Oscar nomination. The average budgett !pt:oduce a Brazilian film 17

about than $1.2 million. That's not the little. After all, film. At that time he said to be in negotiations so Al Pacino this is close to the budget of many successful Woody would play Chateaubriand. According to Fontes himself, Allen's films. Quentim Tarantino's Sex, Lies and Video$3 million would go for film production and $2 million tape cost less than this, got a prize in Cannes and pleased for publicity. With $12 million, what is he going to do the public. with the other 7 million?

That creative way of producing is appropriate for a country like Brazil. Moreover, the most successful BraSeveral do ments about this question can be viewed zilian film of all times, Dona Flor and Her rwo Husin the Internet at http://www.ibase.br/—cinemabrazil/ bands made a mere $11 million. And this duringoa period forum.html). that spanned more than 10 years. A Dama do LotacCio with superstar Stinia Braga sold $ 7 million in tickets..

Marcos Manhaes Marins, Lucio FIcivio,$ 6 million. a graduate from Universidade Federal Now a minister authorizes $12 million for a shigle do Rio de Janeiro, is a filmmaker and movie. Big money is no warranty for success. We ,have:, has studied at the British Film Institute. many expensive flops in Hollywood to prove that. in You can contact him through E-mail: Brazil, I remember for instance a project called Chico cinemabrazil@ax.ibase.org.br Rei, film and miniseries directed by Walter Lima Jr., an or phone: 55-21-971-1567. experienced film maker who failed. And he had plenty o Marins has been directing the project money thanks to a co-production with some Europe• Chateaubriand - Cabeca de Paraiba countries in Europe. The costs soared and the disaster was so big that the negative film rolls are still in the lab waiting to be paid.

And even if the Chateaubriand project becomes a huge hit, I believe that Brazil would benefit much more if it had ten new movies made instead of only one. That would also mean jobs for 1,000 film professionals instead of the 100 who will be benefited. Besides that, with this kind of money ten Brazilian filmmakBased on the tremendous success of Hughes' DIRECDP° service in the U.S., Hughes Communications, Inc. has formed the Galaxy Latin American' company to ers, experienced or not, could introduce DIRECTV in Latin America later this year. This is your opportunity to show your have an opportunity to exertechnological expertise on a global scale. You will be based in our new California Broadcast cise their talent. This way, we Center in Southern California, the most sophisticated facility of its kind in the world. If you would have ten options and have relevant experience, you could become part of the future of broadcasting in one of we would multiply by ten the thesenxciting opportunities: possibilities of producing The following three positions require English/Portuguese bilingual ability works of art as well as money making hits.

— BROADCAST OPERATIONS SHIFT SUPERVISORS We have to start producSupervise on-air activities, troubleshoot and resolve all broadcast-related issues and maning again 50 or 100 films a age operations staff. Requires 6+ years broadcast experience. (job Code: NFB/BOSS) year. (The United States proBROADCAST CONTROL OPERATORS duces more than 300). Then, Monitor all on-air activities, check and measure quality of incoming, in-plant and in a large market, yes, one or transmitted broadcast signals and confirm integrity of daily broadcast schedule. other movie may cost a for(lob Code: NFB/BCO) tune and put at risk its comRESOURCE SCHEDULING COORDINATORS pany as it happened in HollyCoordinate scheduling of all operational facilities and staff assignments. Requires wood with Orion, Carolco and scheduling experience in a broadcast/cable environment. (Job Code: NFB/RSC) Metro-Goldwyn-Meyer/UA. We offer a highly competitive compensation and benefits package and the opportunity to What will happen if we put in make a significant impact in our new venture. For prompt consideration, jeopardy our embryonic marplease forward your resume Hughes Communications, Inc., do Cameron-Newell ket which has released only Advertising, P.O. Box 56236, (indicate appropriate job code), Sherman Oaks, CA 91403.

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NEWS from BRAZIL - FEBRUARY 1998

The end of 1995 was marked by political and The inflation was profitable for the banks but economic tension in the Brazilian Parliament. left them weak administratively and laggard in Political scandals as the "Pink Folder" affair or adapting to a new stable economy. the SIVAM (Amazon surveillance project) teleThe Central Bank's president, Gustavo phone tapping case, andthe financial crisis were Loyola, defe d,s the idea that banking mergers shaking hard the Real Plan named for the new are essential to strengthen Brazil's fmancial Brazilian currency. The plan which made a system Usu lly, these banks for sale are in bad monster 50% a month inflation into a tame shape and t e government needs to create a yearly 16% is forcing banks to change to a new hanism stimulate other financial institumarket structure. In a normal tions to take over these white economy, the banking system elephants. functions as a link between The PROER, Program o investors and savers. Under timulus to Restructure and an inflationary economy, it Strengthen the National Finanbecomes a mere inflation tax cial System, was put together collector due to the loss of by the Cardoso government to value in money deposited in, help banks merge and acquire banking accounts, - one another. Loyola believes The Real economic stabi that' "the program is not to lization plan of Juir1994 has ' benefit a single system but the generated chaos in the finanwhole economy." He sees cial system. This intinn . is banks as a heart in the ecopressuring the government to nomy pumping Investments create a new set of:rules to into all sectors. The PROER stimulate restructuring and has the full support of two therefore strengthening the former economic ministers, More than 50 years after banking institutions. Brazil Mario Henrique Simonsen and its creation, Banco has 246 banks — more, than Ernane Galveas, who see an Nacional, the seventh Canada and France — and urgent need to adjust the largest financial according to the econbinymincountry's financial system to institution in Brazil went ister Pedro Malan this is not bankrupt. This was just a new, era. good sign. There are too many the latest link on a chain The restructuring of finanbanks for too little money, he that has been decimating cial systems is not a Brazilian argues. Malan believei that the the bank system in the phenomenon, but a global ocnew economic environment in country. Since July 1994, currence. It's continually hap15 banks were liquidated Brazil will cut this number in pening in the US. In Japan, the by the Central Bank and half by the end of the century.

Bank of Tokyo merged with other six — includinp In 1988, Brazil had 100 the Mitsubishi Bank, and in Sao Paulo's and Rio $ domestic banks and the new .

Hong Kong, the Bank of East state banks — were constitution -- loosening the Asia merged with the United placed under federal requirements to open up such Chinese Bank. The Dutch NO intervention. After the institutions — paved the road Bank acquiring the bankrupted end-of-the-eighties' boom to a boom in the financial sysBritish Barings reinforces the comes the bust. tem. Inflation fueled an easy phenomenon. The globalizaway to make profits and banktion increases competition CARLOS E. F. BARRETO ing became a good business. which forces banks to increase For example, banks would receipts and decrease costs. act as government agents This justifies the collecting water and energy changes in many internabills from the population tional banks. The Credit but those funds would only Commercial de France be passed to the governmerged with the Bank of ment three days later.

Montreal, the Itamarati At the time, Brazil was Bank acquired the Crefisul, running an average 80% the nail Bank bought the monthly inflation rate and Banco Frances-Bra si le iro, three days represented an and the Hong Kong Shangai 8% easy gain. In 1993, the Bank associated with the 40 biggest banks- earned Bamerindus Bank which in $9.1 billion from this floatturn sold 6% to the Miding money -- 26% of the land Bank. banks' total receipts -Since July 1994, the added to the $2.1 billion in Brazilian Central Bank liqprofits. But in the first six uidated 15 banks and intermonths of 1995, this numvened in another six. The ber had declined to $203 Banerj (Bank of the State million — accounting for of Rio de Janeiro) and the less than 1% of their total Banespa (Bank of the State receipts — and followed a of Sao Paulo) are two large $1.4 billion drop in profits. state-owned banks under

Banks in hock

NEWS from BRAZIL - FEBRUARY 1996

19

intervention due to bad administration and politics.

Excel! Bank and the other is under the government In this interventionist process, the Bank Bozano, intervention for eventual liquidation. The Excel!

Simonsen won a bid to administer and then privahas been required to inject $309 million to increase tize the Banerj, under the Central Bank since the the capital of the new bank. Despite the financial end of 1994. crisis, the Banco Excel! bid to buy the Economic째 The Bozano, Simonsen has been an aggressive had the Swiss Bank support, a sign of confidence in player in the process of privatization o f state owned the Brazilian banking system. enterprises and thus has a vast experience in cleanBanco Nacional, created in 1944 in the state of ing bankrupt businesses turning them into profitinas Gerais, was the latest financial institution to able ones. go belly up. It was Brazil's seventh largest bank.

This innovative process of intervention and The Nacional was acquired by another bank from privatization used Minas, the Unibanco, the sixth by the Central largest Brazilian bank, which The rules of acquisition Bank opens up was founded in 1924. These two 1. Banks acquiring other banks will have an offi- institutions represent traditional avenues to a new line of credit to re-organize the new bank. This way of dealing cial line of credit will have a lower interest rate than those Brazilian families running busiwith problematic charged in the market. The funds come from the state ness as small shops. institutions, del- to the entrepreneur.

The deal generated the third egating the clean2. The buying bank may deduct the loss of the largest Brazilian bank. Citibank ing-up job to the other institution in the income tax of the new bank. and the Bank of Boston bought 3. The stocks of the sold institution held by the left-over agencies from the private sector.

Even though the private investors will have to be traded in the market Nacional. The merger represents Banerj is to be to a value 40% lower or sold to the new institution at a $500 million reduction in exa price stated in the bank's last annual fictitious privatized, the Sao balance-sheet. These will no longer be accepted by penses for the two banks inPaulo state gov- the new bank at its current value. volved. This figure represents ernment has been 4. The $10 billion funds come from the Central more than the two institutions reluctant to do the Bank, Banco do Brasil and the Caixa Economica were expecting to profit in one same with Banes- Federal. year. pa. Moreover, a According to a Lloyds Prilarger bomb dropped in the country's financial vate Bank's consultant, the Brazilian economy can market was the Banco Economic째. Economic째, an handle no more than 150 banks, a little over half of old private Brazilian bank, was put under the Cetithe existing ntImber. Mergers and acquisitions will tral Bank intervention after a $3.5 billion shortfall. continue. The merging of institutions result in huge The Economic째 had to be split into two: the gains from economies of scale and reduction in profitable side of it was sold to the much smaller costs,

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1-800E9764872 NEWS from BRAZIL - FEBRUARY 1996

An expert businessman undertakes an overall assessment of Brazil, its people, its economy. There has never been a better time or better reasons to be optimistic about the future, he concludes.

WILSON VELLOSO

This is a review of a paper written by Said Farhat for several customers of SEMPREL, his lobbying company. Farhat prepared it in English for the benefit of his clients who couldn't speak Portuguese but have huge interests in Brazil. A longtime Federal civil servant, Farhat began his career with the Brazilian Geographical and Statistical Institute (IBGE), in the country's remote Northwestern territory of Acre, now a full-fledged State (IBGE is Brazil's census bureau).

When he was done with the IBGE, he joined a major Brazilian advertising company where he designed and directed public opinion surveys and later managed agency offices in London and elsewhere. After a stint as an executive of the Vision Publishing Group, he acquired its Viscio magazine whose publisher and editor he became; several of his editorials earned him the animosity of the Army brass at a difficult time of the military dictatorship (that ruled Brazil from 1964 to 1983).

With the sale of Vislio, Farhat felt free to offer his remarkable social and political talents to a presidential candidate, General Joao Batista Figueiredo as a PR adviser. He managed to change radically Figueiredo's image, carving for him a civilian niche and placing him much closer to the Brazilian electorate. When Figueiredo was elected, the last Army general to serve as president, Farhat was appointed Minister of Communications and did a commendable job, but again got on the wrong side ofthe armed forces which forced his resignation. After a brief political and unsuccessful fling as a candidate to the Senate from Acre State, Farhat established SEMPREL. Brazil has the fourth or fifth largest land area [3.3 million square miles] in the world, depending on how you compute and place the territories of the former USSR. Its population is over 160 million. According to estimates of the UN Food and Agricultural Organization (FAO), Brazil produced 75 million tons of grains in 1994. It has 129 million acres under cultivation, 431 million acres in grazing lands, and 348 million acres in usable land.

In 1994, the Gross Domestic Product (GDP) of Brazil was 450 billion dollars, of which $249 billion (55.3%) was generated by trade and services, $156 billion (34.6%) by manufactures, and $45 billion (10%) by agriculture.

NEWS from BRAZIL - FEBRUARY 1996

21

However, as Farhat points out, the overall GDP per ing "well below the poverty line" can only expect to capita — $4.630 — is practically meaningless because put up with "poverty, poor health, a shorter life span, of the catastrophic differences between North and and fewer opportunities to improve the quality of their South, or more specifically SE Brazil,•and NE Brazil. lives."

In a comparison between the States of Sao Paulo and Then comes the clincher: "This [situation is] furPernambuco (which is fairly prosperous in NE terms) ther aggravated by the fact that the rich pay low or Sao Paulo takes the lion's share with a $4,630 GDP per virtually no taxes whilst the poor carry the heaviest tax capita, while Pernambuco's is $1500. Sao Paulo has burden, principally disguised as 'indirect' taxes on 5.6 million cars and Pernambuco 601,000. The average consumption, taxes on salaries, and other forms of monthly wage of a Paulista worker is just over $1000, work compensation. Let's hope Republican Congresswhile his/her Pernambucano counterpart makes $175. people in Washington don't hear of this" The countrywide average salary is $650 per month.

As a result, the essay goes on, "the rich local and Brazil, Farhat points out, is "not one, but several regional markets.. will become richer and richer, while countries." He goes on to focus on this point by lining the rest of Brazil.. may get poorer and poorer." The up data from a UNICEF state-by-state study based on rich local and regional markets are defined as Sao the 1991 census and referring to children's conditions Paulo City and State, the States of Minas Gerais, Rio de of survival and the percentages of the children in those Janeiro, Parana, Santa Catarina and Rio Grande do Sul, conditions over the total child population between the with the possible addition... of Mato Grosso do Sul." ages from 0 to 6.

But not everything is bad Extreme cases of ( i ) children in worst survival On the positive side, Farhat points out, there has conditions are: Maranhao 73%, sao Paulo 0.9%; (2) children in midpoint conditions: Maranhao 10.8%, Sao Paulo 6.3%; and (3) children in better conditions: Maranhao, 13.9%, sao Paulo 92.8%.

Thus, the author argues, it is easy to see why most businessmen, both domestic and foreign, tend to pick up the Southeast and the South, the Brazilian areas with the highest incomes, markets, buying power, and "well-to-do" consumer habits. The resulting concentration of job opportunities "further aggravates the immense gap between the two Brazils."

In a country where the richLIMA i489 est 10 percent of the population BUENOI AIREI 633 own 48 percent of the GDP, as against only 12 percent of the MONTEVIDEO 649 GDP in the hands of 50 percent of the population, it is easy to FROM IA0 PAULO $866 SEA L:IN S ON estimate that 14 percent of the Gross Domestic Product is held by the richest 1 percent of the RIO/IAO PAULO (21 DAYI) $571 population.

• Farhat does not mention it IALVADOR/BRAIiLIA i666 but, like in the US, politicians BELO HORIZONTE/RECIFE 666 in Brazil show little political will to change the picture, balPORTO ALEGRE 666 ance the scales of compassion, really solve the country's many and extremely serious problems. Besides their concern with their own economic interests and their anxiety over reTO election, their approach is Marie Antoinette's: "They have no bread? Let them it cake!"

In the absence of a desire to PRICES SUBJECT TO CHANGE WITHOUT NOTICE weld the country together, a task that the author believes would take two generations, the 10 million Brazilians now liv-

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NEWS from BRAZIL - FEBRUARY 1996

been a sizable downswing of 15.15 percent in population billion in the fikelve-month period ending May 1995 growth, from-38.87 in 1980 to 12.72 percent in 1990. This (Central Bank data). may have happened because of a decrease in the rate of - The per capita GDP in constant value currency fertility: from 4 children per 100 women over 15 in 1980, grew by.10.9 plrcent between the first quarter of 1990 to 3,7 in 1985 to 2.7 in 1990. Simultaneously, infant and the second quarter of 1995. mortality rates also declined from 65.8 per thousand live -Actual GDPs, which were $35.5 billion in 1970, births in 1980 to 51.6 per thousand in 1990. In addition, $444.2 billion 1993, and $456 billion in 1994, are life expectancy at birth grew from 41 years in 1940 to 62 projected to realch $500 billion in 1995. years in 1980 to 65 years in 1990, raising the age of - Manufacture of motor vehicles increased from Brazilians in general. Seniors over 60 years, who were 1.7 966.7 k in 1985 to 1.58 million in 1994 -- a 63,4 million (4.1%) in 1940 now are 10.9 million or 7.4 percent percent difference, turning Brazil into the 9th largest of a much larger population. On the other hand, food automotive manufacturer in the world, following the production increased significantly from 56.1 million tons UK with 1.6 Million but ahead of Italy with 1.53 of grains in 1990 to 75.2 million tons in 1994, 34.% in five million.

- Energy consumption by industry has risen from years.

Highlights: 50.2 K tEP (equivalent to tons of oil) in 1983 to 71.5 K - In 1940, feeding each city dweller required the joint tEP in 1993 -n increase of 29.8%. effort of 2.5 farmers; nowadays, each farmer feeds 3.6 - In 10 years, the foreign trade of Brazil accounted city dwellers. for $521.8 billion, with a surplus of $129.3 billion. If - From 1982 to 1992, the total cultivated area fell by recent trends persist, Brazilian foreign trade will reach 30 percent but production of certain grains, in tons per acre, increased by 14.9 percent.

-In 12 months of stability and inflation (after the "inflation industry taps" were practically turned off by the 4221 Wilshire BI. #391 - LoS Angeles, CA 90010 present administration) the minimum monthly wage, Fa* (213) 525-1584 considered a "basic reference" for work compensation, jumped from $68.93 in July 1994 to $108.46 in June 1995, for a 67.4% gain. Inflation fell from an average of 43% a month in the first half of 1994 (about 5/7,000% inflation per year) to 25/30% in 95,and is still decreasing.

- The basic food basket (enough to feed a family of four for a month) costs the same as one year ago, or a little less.

- Because the family wage as a unit has gone up, and keeps going up, "those who were not eating now can think of eating," said a Northeastern worker. And the workforce has kept relatively peaceful, although unemployment rose from 3.8% in January 1988 to 4.5% in May "CERTAIN RESTRICTIONS APPLY!" 1995.

Representing: VASP, VARIG, AMERICAN, - Government-owned LADECO, LAN CHILE, LACSA, companies formerly operating in the red have been sold.

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- After the quake that followed the Mexico financial crisis, Brazilian reserves are recouping and now reach over $40 billion in ready cash.

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$150 billion a year by 2000/01, with $75 billion a year ! in export and basically the same amount in import.

— Economists forecast that if the performance of the last 10 years holds as an acceptable yardstick, andj' new opportunities are added at the present pace, the historical growth level of Brazil GDP should be approximately 7 or 8 percent a year, as it was in the 70's.

— The present projection is for some $2-5 billion to , be invested in new money over the coming years.

Likely attractive fields include automotive, that has , caught the eye of Peugeot and Renault from France, Honda and Toyota from Japan, ASIA, Hyundai, and KIA from Korea, Scania from Sweden, Ford and GM from the US. Retail and fast food are being considered

by Carrefour from France, as well as Arby's, Kentucky Fried Chicken, McDonald's, and Wal-Mart from the US. Food and beverages beckoning to Brazilian corporations such as Antarctica and Brahma, Unilever freirn the UK, Coca-Cola, Gatorade, Pepsi, Procter & Gamble from the US. Computer hard and software are being considered by Samsung and Goldstar from Korea,' Apple, Compaq, IBM, and Microsoft from the US. In the heavy industry and equipment sector there is interest from Bosch/Siemens from Germany, Philips from the Netherlands, ABB-Asea/Brown-Bovery from Sweden/Switzerland, Alcoa and GE lighting from the US. Several hundred other smaller companies and conglomerates are also willing to invest in Brazil.

— Among other fields now wide open to native and foreign investment in infrastructure are communications (telephones, nationwide and local networks, electronic hardware, satellite services), mail (messenger, courier, and other services), mining, natural gas, petroleum and derivatives, rail (equipment and service).

— The rise of double-salary families is expected to', bust open the Brazilian markets for home appliances (automatic refrigerators, time-controlled gas ovens,, microwave ovens, dishwashers, washing machines an dryers, small kitchen and personal appliances, cars,' computers, peripherals, and software, utility vehicles, RV's, motor cycles and scooters, camping equipment, boats, holiday travel, tour packages, hotel and catering, tour buses, cable TV, interactive TV and radio, etc.

— The increasing modernization of households in:, big cities is already putting a premium on good skilled'i domestic servants. Middle-class couples are learning 1, fast to pick up the slack although begrudgingly, anci,, missing the hard-working, diligent Marias of yester-% year. Commercial laundries, Laundromats, and dry-cleaning establishments will make many Chinese rich.

Many of the reforms in the pipeline, says Farhat, including several requiring amendments to the Consti4 tution, are expected to (a) end discrimination favoring , companies established under Brazilian law, no matter the national source of their capital.

The new legislation is expected to: abolish government monopoly in communications and allow private, competition with the existing state-owned systems; open the mining sector to private capitals, both native and foreign: allow foreign ships in Brazil to provide coastal passenger and freight services; abolish the States monopoly in the distribution of natural gas for residential and industrial uses; open oil prospecting, exploiting, hauling, processing, to private interests both Brazilian and foreign and grant them licenses to import and export crude, subproducts, and derivative 24

change the domestic banking laws and regulations to permit foreign capital banking corporations to operate commercial banks and render a full range of financial services; change the tax laws to permit "access to individual banking records" in specific cases and circumstances.

Already in consideration by the Brazilian Congress are bills aiming to: reform social security and allow participation of private companies and schemes; levy a "health tax" on each bank deposit or withdrawal; allow foreign corporations to operate hospitals, offer health insurance and kindred services; prune the vast Federal bureaucracy and give sizable rewards for improved efficiency in the State and county management.

The net result of all the proposed changes is to allow "regular taxpayers" to pay lower personal taxes; rein in into the system all the now virtually "exempt" rich people, thus broadening the country's tax base; raise the income tax for those on the higher brackets and simultaneously cut corporate taxes, including payroll taxes; emphasize direct taxation, shifting the tax burden to consumers, with relief for producers. Many of these measures, Farhat warns, will be fiercely opposed in Congress.

He ends his monograph saying that the coming years will be exciting ones for those companies who know Brazil from experience and realize that the country "is an excellent base to manufacture, perform services, buy and sell world-wide," provided they have the "intelligence to see, the managerial skills to plan and perfo ," as well as the valor to risk, the confidence to periment, the know-how to find the right solutions, nd the staying power to reap the fruit of their inve ment and labors.

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192 Brighton Ave. Allston, MA 02134 NEWS from BRAZIL - FEBRUARY 1996

adinho, o pital. Nao, porem, tao intima primeiro a ponto de dar-lhe umbimarido de gadas, de pinicar-lhe o olho, dona Flor, de sambar com ela. Curvoumorreu num se sobre Vadinho, colocoudomingo de carnaval, pela lhe a mao no pescoco, estremanha, quando, fantasiado meceu, sentindo um frio no de baiana, sambava num ventre e na espinha: bloco, na major animacao, — Ta morto, meu Deus! no Largo Dois de Julho, nao Outros tocaram tambena longe de sua casa. Nao o corpo do moyo, tomarampertencia ao bloco, acabara lhe do pulso, suspenderamde nele misturar-se, em lhe a cabeya de melenas companhia de mais quatro loiras, buscaram-lhe o palpiamigos, todos com traje de tar do corayao. Nada obtivebaiana, e vinham de um bar ram, era sem jeito, Vadinho no Cabeya onde o uisque desertara para sempre do correra farto a custa de urn Carnaval da Bahia. certo Moyses Alves, fazen2 deiro de cacau, rico e perduFoi um rebulico no bloco Vadinho, Dona Flor's first husband died on lario. e na rua, urn corre-corre pelas a Sunday of Carnaval, in the morning, 0 bloco conduzia uma redondezas, urn deus-noswhen, wearing a Bahiana costume, he was pequena e afinada orquestra acuda a sacudir os carnasambaing in a bloco, happy as ever, de violOes e flautas; ao valescos — e ainda por cima not far from home. cavaquinho, Carlinhos Masa escandalosa Anete, profescarenhas, rnagricela celebrasorinha romantica e histerica do nos castelos, ah! urn cavaquinho diaproyeitou a boa oportunidade para um vino. Vestiam-se os rapazes de ciganos e chilique, com pequenos gritos agudos e as moos de camponesas hUngaras ou ameayas de desmaio. Toda aquela rumenas; jamais, porem, himgara ou representayao em honra do dengoso rumena ou mesmo bUlgara ou eslovaca Carlinhos Mascarenhas, por quem rebolou como rebolavam elas, cabrochas suspirava a melindrosa de faniquito fadi na for da idade e da faceirice.

— dizendo-se ela propria ultra-sensivel Vadinho, o mais animado de todos, arrepiando-se como uma gata quando ao ver o bloco despontar na esquina e ao ele dedilhava o cavaquinho. Cavaquinho ouvir o ponteado do esqueletico Mascaagora silencioso, pendendo inOtil das renhas no cavaquinho sublime, adiantoumaos do artista, como se Vadinho se rapid°, postou-se ante a rumena houvesse levado consigo para o outro carregada na cor, uma grandona, monumundo seus derradeiros acordes. mental como uma igreja — e era a Igreja Veio gente correndo de todos os de Sao Francisco, pois se cobria corn um lados, logo a noticia circulou pelas desparrame de lantejoula doirada — . imediayaes, chegou a Sao Pedro, a anunciou: Avenida Sete, ao Campo Grande, — La you eu, minha russa do rrebanhando curiosos. Em torno ao Tororo... adaver reunia-se uma pequena multidao 0 cigano Mascarenhas, tambem ele acotovelar-se em comentarios. Urn gastando vidrilhos e miyangas, festivas medico residente no Sodre foi requisitado argolas penduradas nas orelhas, apurau urn guarda-de-transito sacou de urn no cavaquinho, as flautas e os violOes pito e nele soprava sem parar como a gemeram, Vadinho caiu no samba com dvertir a cidade inteira, a todo o aquele exemplar entusiasmo, caractearnaval, do fim de Vadinho. ristico de tudo quanto fazia, exceto "Pois see Vadinho, coitadinho dele", trabalhar. Rodopiava em meio ao bloco, onstatou urn careta, corn sua mascara sapateava em frente a mulata, avanyava e meia, perdida a animayao. Todos para ela em floreios e umbigadas, quando, reconheciam o morto, era largamente de sabito, soltou uma especie de ronco popular, corn sua alegria esfuziante, seu surdo, vacilou nas pernas, adernou de bigodinho recortado, sua altivez de urn lado, rolou no chao, botando uma inalandro, benquisto sobretudo nos baba amarela pela boca onde o esgar da lugares onde se bebia, jogava, e farreava; morte nao conseguia apagar de todo o ali, tao perto de sua residencia, nao satisfeito sorriso do foliao definitivo que avia quern nao o identificasse. ele fora.

Outro mascarado, este vestido de Os amigos ainda pensaram tratar-se niagem e coberto corn uma cabeyorra de cachaya, nao os uisques do fazendeiro: e urso, varou o cerrado grupo, conseguiu nao seriam aquelas quatro ou cinco doses roximar-se e ver. Arrancou a mascara capazes de possuir bebedor da classe de eixando exposta uma cara aflita, de Vadinho; porem toda a cachaya acumuigodes caidos e cranio careca e lada desde a vespera ao meio-dia quando urmurou: oficialmente inauguraram o carnaval no -- Vadinho, meu irmaozinho, que Bar Triunfo, na PrayaMunicipal, subindo i que te fizeram? toda ela de uma vez e derrubando-o "Que foi que deu nele, de que adormecido. Mas a mulata grandona nao morreu?" perguntavam-se uns aos outros, se deixou enganar: enfermeira de e havia quern respondesse: "foi cachaya", profissao estava acostumada com a numa explicayao por demais facil para morte, frequentava-adiariamente no hostao inesperada morte. Umavelha curvada

V

JORGE AMADO'S

1p

NEWS from BRAZIL - FEBRUARY '595

29

parou tambem, deu sua olhadela, constatou: — To moderno ainda, por que morrer tao moco? erguntas e respostas cruzavamse, enquanto o medico colocava o ouvido sobre o peito de Vadinho, numa constatacao finale inutil.

"Estava sambando, numa animacao retada, e sem avisar nada a ninguem, caiu de lado ja todo cheio da morte," — explicou urn dos quatro amigos, curado por completo da cachaca, de subito sobrio e comovido, meio sem jeito nas roupas femininas de baiana, as faces vermelhas de carmim, fundas olheiras negras, tracadas corn cortica queimada, sob os olhos.

0 fato de estarem fantasiados de baiana nao deve levar a maliciar-se sobre os cinco rapazes, todos eles de macheza comprovada. Vestiam-se de baiana para melhor brincar, por farsa e molecagem, e nao por tendencia ao efeminado, a suspeitas esquisitices. Nao havia chibungo entre eles, benza Deus.

Vadinho, inclusive, amarrara sob a anagua branca e engomada, enorme raiz de mandioca e, a cada passo, suspendia as saias e exibia o trofeu descomunal e pornografico fazendo as mulheres esconderem nas maos o rosto e o riso, corn maliciosa vergonha. Agora a raiz pendia abandonada sobre a coxa descoberta e nao fazia ninguem rir. Urn dos amigos veio e a desatou da cintura de Vadinho. Mas nem assim o defunto ficou decente e recatado, era urn morto de Carnaval e nao exibia sequer sangue de bala ou de facada a escorrer-lhe do peito, capaz de resgatar seu ar de mascarado.

Dona Flor, precedida, e claro, por dona Norma a dar ordens e a abrir caminho, chegou quase ao mesmo tempo que a policia. Quando despontou na esquina, apoiada nos bracos solidarios das comadres, todos adivinharam a viiiva, pois vinha suspirando e gemendo, sem tentar controlar os solucos, num pranto desfeito. Ao demais, trajava o robe caseiro e bastante usado corn que cuidava do asseio do lar, calcava chinelas carade-gato e ainda estava despenteada.

Mesmo assim era bonita, agradavel de ver-se: pequena e rechonchuda, de uma gordura sem banhas, a cor bronzeada de cabo-verde, os lisos cabelos tao negros a ponto de parecerem azulados, olhos de requebro e os labios grossos urn tanto abertos sobre os dentes alvos. Apetitosa, como costumava classifica-la o prOprio Vadinho em seus dias de ternura, raros talvez porem inesqueciveis. Quem sabe, devido as atividades culinarias da esposa, nesses idilios Vadinho dizia-lhe "meu manue de milho verde, meu acaraje cheiroso, minha franguinha gorda", e tais comparacOes gastron6micas davam justa ideia de certo encanto sensual e caseiro de dona Flor a esconder-se sob uma natureza tranquila e dOcil. Vadinho conhecia-lhe as fraquezas e as expunha ao sol, aquela ansia controlada de timida, aquele recatado desejo fazendo-se violencia e

p

30

mesmo inconti ncia ao libertarse na came. jando Vadinho estava de vela, nao existia ninguem mais encantador e nenhuma mulher sabia resistirlhe. Dona Flor jamais conseguira recusar-se a seu fascinio nem mesmo se a tanto se dispunha cheia de indignnao e de raiva recentes. pots, em repetidas ocasioes, diegara a odia-lo e a arrenegar ajtlia em que unira sua sorte a do *emir).

Mas *and° agoniada, ao encontro dd intempestiva morte de Vadinhq, dona Flor ia zonza, vazia de pekSamentos, de nada se recordavajtpm dos momentos de densa terraba, menos ainda dos dias cruei4de angustia e solidao, como se ao expirar fiaasse o marido dettpojado de todos as defeitos ou como se nao os houvesse possuido em "sua breve passagem por este vale de lagrimas".

"Foi breve sua passagem por esse vale de lagrimas", pronunciou o respeitavel professor Epaminondas Souza Pinto afetado e afobado,tentando cumprimentar a viuva, dar-lhe os pesames, antes mesmo dela chegar junto ao corpo do marido. Dona Gisa, tarnbem professora e ate certo ponto tambem respeitavel, conteve o acodamento do colega e conteve o riso. Se em verdade fora breve a passagem de Vadinho pela vida 7--- vinha de completar trinta e utwanos —, para ele, dona Gisa betw o sabia, nao fora o mundo vale de lagrimas e, sim, palco de farsas, engodos, embustes e pecados. A lguns dales aflitos e confusos, sem davida, submetendo seu coracao a arduas provas, a agonias e sobressaltos: dividas a pagar, promissorias a descontar, avalistas a convencer, compromissos assumidos, prazos improrrogaveis, protestos e cartorios, bancos e agiotas, caras• amarradas, amigos esquivando. se, sem falar nos sofrimento fisicos e morais de dona Flor.

Porque, considerava dona Gis em seu portugues arrevesado -era vagamente norte-americana naturalizara-se e se sentia brasileira mas o diabo da lingua Al nao conseguia domina-la —, se houvera lagrimas na breve passa gem de Vadinho pela vida, el tinham sido choradas por don Flor e foram muitas, davam d sobra para o casal.

Diante de tao subita morte,1 dona Gisa nao pensava ern!

Vadinho senao corn saudade: era the simpatico, apesar de tudo• , possuia um lado gentile cativante ` Nem por isso, no entanto, ne por ele encontrar-se au, no Larg Dois de Julho, morto, estendid

na rua, vestido de baiana, iria ela de repente santifica-lo, torcer a realidade, inventar outro Vadinho feito de um so pedno. Assim explicou a dona Norma, sua vizinha e intima, mas nao obteve da parceira o esperado apoio. Dona Norma muitas vezes dissera as altimas a Vadinho, brigava corn ele, pregava-lhe sermeles monumentais, chegara urn dia a amend-lo corn a policia. Naquela hora derradeira e aflita, porem, nao desejava comentar as predominantes e desagradaveis facetas do finado, queria apenas gabar seus lados bons, sua gentileza natural, sua solidariedade sempre pronta a manifestar-se, sua lealdade para corn os amigos, sua indiscutivel generosidade (sobretudo sea praticava corn o dinheiro alheio), sua irresponsavel e infinita alegria de viver. Alias, tao ocupada em acompanhar e socorrer dona Flor, nem tinha ouvidos para dona Gisa corn sua dura verdade. Dona Gisa era assim: a verdade acima de tudo, por vezes a ponto de faze-la parecer aspera e inflexivel; talvez numa atitude de defesa contra sua boa fe, pois era credula ao absurdo e confiava em todo mundo. Nao, nao relembrava os malfeitos de Vadinho para critica-lo au condena-lo, gostava dele e corn freqilencia perdiam-se os dois em longas prosas, dona Gisa interessada em apreender a psicologia do submundo onde Vadinho se movimentava, ele a contar-lhe casos e a espiar-lhe no decote do vestido o nascer dos seios pujantes e sardentos. Talvez dona Gisa o entendesse melhor que dona Norma, mas, ao contrario da outra, nao lhe descontava sequer um defeito, nao ia mentir s6 por que ele morrera. Nem a si propria dona Gisa mentia, a nao ser quando isso se fazia indispensavel. E nao era o caso, evidentemente.

Dona Flor atravessava o povo no rastro de dona Norma a abrir caminho corn os cotovelos e corn sua extensa popularidade: — Vai, arreda minha gente, deixa a pobre passar...

La estava Vadinho no chao de paralelepipedos, a boca sorrindo, todo branco e loiro, todo cheio de paz e de inoc'encia. Dona Flor ficou urn instante patada, a contempla-lo como se demorasse a reconhecer o marido ou talvez, mais provavelmente, a aceitar o fato, agora indiscutivel, de sua morte.

• Mas foi so um instante. Corn urn berro arrancado do fundo das entranhas, atirou-se sobre Vadinho, agarrou-se ao corpo imovel, a beijar-lhe os cabelos, o rosto pintado de carmim, os olhos abertos, o atrevido bigode, a boca morta, para sempre morta.

3 ra domingo de carnaval, quern nao tinha naquela noite corso • de automoveis a fazer, festa onde divertir-se, programa para a madrugada? Pois bem, corn tudo isso, o velorio de Vadinho foi um sucesso. "Urn autentico sucesso", como orgulhosamente constatou e proclamou dona Norma.

NEWS from BRAZIL - FEBRUARY 1996

Os homens do rabecao largaram o corpo em cima da cama no quarto de dormir, so depois os vizinhos o transportaram para a sala. Os tipos do necroterio estavam apressados, seu trabalho aumentava corn o carnaval. Enquanto os demais se divertiam, eles lidavam corn defuntos, corn as vitimas de desastres e de brigas. Arrancaram o lencol imundo a embrulhar o cadaver, entregaram o laudo A viirva. adinho ficou nu como Deus o pos no mundo, em cima da cama de casa!, uma cama de ferro corn cabeceira e pes trabalhados, comprada ern segunda mao por dona Flor, num leilao de moveis, quando do casamento, seis anos antes. Dona Flor, sozinha no quarto, abriu o envelope, estudou o parecer dos medicos. Balancou a cabeca, incredula. Quem diria.

Aparentemente tao forte e sao, tab moco ainda!

Gabava-se Vadinho de jamais ter estado doente e de ser capaz de atravessar oito dias e oito noites sem dormir, jogando e bebendo ou na farra corn mulheres. E por vezes nao passava realmente oito dias sem aparecer em casa, deixando dona Flor em desespero, como maluca? No entanto, ali estava o laudo dos doutores da Faculdade: era urn homem condenado, figado imprestavel, rins estrompados, coracao aos pandarecos. Podia morrer a qualquer moment°, como morrera. Assim, de repente. A cachaca, as noites nos cassinos, a • esb6rnia, a correria doida, a cata de dinheiro para o jogo haviam arruinado aquele organismo belo e forte, deixandolhe apenas a aparencia. Sim, porque, olhando-o so pelo lado de fora, quern o julgaria tao implacavelmente liquidado?

Dona Flor contemplou o corpo do marido, antes de chamar os prestimosos e impacientes vizinhos para a delicada tarefa de vesti-lo. La estava ele, nu como gostava de ficar na cama, uma penugem doirada a cobrir-lhe bracos e pernas, mata de pelos loiros no peito, a cicatriz da navalhada no ombro esquerdo. Tao belo e masculo, tao sabio no prazer!

Mais urns vez as lagrimas assomaram aos olhos da jovem vi6va. Tentou nao pensar no que estava pensando, nao era coisa para dia de velorio.

Ao ve-lo assim, porem, largado sobre o leito, inteiramente nu, nao podia dona Flor, por mais esforco que fizesse, deixar de recorda-lo como era na hora do desejo desatado: Vadinho nao tolerava peca de roupa sobre os corpos, nem pudibundo lencol a cobri-los, o pudor nao era seu forte. Quando a chamava para a cama, dizia-lhe: "vamos vadiar, minha filha"; era o amor, para ele, como uma festa de infinita alegria e liberdade, A qual se entregava corn aquele seu reconhecido entusiasmo aliado a uma competencia proclamada por maltiplas mulheres, de diferente condicao e classe. Nos primeiros tempos do casamento dona Flor ficava toda encabulada e sem jeito, pois ele a exigia nuinha por inteiro: — Onde ja se viu vadiar de camisola?

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NEWS from BRAZIL FEBRUARY 1996

Por quetute esconde? A vadiacao é coisa santa, foi inventada por Deus no paraiso, tu nao sabe?

Nao so a despia toda, como, achando pouco, tocava e brincava corn os detalhes de seu corpo de curvas largas e reentrancias profundas onde cruzavam-se sombra e luz num jogo de mist& rios. Dona Flor tentava cobrir-se, Vadinho arrancava o lencol entre risos, expunha-lhe os seios rijos, a formosa bunda, o ventre quase despido de pelos. Tomava dela como de um brinquedo, um brinquedo ou urn fechado botao de rosa que ele fazia desabrochar em cada noite de prazer. Dona Flor ia perdendo a timidez, entregando-se aquela festa lasciva, crescendo em violencia, tornando-se amante animosa e audaz. Nunca, porem, abandonou por completo a pudicicia e a vergonha; era necessario reconquista-la cada vez, pois, apenas desperta dessas loucas audacias e dos ais de desmaio, voltava a ser timida e pudorosa esposa.

Naquela hora, a sos corn a morte de Vadinho, deu-se conta dona Flor, entao e completamente, de sua viuvez e de que nao mais o teria, nem em seus bracos voltaria • a desmaiar. Porque desde o momento do tragico boato transmitido de boca em boca, ate a chegada do rabecao, no fim da tarde, vivera a professora de culinaria uma especie de sonho mau e ao mesmo tempo urn tanto excitante: o impacto da noticia, a caminhada em prantos ate o Largo Dois de Julho, o encontro corn o corpo, a multidao a roded-la, a cuidar dela, a oferecer-lhe solidariedade e conforto, a volta para casa quase carregada por dona Norma e dona Gisa, pelo professor Epaminondas e por Mendez, o espanhol do botequim. Tudo tao rapido e confuso, nao lhe deixara tempo para pensar e realizar por completo a morte de Vadinho.

0 corpo fora levado do Largo para o necroterio, mas nem assim ela teve urn momento de sossego.

De repente tornara-se o centro da vida nao so de sua rua mas de todas as arterias adjacentes, e isso num domingo de carnaval. Ate o trazerem de volta, embrulhado num lencol, otraje de baiananuma pequena trouxa colorida, dona Flor nao parou de receber pesames, provas de amizade, gentilezas, numa continua romaria de vizinhos, conhecidos e amigos.

Dona Norma e dona Gisa essas abandonaram inteiramente os afazeres de suas casas, ja um tanto descuidados devido ao carnaval, almocos e jantares entregues ao criterio das amas apressadas. Nao

despregaram as duas de junto de dona Flor, cada qual mais dedicada e consoladora.

La fora era o carnaval corn seus mascarados, seus blocos e ranchos, suas fantasias ricas ou divertidas. As musicas das multiplicadas orquestras, os zepereiras, os zabumbas. os blocos, os ranchos, afoches corn seus tamborins e atabaques. De quando em vez. dona Norma nao resistia e corria ate a janela debrucava-se, arriscava um olho, trocava facecias corn urn mascarado conhecido, transmitia a noticia da morte de Vadinho, aplaudia uma fantasia original ou urn bloco bonito. Por vezes chmava dona Gisa, se urn rancho particularmente animado surgia na esquina. E quando o Afoche dos Filhos do Mar, ja na parte da tarde, deu entrada na rua, corn sua figuracao inesquecivel, acompanhado por grande multidao a sambar, ate dona Flor, as lagrimas mal-contidas, aproximou-se da janela e espiou o afoche tao anunciado nos jornais, a maior beleza do carnaval baiano. Espiou mas sem se mostrar, escondida pelas largas espaduas de dona Gisa. Dona Norma, esquecida do morto e das conveniencias, batia palmas entusiasticas.

Assim fora durante o dia inteiro, desde a hora da noticia. Ate dona Nancy, argentina retraida, nova na rua, casada corn o dono dalabrica de ceramicas, urn arrevesado Bernabo, desceu de seu sobrado rico e de sua soberbia, para oferecer condolencias e prestimos a dona Flor, revelando-se pessoa simpatica e educada e trocando corn dona Gisa filosoficas consideracOes sobre a brevidade da vida e sua inseguranca.

Nao tivera dona Flor, como se ve, tempo de refletir em seu novo estado e nas transformacOes de sua existencia. SO quando trouxeram Vadinho do necroterio e o deixaram nu no leito de casal onde tantas e tantas'vezes tinham feito o amor, entao, e somente entao, encontrou-se sozinha corn a morte do marido e se sentiu vi6va. Jamais voltaria ele a derruba-la na cama de ferro, arrancandolhe vestido e combinacao, e as pecas mais intimas, atirando corn o lencol para cima da penteadeira, tomando de cada detalhe de seu corpo, fazendo-a delirar. h! nunca mais, pensou dona Flor, e sentiu urn no na garganta, urn tremor nas pernas, compreendeu entao que tudo terminara. Ficou al i parada, sem palavras e sem lagrimas, despida de qualquer excitacao, distante de toda a representacao a cercar a morte. Apenas ela e o cadaver nu, ela e a definitiva ausencia de Vadinho. Nao ia mais ter de espera-lo madrugada a fora, nem de esconder de suas vistas o dinheiro pago pelas alunas, nem de vigiar suas relacOes corn as mais bonitas, nem de apanhar dele nos dias de cachaca e mau humor, nem de ouvir os acidos comentarios dos vizinhos. Nem de rolar corn ele na cama, abrindo-se toda para seu desejo, despindo-se da roupa, do lencol e do recato para a festa do amor, a inesquecivel festa. 0 nO na

garganta, estrangulando; uma dor no peito, •aguda punhalada.

— Flor, nao esta na hora de vestir ele? — a voz de dona Norma ressoava urgente no quarto, vinda da sala. — NAo tarda chegar visitas...

A viuva abriu a porta, agora estava seria, calada, sem solucos, sem gemidos, fria e austera. Sozinha no mundo. Os vizinhos entraram para ajudar. Seu Vivaldo, da funerdria "Paraiso em Flor", viera pessoalmente entregar o caixao barato — fizera considerdvel abatimento, era companheiro de Vadinho nas mesas de roleta e bacard onde jogava atm:ides e lapides — e colaborou corn eficacia e experiencia para fazer do boemio urn morto apresentavel. Dona Flor a tudo assistiu sem uma palavra, sem uma lagrima, estava sozinha no mundo.

4 corpo de Vadinho foi depositado no caixdo, levado para a sala de visitas onde haviam improvisado urn estrado corn as cadeiras. Seu Vivaldo trouxera fibres, contribuicAo gratuita da funerdria. Dona Gisa arrumou uma saudade roxa entre os dedos cruzados de Vadinho. Seu Vivaldo considerou para si mesmo o absurdo do gesto: deviam colocar entre os dedos do morto uma ficha de jogo isso sim. Uma ficha em vez da saudade roxa, e se em lugar da musica e dos risos do carnaval se elevassem por au i perto o ruido das mesas da roleta, a voz rouquenha do crupie, o soar das fichas, as nervosas exclamac6es dos jogadores, era bem possivel ver-se Vadinho levantar do caixAo, sacudir dos ombros sua morte, como sacudia, num gesto caracteristico, as complicacOes a perseguirem-no, e encaminhar-se para depositar sua ficha no 17, seu numero predileto. Que poderia ele fazer corn uma saudade roxa? Logo estaria murcha e fanada, nenhuma roleta a aceitaria. .

Seu Vivaldo nao se demorou; carnavalesco obstinado, s6 abrira a funerdria naquele domingo de festa para atender a urn amigo como Vadinho. Fosse outro o defunto, e se arranjasse como pudesse, no iria ele, Vivaldo, perturbar seu carnaval.

Muitos perturbaram seus projetos de carnaval. Foi um desfilar de gente noite a dentro, na sentinela do boemio. Alguns vieram por ser Vadinho descendente de ramo pobre e bastardo de uma familia importante, os GuimarAes. Urn dos seus avoengos fora senador estadual e mandachuva na politica. Um tio seu, de apelido Chimbo, ocupara o posto de Delegado Auxiliar durante uns poucos meses. Esse tio, um dos raros Guimaraes a reconhecer Vadinho como parente legitimo, foi quern the arranjou o emprego na Prefeitura: fiscal de jardins, lugar dos mais modestos, ordenado misero, nal) dava para uma noite gorda no Tabaris. Nao é necessario ressaltar a completa negligencia do jovem funcionatio municipal: jamais fiscalizarajardim de nenhuma especie, so aparecia na reparticao para receber os magros

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caramingua's mensais. Ou para tentar o aval impbssivel do chefe, para morder os colegas em vinte ou cinqtlenta mil-reis. Os jardins no Ihe interessavam, nAo tinha tempo a perder corn plantas e flores, podiatn desaparecer todos os jardins da cidade, nAo Ihe fariam falta. Ave noturna, seus canteiros cram as mesas de jogo, e suas flores, corno bem considerara seu Vivaldo, as fichas e os baralhos.

Os que vieram por influencia do norne dos GuimarAes podiamse contar nos dedos, vagos e apressados parentes. Todos os demais, aquele clesfilar sem conta, vinham para despedir-se de Vadinho, para Mar mais uma vez sua face, sorrir para ele nurna recordacAo agradavel, dizer-lhe adeus. Porque gostavam dele, desculpavam-lhe as loucuras, valorizavam seu lado born.

Um dos primeiros a chegar A noite, vestido a rigor, pois iria mais tarde levar as filhas, tres moos de truz, ao baile de um grande clube, foi o comendador Celestino, portugues de nascimento, bartqueiro e exportador.

Nlo nassara as carreiras, como quern cumpre fastidiosa obrigacAo. Detnorara-se na sala, a conversar, recordando sucessos de Vadinho, ape's ter abracado dona Flor eter-lhe oferecido seus prestirnos. De onde vinha sua estima pelo pequeno funcionario da Prefeitura, pelo boemio dos 1 cabares de segunda, pelo jogador sempre encalacrado?

Vadinho tinha labia, que labia! Certa vez arrancara a assinatura do prosper° lusitano numa promissoria de alguns contos de reis. NA° esqueceu de pagar, pois jamais esquecia as datas de vencimento dos diversos tftulos por ele firmados e espalhados em Bancos e em maps de agiotas. NAo p6de pagar, o que •era diferente. Em geral nunca podia pagar, e nAo pagava, no entanto a cada dia o minter° dos tftulos aurnentava, aumentava o nOmero dos avalistas. Como ele o conseguia?

Celestino nAo voltara a ava!tzar, nao cafa duas vezes no mesmo conto. Soltava-lhe, no entanto, pelegas de cem, duzentos e ate de quinhentos mil-reis, quando Vadinho the aparecia desesperado, sem tostlo e corn a certeza de ser aquele o seu dia de estourar a banca. Outros, porem, avalizavam duas e tres vezes, como se fosse Vadinho o pagador mais correto, ode melhor cadastro bancario. Todos vencidos por suas manhas, sua conversa dramatica e conyincente.

0 proprio Ze Sampaio, marido

de dona Norma, estabelecido corn loja de sapatos na Cidade Baixa, sujeito de conversa rara, casmurrao, pouco dado a visitas, a relacoes e intimidades corn os vizinhos, o oposto da esposa, ele proprio -fora enrolado por Vadinho algumas vezes e, apesar disso, nAo the retirara nem a estima nem o credit° na loja.

Nem mesmo quando descobriu a inacreditdvel sujeira: Vadinho, certa manhA, comprara fiado ern seu estabelecimento vdrios pares de sapatos, dos mais finos e caros, e imediatamente os revendera, quase sob as vistas horrorizadas dos empregados de Sampaio, e por preco infimo, a uma loja rival reaminstalada nas imediacOes. A dinheiro batido — tratava-se de um Vadinho necessitado de urgente numerdrio para jogar no bicho.

0 comerciante levou certamente em conta, ao pesar as responsabilidades do trapaceiro, determinadas atenuantes capazes de explicar e desculpar o deslize.

Urn Vadinho alegre e despreocupado, naquela mesma tarde, contou-lhe ter sonhado durante toda a noite corn dona Gisa, trans form ada em avestruz, a persegui-lo numa campina sem fim, nAo sabia exatamente se na intencao de vadiar corn ele nos pastos verdes — era urn avestruz femea e em seus olhos brilhava uma luz velhaca — ou se pretendia devord-lo a bicadas, pois o perseguia corn o enorme bico aberto e ameacador.

Acordava agoniado, sacudia o sonho fora, tentava dormir pensando em assunto mais ameno, e ld voltava a renitente professora a correr atlas dele corn o olho libertino e o bico agressivo. Estivesse dona Gisa em seu quotidian° involucro carnal e Vadinho nAo fugiria, enfrentaria a parada, emprenharia o drab° da gringa em cima dos matos, corn todo seu acento e seus conhecimentos de psicologia. Mas corn ela vestida de penas, virada num avestruz descomunal, nao the restava alternativa, Mem davergonhosa retirada.

Quatro, cinco vezes repetiu-se o pesadelo, e de manhA, cansado de tanto correr, banhado em suor, viu-se Vadinho corn o palpite mais certeiro e sem tostao.

Vasculhou a casa, dona Flor estava I isa, de levara-lhe na vespera ate as moedas.

Saiu na esperanca de morder uns conhecidos, a praca revelou-se fraquissima, Vadinho andara abusando ultimamente de seu parco credit°. Foi quando, ao passar ante a Casa Stela, a bem sortida loja de Ze Sampaio, ocorreu-lhe a ideia luminosa e divertida de dedicar-se por breve prazo ao honesto negOcio de sapataria, Unica maneira de obter rapidamente uns trocados. ' do houvesse empreendido a operacao comercial, desonesta e desastrada na aparencia, em verdade sutil e lucrativa, e jamais se perdoaria, pois deu o avestruz — dona Gisa nAo mentia nem em sonhos —e Vadinho cobrou urn dinheiro alto.

Agradecido e digno, procurou em seguida Ze Sampaio na loja e, ante os empregados at6nitos, pagou-lhe o valor da mercadoria comprada pela manhA, comentou a rir o

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golpe primoroso e o convidou para um trago comemorativo. Ze Sampaio declinou do convite mas nao se zangou corn Vadinho, continuou a dar-se corn etc e a vender-the sapatos corn desconto e a prazo. Abatimento de dez por cento no valor da conta, credito limitado a urn par de sapatos em cada compra e s6 apOs ter sido liquidada a fatura anterior. rova ainda mais impressionante do prestigio de Vadinho foi ter Ze Sampaio comparecido A sentinela. Por breves minutos, é verdade, mas era aquele o primeiro velorio do comerciante nos ultimos dez anos. Tinha horror a todo e a qualquer compromisso social, sobretudo a cerimonias filnebres, velorios, cemiterios, missas de setimo dia, o que levava dona Norma a gritarthe quando etc se recusava a acompanhala a um de seus varios enterros semanais: — Quando voce inorrer, Sampaio, lido vai ter gente nem para carregar o caixao... Vai ser uma vergonha.

Ze Sampaio punha-lhe urn olhar torvo, ndo respondia, o dedo grande da mao direita metido entre os dentes, num gesto seu, habitual, de resignacao ante o perpetuo alvoroco da esposa.

Compareceram os importantes, como Celestino e Ze Sampaio, como o parente Chimbo, o arquiteto Chaves, o dr.

Barreiros, proeminente figura daJustica, e o poeta Godofredo Filho. Chegaram incorporados os colegas da reparticao, a todos eles Vadinho devia pequenas quantias. A comanda-los, oratorio e solene, veio o ilustre Diretor dos Parques e Jardins, trajando terno preto. Vieram os vizinhos, os ricos e os pobres, os remediados tambem. E vieram todos quantos na Bahia naquele entao frequentavam os cassinos de jogo, os cabares, as bancas de bicho, as alegres casas de mulheres: Miranda°, Curvelo, Pe de Jegue, Waldomiro Lins e seu jovem irmao Wilson, Anacreon, Cardoso Pereba, Arigof, Pierre Verger corn seu perfil de passaro e seus misterios de Ifa. Alguns, como o doutor Giovanni Guimaraes, medico e jornalista, pertenciam aos dois grupos, familiares dos grandes e dos pequenos, dos respeitaveis e dos irresponsaveis.

Os importantes recordaram Vadinho entre risos, suas histOrias cheias de picardia e de malicia, seus golpes divertidos, suas trampolinagens atrevidas, suas atrapalhacifies e confusoes, e seu born coracao, sua gentileza, sua graca inconseqUente. Tambem os vizinhos assim o relembravam: boemio sem horario e sem limites. Uns e outros ampliavam a realidade, inventavam detalhes, atribuiam-lhe casos e aventuras, a lenda de Vadinho comecava a nascer au i junto de seu corpo, quase na hora mesmo de sua morte. 0 citado doutor Giovanni Guimaraes imaginava pedacos inteiros de historias, floreava os acontecidos, era)chegado a uma mentirazinha bem apoiada em datas e locais precisos: — Um dia, ha quatro anos passados, no mes de marco, encontrei Vadinho na

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casa de Tres Duques, jogando no 17. Estava vestido corn uma capa de borracha, por baixo nao tinha roupa nenhuma, nuzinho. Botara tudo no prego, empenhara calca e paleto, camisa e cueca, para podet jogar. Ramiro, aquele espanhol canguinha do Setenta e Sete, so queria aceitar a calca e o paleto, que diabo iria fazer corn uma camisa de colarinho puido, uma velha cueca, uma gravata vagabunda? Mas Vadinho the impingiu ate o par de meias, guardou apenas os sapatos. E tinha tanto mel na lingua que conseguiu que Ramiro, aquela fera que voces conhecem, the emprestasse uma capa de borracha quase nova pois nao ia sair nu, rua a fora, em direcao A casa de Tres Duques...

— E ganhou? — queria saber o jovem Artur, filho de seu Sampaio e de dona Norma, ginasiano e admirador de Vadinho, a ouvir boquiaberto o relato do jornalista.

Doutor Giovanni olhou o moco, fez uma pausa, sorriu corn o rosto todo: — Qual o que... Pela madrugada perdeu a capa do espanhol no .17 e foi trazido para casa embrulhado nas folhas de um jornal... — o sorriso transformava-se num riso sonoro, contagioso, ninguem igual a doutor Giovanni para animar uma sentinela.

E como naquele momento entrasse na sala o inumeravel Robato, o jornalista acrescentou a prova final, as palavras ainda molhadas do riso: — Esta ai quern nao me deixa, mentir... Voce ainda se tern bra,' Robato, daquela noite em que Vadinho foi nu para casa, enrolad°. num jornal?

Robato nao era homem de vacilar: circundou o olhar em torno, examinando o grupo acomodado num canto da sala de jantar; temeroso de ouvidos femininos e indiscretos, nao fossem chegar a desolada vinva tais recordacOes; mas vacilar tido vacilou, nao era de recusar desafios, tinha o repente tacit; pegou a deixa no ar: — Nu, enrolado num jornal?

Ora, se me recordo... —pigarreou para aclarar a voz barroca c desatar a imaginacao — Pois se a gazeta era minha... Foi no castelo de Eunice Urn Dente SO. Alern de nos dois e de Vadinho, me lembro de Carlinhos Mascarenhas, de Jenner e de Viriato Tanajura... A gente tinha bebido a noite inteira, um pifa sem medida...

Era esse Robato urn notivago da forca de Vadinho, de outra estirpe, porem. Ndo o tentava o jogo nem fugia ao trabalho, ao

contrario, homem de sete instrumentos, tinha fama de ativo e competente.

Fabricava dentaduras, consertava radios e vitrolas, tirava retratos para carteiras, bulia em tudo quanto era maquina, cheio de habit curiosidade. Sua roleta era a poesia, bem metrificada e bem rimada (rimas ricas), seu cassino os bares e cabares onde atravessava as madrugadas na amena companhia de outros tenazes literatos e de raparigas simpatizantes das musas e de seus cultores, a declamar odes, cantos libertarios, poemas liricos e lubricos, sonetos de amor. Tudo de sua autoria. Etc mesmo proclamara-se "rei mundial do soneto", batera todos os recordes conhecidos, autor ate aquela data de vinte mil oitocentos e sessenta e cinco sonetos, entre decassilabos e alexandrinos, de arte-nienor e de artemaior, e anaciclicos. Um principio de calva ameacava-the a cabeleira morena de vate mas nao the diminuia a simpatia radiosa.

Tomou da palavra e novamente Vadinho atravessava a sala envolto em jornais, nao mais iria esquece-lo o jovem Artur, dele se recordaria para sempre: embrulhado nas folhas de "A Tarde", Vadinho, her6i de urn mundo proibido e fascinante.

Sucediam-se as historias enquanto dona Norma, dona Gisa, a casadoira Regina, outras mocas e senhoras, serviam cafezinho corn bolos, calices de cachaca e de licor de frutas. A vizinhanca providenciara para que nada faltasse ao velorio.

Os importantes, sentados na sala de jantar, no corredor, na porta da rua, relembravam Vadinho entre anedotas e risos. Os outros, os parceiros de jogo e de malandragem, recordavam-no em silencio, serios e comovidos, demoravam na sala de visitas, de pe, ao lado do corpo. Ao entrar, paravam ante dona Flor, apertavam-lhe a mao, encabulados, como se fossem responsaveis pelos malfeitos de Vadinho. Muitos deles nAo a conheciam sequer, nunca a tinham visto, mas de tanto ouvirem falar nela, sabiam como por vezes Vadinho tomava-lhe ate o dinheiro das despesas para joga-lo no Palace; no Tabaris, no Abaixadinho, no antro de Zeze Meningite, no de Abilio Moqueca, nas multiplas roletas ilegais da cidade, inclusive na mal afamada casa de tavolagem do negro Paranagua Ventura, onde por principio so o banqueiro devia ganhar. igura torva e amedrontadora ess'a do negro Paranagua Ventura corn suas incontaveis .,ntradas na policia, urn rot de acusacties amais completamente provadas, sua ama de ladrao, estuprador e assassino. or crime de morte respondera a jari e ora absolvido mais por falta de coragem dos jurados do que por falta de provas. ,Diziam-no autor de dois outros assasinatos, sem falar na mulher esfaqueada Oa Ladeira de sao Miguel, em pleno meio-dia, pois essaesCapara por urn triz.

0 covil de Paranagua, freqiientavam-no. apenas capadocios profissionais de

F

33

baralhos marcados, gatunos, batedores de carteira, vigaristas, gente sem nada mais a perder. Pois bem: ate la chegava Vadinho corn seu magro dinheiro e seu riso alegre, e talvez fosse ele um dos poucos eleitos a poder gabar-se de haver ganho alguma vez nos dados viciados de Paranagua. Segundo constava, de quando em quando, o negro perm itia a urn parceiro de sua afeicao acertar uma bolada. ieram tambem as alunas de dona Flor, quase todas. Alunas e ex-alunas, unanimes no desejo de consolar a estimada e competente professora, tao boazinha, coitada!

De tres em tres meses, sucediam-se as turmas nos cursos de culinariageral (pela manila) e de culinaria baiana (pela tarde), formavam-se em forno e foga°. Corn diploma impresso e quadro de formatura exposto em loja da Avenida Sete, desde uma turma antiga, a qual pertencera dona Oscarlinda, enfermeira de categoria, funcionaria do Hospital Portugues, esbelta e esporreteada, doida por um enredo. Exigira diploma e quadro, mov imentara as colegas, fizera uma agitacao dos demonios, recolhera contribuicOes, arranjara desenhista de graca, pintara o sete, a enxerida. Assim pressionada, dona Flor concordou, inclusive com o desenhista, um conhecido de dona Oscarlinda, Ina° sem proclamar no entanto a competencia de seu irmao Heitor —que desenhara o cartaz corn o nome da Escola, ainda na Ladeira do Alvo —, infelizmente residindo agora em Nazareth das Farinhas. De qualquer maneira, sentira-se vaidosa ao ler, no diploma e no quadro de formatura, em grossas letras tipograficas:

V

ESCOLA DE CULINARIA SABOR E ARTE E, logo abaixo, em caracteres floreados: Diretora — Floripedes Paiva Guimaraes Vadinho, nos raros dias em que, acordando mais cedo, permanecia em casa, rondava as alunas, envolvendo-se nas aulas de culinaria, perturbando-as.

Reunidas em tomb da professora, alacres e graciosas, elas anotavam as receitas, as quantidades exatas de camarao, de azeite de dende, de coco ralado, uma pitada de pimenta do reino, aprendiam como tratar o peixe, como preparar a came, como bater os ovos. Vadinho interrompia com uma piada sobre ovos, de duplo sentido, riam-se as descaradas.

Umas descaradas, quase todas elas.

Muita amizade e adulacao corn dona Flor mas de olhos interessados no patife. La estava ele corn seu ar trefego e altivo, escornado numa cadeira ou estendido num degrau da porta da cozinha, a la godaca, a medi-las de cima a baixo, demorando-se atrevido nas pernas, nos joelhos, no caminho das coxas, na altura 34

dos seios. Elas baixavam os olhos, o naosei-que-diga nao baixava os dele.

Dona Flor preparava os pratos salgados e os bolos, tortas e doces, nas aulas praticas. Vadinho emitia conceitos, arrotava chalacas, comia os quitutes, circulando em tomb delas, puxando conversa corn as mais bonitas, arriscando a mao salafraria se alguma mais ardega se aproximava.

Dona Flor ficava nervosa, agoniada, a ponto de errar as medidas da manteiga derretida no manue dificil, rogando a Deus fosse Vadinho para a rue, para a malandragem, para a desgraca do jogo, mas deixasse as alunas em paz.

Agora, no velOrio, cercavam dona Flor e a confortavam, mas uma delas, a pequena Ieda, corn sua cara de gata arisca, mal podia conter as lagrimas e nao desviava os olhos da face do morto. Dona Flor logo percebeu o exagero do sentimento, sentiu urn baque no peito.

Teria se passado alguma coisa entre eles?

Nunca notara nada de suspeito, mas quern podia garantir nao se encontrassem os dois fora da escola, fossem terminar num castelo qualquer? Vadinho, desde o caso corn a sirigaita da Noemia aparentemente deixara de pastorear as alunas. Mas era homem de muita manha, bem podia esperar a desbriada na esquina, botar-lhe conversa, e que mulher resistia A labia de Vadinho? Dona Flor acompanhava o olhar de leda, descobria o beicinho tremulo da moca. No lhe restava duvidas ah! Vadinho mais sem jeito...

De todos os desgostos que lhe dera o marido, nenhum comparavel ao caso corn a donzela Noemia, putinha de familia respeitavel, e noiva, um horror! Mas dona Flor nao queria recordar aquela tristeza antiga na noite da sentinela, quando pela derradeira vez, fitava a face de Vadinho.

Tudo aquilo passara, estava distante, a fulana casara, fora-se embora corn o noivo, urn zinho corn fumacas de jornalista, talento precoce pois tao jovem e ja tao como, de nome Alberto. Ao demais, corn o casamento a pedante enfeara de vez, virara urn bucho sem medida.

Quando, naquela ocasiao, tudo terminara bem quase por milagre, Vadinho Ihe dissera no calor do leito e da reconciliacao: "Mulher permanente pra mim sO mesmo tu sou capaz de suportar.

0 resto é tudo xixica para passar o tempo."

Ali, no velorio, cercada de tanta gente e de tanta afeicao, dona Flor nao deseja relembrar aquela esquecida historia, tao pouco vigiar gestos e olhares da pequena Leda corn seu choro malcontido, seu segredo debulhado em lagrimas. Corn Vadinho morto nada mais importava, para que esclarecer, tirar a limpo, acusar e lastimar-se? Ele morrera, tinha pago tudo e ate corn juros pois tau jovem se finara.

Dona Flor sentiu-se em paz corn o marido, nao tinha contas a acertar corn ele.

Curvou a cabeca, deixou de controlar os movimentos da moca. Via apenas, ao baixar os olhos, Vadinho tocando-lhe o corpo corn a mao, no leito de ferro,

dizendo-the ao ouvido: "Tudo xixica para passar o tempo, permanente so tu, Flor, minha for de manjericao, outra nenhuma" . Que diabo era xixica? — quis de repente saber dona Flor. Uma pena, nunca lhe havia perguntado, mas coisa boa nao seria. Sorriu. Tudo xixica, permanente so ela, Flor, for de Vadinho em sua mao desfolhada.

5 No outro dia, As dez da manha, saiu o enterro, com grande acompanhamento.

Nao havia bloco nem rancho naquela manha de segunda-feira de carnaval capaz de comparar-se em importancia e animacao corn o funeral de Vadinho.

Nem de longe.

— Espie... pelo menos espie pela janela... — di sse dona Norma a Ze Sampaio, desistindo de arrasta-lo ao cemiterio... — espie e veja o que e o enterro de urn homem que sabia cultivar suas relacOes, ilk) era urn bicho do mato como voce... Era urn capad6cio, urn jogador, urn viciado, sem eira nem beira, e, entretanto, veja.. . Quanta gente e quanta gente boa... E isso num dia de carnaval... Voce, seu Sampaio, quando morrer nao vai ter nem quern segure a alca do caixao.

Ze Sampaio nao respondeu nem olhou pela janela. Metido num pijama velho, na cama, corn os jornais da vespera, apenas gemeu urn fraco gemido e meteu O dedo grande na boca. Era um doente imaginario, tinha urn medo desatinado da morte, horror de visitas a hospitais, de sentinelas e enterros, e naquele momento encontrava-se A beira do enfarte. Assim vinha desde a vespera, desde que a esposa Ihe informara ter o coracao de Vadinho estourado de repente. Passara uma noite de cao a esperar a explosao das coronarias, rolando na cama em suores frios, a mao comprimindo o peito esquerdo.

Dona Norma, colocando sobre a cabeca de formosos cabelos castanhos um xale negro, apropriado para a ocasiao, completou, impiedosa: — Eu, se nao tiver pelo menos quinhentas pessoas em meu enterro, you me considerar uma fracassada na vida.

De quinhentas para cima...

Partindo desse principio, Vadinho devia considerar-se plenamente vitorioso e realizado. Pois meia Bahia viera a seu funeral e ate o negro Paranagua Ventura abandonara seu soturno covil e ali estava, o terno branco brilhando de espermacete, gravata negra e negro laco na manga esquerda, rosas vermelhas na mao.

Preparava-se para segurar uma alga do caixao e, ao dam os pesames a dona Flor, resumiu o pensar de todos na mais breve e bela oracao fonebre de Vadinho: — Era urn porreta!

This is an excerpt from Jorge Amado's Dona Flor e Seus Dois Maridos. The book was published by Livraria Martins Editora, SAo Paulo, Brazil.

The illustation was done by Floriano Teixeira.

NEWS from BRAZIL - FEBRUARY 1996

Brazilian Bla f-r-zâ&#x20AC;˘ 17evr-:- 1.3erirq [ye in Alleir fig A for hcfmer . r[rlhf econ . iirc jrsfe, The reer-i. f ceiebrati.ri f e err:en/I err f)r NJ e\r,re death o t_ffrribi".

[F.. \re:T..kin . rrii he i7:1 CerTI" [fry (- , ,c,r5ree of 1hr-if r ;show to this struggle. ontrast, Mexican blacks are practically invisible.

WILLIAM JAVIER NELSON

When one looks at the populations of Mexico and Brazil, some differences stand out. For one thing, the percentages of persons described as "Negro" or "mulatto" are higher in Brazil than in Mexico. On the other hand, when compared to the United States, Brazil and Mexico share some of the . same features: ambiguity and flexibility in racial labeling, multiplicity of categories, the tendency of being selectively inaccurate in listing one's "race", more acceptance of intermediate racial categories between -white" and "black".

Yet, as indicated in Brazil by the celebrations of the death of Zumbi and recent agitation for "black" rights, problems of persons of African descent have assumed a more center stage than in Mexico.

Certainly, that focus is nowhere near that of the US, where "black/white" conflict is a daily fact of life; however one gets the impression of very little African/non-African conflict in Mexico.

Both Brazil and Mexico have a legacy of slavery, but there has long been a popular impression that Mexicans are descendants of Spaniards and Indians â&#x20AC;&#x201D; only. Even college texts on race relations illustrate this kind of thinking. In fact, barring a specific agenda to focus on the African Diaspora, attention placed on Africans in Mexico is minimal across the board. I used a certain library software package which listed 188 recent articles written on Mexico and found no articles which had Africans as a theme.

Differences in Brazil and Mexico are more demographic and economic rather than philosophic.

First, although intermediate racial categories and miscegenation ..were accepted both in Mexico and in Brazil, there were more Africans brought to Brazil than to Mexico (therefore a greater number to be absorbed into the population). Second, the Indian population of Mexico was more numerous, centrally located and culturally dominant than in Brazil.

NEWS from BRAZIL - FEBRUARY 1996

Thus, instead of the Brazilian case of African/ Portuguese mixtures with an admixture of Indian, the Mexican example was one of both Spaniards and Africans being absorbed into a vast Indian population. Third, slavery in Brazil was both longer and more economically important in Brazil than in Mexico, creating more and deeper emotions of master/slave, exploiter/exploited in Brazil. Fourth, although Mexican culture has elements of racism, the concept of mesti.:aje (the idea of the goodness of being classed as racially mixed) is more deeply rooted in Mexico than in Brazil, where the population is increasingly collectively desirous of the "white- label (a term which is both exclusionary and by nature pointed toward an ideal of being light rather than brown).

The apparent focus away from the African presence in Mexico starts with the reality of actual racial and ethnic percentages in Mexico's population. Figures from the 1990s indicate that only 0.10% of Mexico's population is Black or Negro.

In 1950, only 0.4% of Mexico's population was classified as Afro-mesii:o. A look at this data would lead one to the supposition that "Africans in Mexico- was and is a novelty at most, especially when compared to the overwhelming Indian and (Spanish/Indian) Mestizo catas mestizo populations grew rapidly. Since the Spanish seldom made an absolutely clear, analytical distinction between race and culture and never prohibited interracial marriage, miscegenation never encountered the obstacles it did in the North American colonies.

Fluidity, Flexibility and Ambiguity Miscegenation is of little consequence, however, unless the society has provisions which allow for its social significance. By way of comparison, the North American colonies (as well as the United States) were the scene for miscegenation among Africans, Indians and Europeans. Because of the "hypodescent" rule, however, miscegenation be35

tween Africans and other groups has effects. One was that there became no had little social consequence because, solid enemy color group against which among North Americans, any African Africans (or anyone else) could fight. ancestry constitutes membership in the Individuals with dark skin were occa"Negro" or "Black" group. sionally able to advance due to some By distilling combinations which (usually military) heroics. include African ancestry into one soThere were always lighter-skinned cially relevant category (Negro, later never-do-wells around and the really rich black, later African-American), North people were removed from almost everyAmericans have nullified any social efone (of any color) anyway. The second fect of miscegenation including Afrieffect was an acceleration of the tencans. Those North Americans who claim dency of Africans to take on the culture of that the US is a melting pot are essenthose with whom they came into contact. tially correct — except the pot is not For those Africans who mated with meant to include persons of African Indians and produced zamboes, this someorigin. times meant that they remained in their On the other hand, the Ibero-AmeriIndian communities. For those who idencan racial classification experience has tified with Spaniards or who were in the been, for the past 500 years, an exercise towns, they soon took on Iberian characin ambiguity, subjectivity, flexibility teristics and absorbed much of the Inand, in many cases, outright lying. The dian/Spanish cultural mix which (due to incredible number of racial and color the large numbers of Indians) was a fact designations in of life.

Ibero-America A third result of boggle the mind. the complexity of Starting with Herracial nomenclatures READ MORE ABOUT IT nan Cortes and was an ambiguity Aguirre Beltran. Gonzalo. Poblacion Negra his mestizo off- de Mexico, 1519-1810. D.F.LaMexico: Ediciones and unwieldiness spring, the Span- Fuente Cultural, 1946, 1972. which militated ish seemed to El Proceso de Acculturacion.

D.F. Mexico: against being able to have accepted the Fondo de Cultura Economica, 1992. instantly react to one idea of interme- Basave Benitez, Agustin. uniformly on the baMexico Mestizo. D.E. diate racial Mexico: Fondo Cultura Economica, 1992. sis of race. It is relagroups — someCarroll, Patrick James. Blacks in Colonial tively easy for a perthing foreign to son to develop a sol'eracruz. Austin: University of Texas Press. the North Ameri- 1991. cial etiquette for can mind. This Conniff. Michael and Davis, Thomas J. Afridealing with two, preoccupation cans in the Americas. New York: St. Martin's three or even four rawith intermediate Press, 1994. cial categories, but racial terms was Curtin. Philip D. The Atlantic' Slave Trade: a it is ludicrous to exsoon reflected in Census. Madison: University of Wisconsin pect him, during his New Spain's pop- Press, 1969. day-to-day existulation — and, Esteva-Fabregat, Claudio. Alestizaje in lberoence, to create apunlike the case of America. translated by John Wheat. Tucson: propriate patterns of Anglo-America, University of Arizona Press, 1995. action for each of 16 intermediate ra- Fontaine, Pierre Michel. Race, Class and or 32 different catcial terms inclu- Power in Brazil. Los Angeles: UCLA Press, egories. ded persens of 1982.

Moreover, as African origin. Freyre, Gilberto. The Alasters and the Slaves. anyone familiar with Eventually, by New York: Alfred A. families supposedly Knopf, 1946.

1570, demograof the same race phic calculations Harris. Marvin. Patterns of Race in the Ameriknows, different sibbecame more cas. New York: Walker and Company. 1964. lings can have difcomplex. An ano- Klein. Herbert S. African Slavery in Latin ferent complexions nymous colonial America and the Caribbean. New York: Ox- and hair textures. In ford University Press. 1986. painting entitled the multi-layered Las Castas re- Knight. Franklin. The African Dimension in classifications evenLatin American Societies. New York: flects this ple- Macmillan, tually created in 1974. thora of racial New Spain, genetic Morner, Magnus. Race Mixture in the History terms. Of the 16 of reliability by appearLatin America. Boton: Little Brown. 1967. different racial ance became a susPalmer. Colin. Slaves ofthe White God: Blacks categories de- in pect proposition at Mexico, 1570-1650. Cambridge: Harvard picted in the University Press, 1976. best. painting, 13 porSubjectivity in Rout, Leslie. The African Experience in Spantray persons with ish America, 1502 to the Present Day. LonRacial Labeling African ancestry. don: Cambridge University Press, 1916.

In addition to raThe use of in- van den Berghe, Pierre. Race and Racism. cial classification termediate racial New York: John Wiley and Sons, 1967. becoming complex, terms had several it also became elas36

tic and subjective. For example, Aguirre Beltran noted that, by 1570, the Spanish authorities developed the practice of calling legitimate sons of Indian/Spanish unions Spanish and calling illegitimate sons of Indian/ Sparkish unions mestizo.

Given the fact that, of all the castas in New Spain, the African, or slave casta was the lowest, people began the habit of shading racial evaluations so as to minimize African ancestry. This is why, given that laxity in identifying with Africa, it is astonishing that, in both 1570 and 1810 population estimates by Aguirre Beltran, the Afromestizo population was nearly as great as the Indo-mestizo population.

Leslie Rout is graphic in his assessment of the racism present in New Spain, but ironically this very racism served to skew racial classifications away from those including African ancestry and into those which highlighted Indian ancestry. African ancestry became gradually absorbed into a broad group of brown-skinned and oliveskinned persons.

In Brazil, the . contradictions Presently, Brazil and the US surpass Mexico in terms of economic prowess and overall potential. However — ironically — Mexico has provided an example of a country with importation of African slaves, but little problem between persons of African descent and others. The Mexicans did this not with the US-style social mechanisms of "civil rights" movements and legislation designed to force people to behave equitably but rather with miscegenation, multiplicity of racial categories and an ability to absorb Africans into the population with comparatively little difficulty. In other words, the Mexicans "outBrazilianized" the Brazilians.

Presently, it is an open question as to whether Brazil will move more toward the model of Mexico, toward the US model — or remain the way it is today: a bundle of contradictions.

• NEWS from BRAZIL - FEBRUARY 1996

04re.

T

he Germans and respected and enforced.

Italians who JOINV1LLE settled in Santa Imagine a city where Catarina in the blondes stroll through town 19th century, on clean, well-lit, heavily poUnlike most immigrants in the liced streets, perusing Bavarrest of Brazil, owned their i an- facaded, neon-named small family-run farms. This shops full of modern Western European model of land use appliances, with well-manihas produced a far more egalicured lawns, flower festivals tarian distribution of wealth and a central park in which Santa Catarina has a feel of Europe. than in most of Brazil — 83% children play at night. A city Most_people come here for the beaches. of the farmland is owned by that is polite efficient and They're wide and open, with al farmers with less than 1000 pleasant. Now here's the hard Caribbean feeling., clear and clean, and hectares. part: imagine this city in Bravery warm during summer. Santa Many of the state's 'four zil. million people still own their Catarina also has one of Brazil's rare Santa Catarina's second rich farmland, which comnude beaches. largest city, Joinville. is debined with some healthy scribed in its own tourist brosmall-scale industry has crechure as 'an industrial city'. ated one of Brazil's most prosperous states. This The industry, however, is outside the pleasant inner relative affluence, the very visible German prescity, which is quite habitable and seems like the kind ence and the efficient services give the state the of place to raise a family. For the traveler, Joinville is feel of Europe rather than Brazil—at least in the relaxed and pleasant, if unexciting. highlands, which are green and pastoral. If Santa Join\ i Ile is on the BR-101, 180 km north of Catarina reminds one of Switzerland, Florianopolis and 123 km south of it's less because of geography and more Curitiba. The road is good and the views because of the sedate middle-class conare beautiful around the town, particusumerism. Most travelers don't come to larly w here the highway traverses the Santa Catarina to visit a foreign culture lush coastal mountains. The drive down —they come for the beaches. to Guaratuba on the coast to the north is There's no doubt that the beaches are stunning. beautiful: they're wide and open, with Museu Nacional da ImigracAo — Caribbean-like coves and bays, clear and At Rua Rio Branco 229, facing an imclean emerald-blue water and views of pressive, palm-lined walkway, is the offshore islands. The water is very warm Museu Nacional da Imigracao. Housed during the summer months and there are in the old palace, built in 1870, it's full plenty of calm, protected beaches for of objects used by the pioneers of the swimming. Santa Catarina also has some state. of Brazil's better surfing spots. The curMuseu Arqueologico do Sambaqui rent can be very dangerous in places so — At Rua Dona Francisca 600 is the be careful.

Museu ArqueolOgico do Sambaqui, an While there are still fishing villages exposition of the Sambaqui Indian along the coast, you don't really find the lifestyle. It's worth a visit on a rainy day. kind of primitive fishing villages that Museu de Arte de Joinville — This predominate in the Northeast. The setis quite an interesting one. It houses ting is less exotic and less tropical, the works by local artists, and contains a villagers less secluded and less friendly, small restaurant. It's at Rua 15 de and the escape from Western civilization Novembro 1400. less complete.

Mirante — A high tower on top of Many of Santa Catarina's beaches the Morro da Boa Vista, the Mirante is a have become 'in' vacation spots for wellgood place to act your bearings. It also to-do Paulistas, Curitibanos and Argenprovides a 360° view of Joinville, and tines, so during the holiday season beyou can see the Baia da Babitonga and tween January and February, the beaches Sao Francisco do Sul. and hotels are jammed. Several little Festival — For the last 53 years, Copacabanas have sprouted up in beach Joinville has hosted a Festival of Flowtowns like Camborift, and this growth is ers each November. The orchids are the changing the coastline at an unbelievmain attraction. able pace.

Things to Buy — If you're in town Santa Catarina's climate is nice and on the second Saturday of the month, hot during the Brazilian summer. In the check out the artisan fair in Praca Nereu winter the wind along the coast picks up Ramos. considerably, although it never gets too JOINVILLE TO FLORIANOPOLIS cold. The best months to go, unless you There are many beautiful beaches along like the crowds, are March-April and this coast, but it's being developed rapNovember-December. idly and without controls. In general, the Compared with other parts of Brazil more famous a beach, the more develthis is a polite and proper place. where oped and ugly it is. Balneario Camboriii, children are subdued and well mannered. the area's best known beach town, is the You may be excluded from a restaurant best example. because your jeans are worn, you probSao Francisco do Sul ably will be excluded from a bar if you're This historic city's island setting was not wearing a shirt and you must wear 'discovered' way back in 1504 by the either bermuda length shorts or long trouFrenchman Binot Paulmier de Goneville, sers on inter-city buses—no swim suits. but the city itself wasn't settled until the What's so unusual about this Brazilian middle of the next century. It became the state is not that it has these rules, but that they are port of entry for the German immigrants settling the NEWS from BRAZIL - FEBRUARY 1996

South seas

37

land around Joinville.

Beaches — The beaches on the ilha de Sao Francisco are good, but they are some of the most crowded because of their proximity to Joinville and even Curitiba. There is also a lot of surfing. On the positive side, there are several cheap hotels in the city and a variety of beaches accessible by local buses.

Both Prainha and Praia Grande to the south have big waves and are popular surfing beaches. Swimming is not safe. Closer to the city, Praia de Ubatuba and Praia da Enseada are pretty and safe for swimming, but they're developed and often crowded.

For another option, ask in town about boats leaving from Capitania dos Portos to the ilha da Paz. BarraVelha — If driving south from Joinville on BR-101, this is the first point where the road meets the sea. Four km to the south of town, Praia do Grant is popular with the younger set. The surf beaches are Praia do Tabuleiro, two km from town, and Itajuba, five km away.

Picarras — Picarras, 14 km to the south of Barra Velha has a good big beach and several small islands which can be visited.

The town is lively in the summer but the campgrounds are often full then.

Pen ha — Penha is a big fishing town, so it's not completely overrun by tourism. Only six km from Picarras, the ocean is calm at beaches, Armacao and Prainha. There are simple hotels at these beaches. The beaches south of these two are less crowded. From Praia da Armacao. boats leave every half-hour or so to the nearby islands of Itacolomi and Feia.

Itajai— At the turnoff to Blumenau is Itajai, an important port for the Itajai valley. However, there's not much of interest ere are a to the tourist and the best beaches are out of town. Th couple of hotels across from the rodoviaria and several more on the main road going out of town to Camboria. There are plenty of buses coming and going from Itajai.

BalnearioCamborifi —This little Copacabana, with sharp hills dropping into the sea, nightclubs with 'professional mulattos' and an ocean boulevard named Avenida Atlantica, is clearly out of control. In summer the population increases tenfold.

This is Santa Catarina's most expensive town, and here you can meet well-heeled Argentines, Paraguayans and Paulistas who spend their summers in the ugliest beach-hugging high-rise buildings you can imagine. The spoiling of this beachfront is surely a crime against nature.

Outside the city, there is a Museu Arqueologico e Oceanografico that's worth visiting (six km south on BR-101, open daily from 9 am to 6 pm), and a nude beach (a rarity in Brazil) at Praia do Pinho, 13 km south of the city.

PortoBelo — The beaches around Porto Belo are the last good continental beaches before ilha de Santa Catarina. Praia Bombas, three km away, and Praia Bombinhas, seven km from town by dirt road, are the prettiest beaches around. For a great walk, head out to Ponta do Lobo, 12 km from Praia Bombinhas.

From Rua Manoel Felipe da Silva in Porto Belo you can catch a boat to the islands of Arvoredo and Joao da Cunha. Both have fine beaches.

BLUMENAU— Blumenau is 60 km inland from Itajai, 139 km from Florianopolis and 130 km from Joinville. Nestled in the Vale do Itajai on the Rio Itajai, Blumenau and its environs were settled largely by German immigrants in the second half of the 19th century. The area is serene, but the city itself wears its German culture way too loud. Everything is Germanicised with the commercial, but not creative, flair of Walt Disney. The city attracts tourists (mostly from not too far away) but isn't particularly recommended.

Festival — Blumenau hosts an increasingly : popular Oktoberfest, beginning on the first Friday in October.

FLORIANOPOLIS Florianepolis, the state capital, fans out in both directions from the spot where the coast and the large ilha de Santa Catarina almost connect. The central section is on the island facing the Baia Sul. Over the hill, on the north shore, there is a long row of luxury high-rises, none of which looks more than a couple of years old, and modern restaurants to feed their occupants. The mainland part of the city has the industry. Much of the city's shoreline appears barren due to undeveloped landfill.

The city is modem, with some large structures like the new rodovithria and many works in progress. The island side of the 38

city, where you'll probably spend all your time, has a smallcity feel. It's easy to get around by foot and there are regular public buses to the island's beautiful beaches.

Praca 15 de Novembro & Around — While you'll probably want to get out to the beaches as soon as possible, it's definitely worth your while to have a wander around the city and have a look at some of the colonial buildings.

From Praca 15 de Novembro and its -100-year-old fig tree, you can cross the road and go into the pink Palacio Cruz e Souza. It's the state museum, but the most interesting things to see are the ornate parquetry floors and the outrageous 19th-century ceilings.

On the high point of the praca is the Catedral Metropolitana; it was remodeled this century, so not much from the colonial era remains. The least remodeled colonial church is the Igreja de Nossa Senhora do Rosario, further up from the cathedral.

Waterfront—Back down on the old waterfront are the Alfandega (Customs House) and the Mercado Municipal, both colonial buildings that have been well preserved. The market is a good place to have a chopp (draft bear) and watch the passers-by in the late afternoon.

ILHA DE SANTA CATARINA — The island's eastcoast beaches are the most beautiful, with the biggest waves and the greatest expanses of empty beach. They are also the most popular for day trips and most do not have hotels. The north coast beaches have calm, bay-like water and resorts with many apartment-hotels and restaurants.

The west coast, facing the mainland, has great views and a quiet, Mediterranean feel. The beaches here are small and unspectacular.

East Coast — The following beaches are listed from north to south. Praia dos Ingleses, 34 km from Florianepolis, is becoming quite developed, and although the beach is a good one, the surroundings aren't very attractive. There are lots of hotels and restaurants catering to the Brazilian, Argentine and Uruguayan tourists, but nothing's cheap.

Praia do Santinho has a few beach houses and barracas and one of the island's most beautiful beaches. The island's longest beach, Praia do Mocambique or Praia Grande, is 14 km long and undeveloped. It's hidden by a pine forest from the dirt road that runs a couple of km inland from it. The camping here is good.

Barra da Lagoa, a big curved beach at the end of Praia do Mocambique is a short bus trip from Florianopolis. It still has many indigenous fisherfolk, descended from the original Azorean colonists. Praia da Joaquina hosts the Brazilian surfing championship in January and the Hang Loose championship in September.

The three main beaches to the south are the most remote and quite spectacular. Praia do Campeche has a few barracas and the beach is long enough for everyone to find a private patch of sand. Praia da Armacao is similar. As at Campeche, the current is often heavy.

North Coast — The north coast is the most developed coast on the island and the beaches are narrow; however, the sea here is warm and calm, incredibly clean and perfect for swimming.

Canasvieiras, in particular, has many apartments, families with holiday homes, and nightlife (during the summer).

In many ways it is the least attractive beach town on the island and there's plenty more construction on-line.

Of its many apartment-hotels, most are pricey, but a few are affordable if you have at least three or four people. There are no real budget hotels, so if you're alone it's expensive.

A few km west, Jurere is similar to Canasvieiras but a bit quieter. Out at Praia do Forte are the ruins of the Fortaleza de Sao Jose da Ponta Grossa, built in 1750.

West Coast— If you want to explore the west coast, the town of Sambaqui is charming and peaceful. There are a handful of barracas and some beach-goers on weekends.

After the town and the barracas, keep walking on the dirt road a few hundred meters for a more private beach or keep going another km to reach an even more secluded area. Both of these beaches are tiny and cozy, with good views. The road is blockaded soon after this second beach.

On the south-west coast, Ribeirao da Ilha is an old colonial town. It has an impressive little church, the Igreja NEWS from BRAZIL - FEBRUARY 1996

Nossa Senhora da Lapa.

The Interior — It's not just the beaches: the entire island is beautiful. Lagoa da Conceicao is the most famous region in the interior. The views of the lagoon, surrounding peaks and sand dunes make for great walks or boat rides. Lots of boats are for hire right next to the bridge.

SOUTH OF FLORIANOPOLIS Garopaba- — Garopaba is the first beach town south of FlorianOpol is. It's 95 km from Florianopolis, including a 15-km drive from the main BR-101 highway. The little town has not been overrun by tourism, the beaches are good and you can still see the fishers and view their way of life. Praia do Garopaba is a km from the town. Praia do Silveira, three km away, is good for surf, and Siriq, 11 km away, has some large sand dunes.

Avoid the next town, Imbituba: it's polluted from a chemical plant.

Laguna—Laguna has an active fishing industry and is the center of tourism for the southern coast. On the southern point of the line that divided the Americas between Spain and Portugal in the Treaty of Tordesillas in 1494, it's a historic city, settled by Paulistas in the 1670s. It was occupied by the farrapos soldiers and declared a republic in 1839 in the Guerra dos Farrapos, which was fought between republicans and monarchists.

Museums —If it's a rainy day, have a look at Museu Anita Garibaldi, on Praca Republica Juliana, which honors the Brazilian wife of the leader of Italian unification.

Beaches— The best beaches in the area are out on the Cabo de Santa Marta, 16 km from the city plus a 10-minute ferry ride.

The ferry operates from 6.30 am to 6.30 pm. There are beautiful dunes here, and it is possible to camp or to stay in barracas.

Rooms can also be rented in houses.

For something closer to town, try the Praia do Gi, five km north of town. There are hotels and restaurants along the beach.

From Mar Grosso, the city beach, you can get a boat to ilha dos Lobos. which is an ecological reserve and rather unspoilt.

The trip lasts an hour each way.

Further South — Further south are the coal mining towns of Tubarao and Criciuma. There's no reason to stay in either unless you want to go to the mineral baths. Both have a handful of hotels and are serviced by regular buses along the coastal route From Tubar o you can get to several mineral baths, including Term do Gravatal (20 km), Termas da Gurada (12 km) and bat s on the Rio do Pouso (19 km).

The Termas • 0 Gravatal are very popular and have many facilities. The r. I ioactive waters are said to heal rheumatism, ulcers and variety of other ailments. Unfortunately, none of the four- tar hotels in the park grounds are inexpensive. There is ca ping, however, and you can easily come up for the day from ubardo.

SAO JOAQ IM Not many ov rseas travelers come to Brazil to see snow, but if they did, th s is where they'd come. The mountains are scenic in the winter. Sao Joaquim is Brazil's highest city, at 1355 meters.

Born Jardim da Serra—BoinJardim

da Serra, in the middle of the Serra do Rio do Rastro, is a hair-raising but beautiful 45-km drive from SAo Joaquim.

There you'll f nd access to the Parque Nacional de SAo Joaquim. The park is completely undeveloped, so ask the locals about a guide if you want to explore.

Excerpts from Brazil A Travel Survival Kit 2nd edition,

by Andrew Draffen, Deanna Swaney and Robert Strauss. For more information call Lonely Planet: (800) 2758555. Copyright 1992 Lonely Planet Publications.

Used by permission.

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39

Phonguinha, the Bach of_Chor 40

Great masters of music have always affirmed that it is impossible to •"create a modern work, original or revolutionary, without a deep knowledge of the traditions and musical legacies of our ancestors. But for all rules there are exceptions. and with choro things were different.

The birth of popular music at the turn of the century occurred in several countries and started with different proportions of the same elements: European dances (mainly polka), the specific accent of the colonizer, and the rhythmic influence brought by the African slaves. The process that generated dan:on in Cuba, beguine in Martinique. and ragtime in the United States forged choro in Brazil.

Between 1860 and 1870 the pioneers of choro were playing more a repertoire of European poikas, mazurkas, waltzes, and tangos with AfroBrazilian syncopation than a unique genre. A few musicians were manipulating the elements, changing rhythms, tempos. melodic lines, and instruments. The seeds had been planted.

Virtuoso flautist and leader of the group Choro Carioca, Joaquim Antonio da Silva Ca/ado (1848-1873), was experimenting with a new sty le that incorporated improvisation and developed a dialogue between soloist and accompanists. Polka bands were initially comprised of woodwinds and horns. The clarinet was the soloist's instrument. The trumpet was in charge of the counterpoint. Calado introduced the cavaquinho and violdo.

In Rio de Janeiro during the second half of the nineteenth century the flute, vio/Cio de sere cordas (seven string guitar). and cavaquinho were becoming the instruments of choice for these vanguard choro ensembles.

Flute was the soloist's instrument, viola° supplied the bass, and cavaquinho the rhythm. The music sounded spontaneous, almost as if the violeio de sete cordas was improvising the bass line, and the cavaquinho taking liberties with the rhythm, but only one instrument -- unlike North American jazz — soloed in choro.

Assimilating the strong influence of these virtuoso musicians who were its fundamental material, choro was officially born through the works of Chiquinha Gonzaga (1847-1935) and Ernesto Nazare (18631934). These two composers gave choro its musical individuality by utilizing rhythmic, melodic, and harmonic elements in combinations and proportions that were original and distinct from everything that had come before and that sounded totally different from all other styles of Brazilian music.

Chiquinha Gonzaga was educated as a classical musician and wrote not only choro but many popular styles including tangos, polkas, and waltzes.

She emphasized the rhythmic aspects in her work. Her harmonies were simple, her melodies easily assimilated. With this mixture Gonzaga obtained noted success not only with choro but with her songs for the theater (at that time the main vehicle for spreading new trends in music).

Ernesto Nazare, also classically trained, wrote with definitive harmonic and melodic sophistication. He nationalized the forms that came from abroad -- waltz, polka, schottische, mazurka, habanera, and tango — by arranging this instrumental band music jazz many people say. It into piano reductions and also by :razi1 s chorinho hadn.'t composing his own choros for the n the scene. After foiling piano. His waltzes are considered con of, bossa nova in ttib music par eNcellence is by many to be similar to Chopin's. as on life. Small but It is evident from his choros rdirm companies. are that Nazard was also influenced ace in the world for the by his musician colleagues. With ophisticated genre.

Apanhei-Te Cavaquinho (I Got You Cavaquinho) the soloist imCE GILMAN provises unpredictable riffs until he can no longer be followed by the accompanying instruments, and in Ameno Reseda the piano imitates the cavaquinho's rhythmic accompaniment.

Choro's classical form comes from the Chopin waltz and has been closely associated with Brazilian music since the early compositions by Nazare. This ABACA form presents a leading or main theme, then a NEWS from BRAZIL - FEBRUARY 1996

ecnnd, repeats the first, presents a third, then Makes a mal repetition of the first The fusion ofcho o' hyth ic, harmonic, and melodic elements with therwalti s r font; leased public tastes and characterized the "involved" Id 'connected nature of choro.

The people ,who were playing and listening to this music came to be called "- nnisicos de choro." Interest, gly , on early 'recordings alfreferences to this variety f music are to polkas, not choros. Nevertheless choro had developed into an independent genre after the turn of the century, and composers were unequivocally calling their odrka choros.

The newborn genre, distinctively Brazilian i w th particularly Carioca (from Rio) patterns f " phrasing and rhythmic counterpoint, developed and passed its first decades of existence open to a tremendous variety of external influences.

But what is choro? Mauricio Carrilho has said that all the best popular Brazilian music is choro. Chega de Saudade by Tom Jobint, the tune that marked theinauguation of bossa nova, is a choro, albeit a choro disguised as bossa nova. It may be played in the style of bossa nova, but it is structurally a choro.

There is much debate about the origin of the name.

Some feel that the name comes from the Portuguese verb chorar— to cry —and stems from choro' slilting melodic lines that sound like they are weeping. On Jac6 do Bandolim's LP Na Roda do Choro a musicologist who wrote the liner notes contends that the term originated from x olo, a word used by Afro-Brazilians for vocal or dance concerts. Today the term can mean a group of instruments (flute, violAo, cavaquinho, bandolimlmandohin, clarMet, pandeiro), the act of getting together to play choro, or a melody in 2/4 characterized by sentimental phrases and unexpected modulations.

Choro is not only the Brazilian music which is closest to European classical, it is the essentially Brazilian genre.

Developing from European forms, African rhythms, and a classical spectrum of harmony that had been modified by the early masters; choro eventually acquired its own identity. Among all the styles that come from Brazil, it is the genre that speaks most of the Brazilian personality.

Choro is Brazil. Brazilians have always known this intuitively. Europeans, Japanese, and Americans have played samba, bossa nova, even baiiio after Hermeto Pascoal and Egberto Gismonti started to spread bailo outside Brazil. But they don't play choro. Choro for them is an unknown language. Only the best instrumentalists are able to execute choro's very specific structure, extreme melodic leaps, unexpected modulations, breakneck tempos, and improvisational language —a language heard nowhere else in the world. It is the music of the outstanding Brazilian instrumentalist.

Wagner Tiso, pianist and arranger for Milton Nascimento, feels that only Brazilians can play choro.

Tiso said that it is not enough just to be a good technician, that much of the music being recorded today is diluted in the studio by musicians who can technically execute it but lack the depth and heart to make the performance authentic. Tiso also noted that choro is the best example of where this doesn't happen. The choro musician must have something more. This something more is what Villa-Lobos called the integral translation of the Brazilian soul in the form of music.

Choro reached maturity with Pixinguinha. He gave choro its form and orientation. The perfection of his modulations and the virtuosity of his counterpoint caused music analysts to assert that Pixinguinha was the Bach of choro. A curious comparison but one with substance.

According to Radames Gnattali, Pixinguinha was the greatest flautist of all time. At rodas de choro (choro jam sessions), he was able to improvise for hours without stopping.

I

NEWS from BRAZIL - FEBRUARY 1996

-Among the everal groups that Pixinguinha organized was Os Oito B tutas (The Eight Masters). They spent six months in Pani during the early 1920s playing choro and maxixe (a danc ancestor of the samba). What Pixinguinha sami* MI6 hear on that trip, is an example of external influences pla d decisively on the head of the genre's master. When minguinha and Os Oito 13atutas returned to Brazil they added saxophone and trumpet to their instrumentatio and ragtime to their repertoire.

Os Otto Ba utas was comprised of illustrious choro figures such as oda Pernambuco, the violonista and first great compose of choros for viola.° solo, and Donga (1891-1976) c -author of the first samba ever recorded, Pelo Telefone. This points clearly to a relationship between samba nd choro that is seldom mentioned in studies about B azilian popular music. Today recordings Of Pelo Telefo e are always made by choro musicians.

The close relati • nship between the two genres is evident through music ornposed and played by the same musicians. Donga, Pixinguinha, Nelson Cavaquinho, and Paulinho da Vie la are obvious models of the choro-samba affinity.

A similar ye more diverse connection is found in the career of Ben dito Lacerda, nicknamed Regional do Canhoto. Lacer a led a back-up studio trio that accompa. nied recording ists in all genres of Brazilian music for med over fifty years. The trio had to play rancheiras, gauchas, cocas, embola as, bai5es (Luiz Gonzaga, the king of Balk) used to pl y and compose choros), carnaval marches, sambas, andfr os. Chico Buarque, Clementina de Jesus, Jackson do Pan eiro, and Elizete Cardoso were among several generat ens of singers and composers who were accompanied b Lacerda's trio.

Paralleling t is sphere of activity was Lacerda's own work composin and performing choro. Benedito Lacerda, Jac6 do Bandoli , Altamiro Carrilho, Abel Ferreira, and Valdir Azeved were principal players in the choro renaissance of the 1940s which produced the lion's share of the repertoire'h ard today.

In classical concert music chow has always been present. Villa-L e bos played clarinet and sipped cachaga (sugar cane liqu r) with friends at rodas de choro in Rio's suburbs. Ernest Nazare was one of his musical mentors.

Almost all of Vi la-Lobos' woodwind music was inspired by choro, and hi choros are extraordinary. In his orchestral work Bachi. nas Brasileiras No. 5, the choro influence is heard the cello playing a pizzicato figure imitative of the io/do's part in choro.

Much of the ame can be said in relation to Radames Gnattali. Choro' influence is extensive in his Brasiliana,s, in his concertos, and in several works of chamber music.

Gnattali's daily ork took him even closer to choro than did Villa-Lobos . He played with several generations of. choro musicians nd composed the most refined choros o all time.

The harmoni elaboration and polyphony of Gnattali' Suite Retratos • ays homage in four movements t Pixinguinha, An cleto de Medeiros, Ernesto Nazare, an Chiquinha Gonz ga. Gnattali maintained that these musician-composers ere the four masters and innovators o Brazilian music. Each of the four movements celebrates' one of these ma ters in the expressive musical language" that is stylistical y exact for that particular composer an in a manner that only the genius of Radames could have • created.

From the trio orrnat of Camerata Carioca (also ca Trio Carioca), w th whom Radarnes Gnattali worke the last seven ye s of his life, through his stints wit National 'Radio rchestra and with his own quinte sextet, this leach g composer of Brazilian music choro the funda entail material that he would ernp again and again the composition of his original vvo 41

late in Los Angeles, Vinicius de Moraes (a connoisseur of Trio Carioca — Gnattali, Luciano Perrone (drums), music known as the pope of bossa nova) had the interest, and Luis Americano (clarinet) — was created in 1936 by knowledge, and connections to disseminate the movethe artistic director at RCA Victor with .the declared ment on the west coast. intention of translating into "choristic" language the muThe bossa nova was modern. It came to university sic of Benny Goodman. At that time, the dominance of the stages through the hands of students in tune with the big bands permeated the composition of choro and the current pop culture who defended and directed students' performances of the top woodwind players. This points interests. While choro was something that the old, the again to the conclusion that choro's development was a retired, or the lower class enjoyed; bossa nova was pushed dynamic process open to outside influences, that it evolved to the fore by educated people in the universities. Besides, quickly, diversified, and recycled information. Gnattali at that time, lyrics were as important as the music itself. and Villa-Lobos proved through their work that no genre Although a vocal form with lyrics written to existing of popular Brazilian music has ever come closer to conchoro titles developed later, it was not common. Choro cert music than choro.. became alienated.

Ary Barroso, the great composer ofAquarela do Brasil The great musicians of choro lived in their own exclu, who came to the United States with Carmen Miranda in sive world. They. would meet at private all-night jam the 1940s, used to scold up-and-coming singers on his almost spiritual gatherings — that sessions (saraus ) Brazilian radio program when they announced that they were restricted to those in the choro brotherhood. Ineviwere going to sing a sambinha. He would tell them that it tably one of the musicians would bring a friend who was derogatory and prejudiced to use the diminutive inha wanted to "jam." If the new player could "cut-it," he since they didn't say jazzinho, or beguinizinho, or fox would be accepted and would eventually bring in sometrotezinho. His crying out and shaming the performer body he knew that wanted to play or an acquaintance just (one of Ary's trademarks) would cause the live audience to listen. The saraus were almost a form of resistance to to burst into laughter. the encroaching bossa nova.

Ary Barroso felt that this term diminished the value of Ernesto dos Santos Donga, in a conversation taped in samba. After all, a jornalzinho was a newspaper that 1962, said that choro had a type of social organization, wasn't really important nor taken seriously. For similar that a great respect of the genre was cultivated among the reasons choro musicians did not like nor accept the word chordes (choro musicians), a respect that was extended chorinho. Many felt that the diminutive was used as a also to those who were listening. He went on to say that shield; some choro musicians were ashamed of thempeople without talent were not admitted, and that a newselves for the music they loved to play. Eventually the comer would have to be able to solo and to accompany term became accepted as an affectionate way of referring other chordes or they would demolish the intruder. to the genre. Maurico Carrilho, the brilliant musician Eighty percent of everything played in saraus was devoted to the study of popular Brazilian music, defends choro. It was a delicious opportunity to meet other choro this thesis. musicians and listen to their improvisations. The sarau The whole process of choro development underwent a differed from the performance practices in other Brazilian very sensitive deceleration in the mid-1950s, and by the styles. It was closer to the after-hour jams and "cutting beginning of the 1960s choro was almost completely sessions" of the American jazz tradition. There are other forgotten by the public and the media. What had hapsimilarities between choro and American jazz, and it is pened? How was it transformed from popular music to the common for people to say that choro is Brazilian jazz. music of a restricted and elite group?

Interestingly, choro's development in Brazil narrowly Many answers would fit here. The fact is that musipredated the rise of jazz in North America. cians like JacO do Bandolim, Abel Ferreira, and Waldir The complex anatomy of Azevedo, did not have the choro is one of its stronthe means to codify and gest and most important charpass on their knowledge, Some of the best chorinhos acteristics. Choro, like jazz, and consequently much has a specific nomenclature, information was withTITLE ARTIST an anatomy made of archeheld. The instructional Ao Vivo (Continental) Waldir Azevedo (cavaquinho) types. Choro musicians are methods endorsed by required to be not only profisome of these artists facet do Bandolim Vol. I Jaco do Bandolim (mandolin) cient on their instruments but were solely concocted (AcooStic Disc) Jacek do Bandolim Vol. 2 also to have an extended per(without the musician's ception of"cbdes" and "passcollaboration) to make Altamiro Cardillo (flute) Revendo o Passado (Sony) words" which enable the money for the editors Henrique Cazes (cavaquinho) Plays Waldir Azevedo, players to combine their viand publishers. Another Hermeto Pascoal (Kuarup) sion and technique to confundamental point is that Benedito Costa (cavaquinho) Brasil: Flauta, Cavaquinho struct torrential improvisathese top "amateur" e Violdo (Marcus Pereira) tions. choro musicians looked Paulo Mourn (saxand clarinet) Mistura e Manda (Kuarup) at playing and writing The harmonic palettes of with Rafael Rabello both choro and jazz were choro as a hobby, a perPixinguinha& Beriedito Lacerda Naquele Tempo sonal entertainment that modified from the classical (Reviv,endo) eventually might bring European tradition. Choro, , in some small profit. however, has little use for Ailton Reiner (Bandolim) ChorPs From Bahia They didn't see profesblue notes (the lowered third (Nimbus) , and seventh degree of the sional possibilities in Heitor VklitarLobOs Wctodwind Music (Etcetera) major scale characteristic in choro.

Paulinho•d Viola & Ensemble Samba e Choro Nero American blues and jazz).

By the early sixties (Woild Network) Waldir Azevedo used blue (time of bossa nova), Various Cho1é /no notes, but he was from the choro had almost disap(Mart4ts Pereira) Northeast and his use was peared. It was the victim intuitive. The flat seventh is of disinterest and prejut Ll..1 red to by some as the setima nordestina (northeastern dice. Bossa nova had taken off. It had become an internase \ enth) and is usually attributed to African influences, as tional movement. People in Los Angeles and Paris were are flattened thirds, fifths and sevenths in American jazz. singing The Girl From Ipanema. At the Brazilian consu42

NEWS from BRAZIL - FEBRUARY 1996

In both styles the soloist improvises on the theme and form of the composition. The best improvisers in both styles are those who make the best note choices, develop ideas relevant to the tune, use extensive rhythmic vocabularies, say what they have to say in the time necessary to sayit, then step back. At saraus, players manipulate cunning and subtle themes to cut down and demolish any fledgling participant whose ego gets too out of hand. These codes and cutting sessions are eye-opening lessons for the players. They are similar to those lessons taken by the best jazz musicians and should not be interpreted as a negative characteristic.

At the beginning of the 70's Paulinho da Viola recorded Memorias: Chorando. He felt that the escolas de samba had become overly commercialized and bureaucratized and turned from the sambas that made him an idol to playing chorinhos. It was the beginning of choro's rebirth for the public at large. At about this same time, music critic Sergio Cabral produced the show Sat:au that brought Paulinhoda Viola together with the band Epoca de Ouro and united the different generations of choro musicians and admirers. The choros of Paulinho brought new harmonies and projected a modern perspective that prejudicial people did not suspect were possible.

A new generation of choro admirers formed the escola Camerata Carioca under the leadership of composer Radames GnattalL The music was sophisticated, erudite, almost classical in nature, and played by musicians who were no longer ashamed of the choro. After all, those who know how to play, play choro. Maurico Carrilho and Raphael Rabello were just two virtuosi of the genre who were drawn to this group.

The 1970s revival was further stimulated by musicians like Paulo Moura and Hermeto Pascoal who included choros on their recordings. The revival was also sparked by the availability of the authoritative instructional methods written by Afonso Machado for bandolim and Luiz Otavio Braga and Henrique Cazes for viola-o. These methods were important to choro's developmental process and may have nourished a passion for choro in Brazil's next generation of musicians.

Choro's survival today depends on its ability to conquer a space in the domestic and.import CD market, the development, production, and promotion of artists, and the distribution of their work. Fortunately, some smaller companies with profound and invigorating visions of Brazilian history (Brazil CDs, WOrld Network, Acoustic Disc) are working to secure the visibility of the genre's prominent artists. With a lot of work and minimum support from the recording giants, choro could occupy a conspicuous place in world music circles.

Bruce Gilman plays cuica for Mocidade Independente Los Angeles, received his MA from California Institute of the Arts, and teaches English and ESL in Long Beach, California.

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NEWS from BRAZIL - FEBRUARY 1996

Brazilian Notas SCOTT ADAMS

It's been said that there's a world of music in Brazil and the best parts of its inclusive nature are to be found in Canto D 'alma and the Brazilian/German group Xiame (pronounced "cee AHM mee") from Traumton Records. Just as with Bossa Nova, and then later with MPB, Canto D'alma is in many ways, an evolution of the Brazilian musical mindset: part pop, part new age, part contemporary jazz fusion, the album builds on the groundbreaking style of other Brazilian International artists including Full Circle and even Cama de Gato, or guitarist Victor Biglione.

There are elements mindful of classical chamber works...

Heitor Villa-Lobos come to mind. All of which is to say that Xiame's music is not easily classified, just easily enjoyed.

The amalgamation of musical styles from the group members, bassist and vocalist Jorge Degas, guitarist Michael Rodach and percussionist Andreas Weiser, allows for tight ensemble play and• tonal texturing that can carry a peaceful, dreamlike quality. Both the tittle track and "Sabin," which opens the 11 song album, create a relaxed palette, compelling the listener to become more involved with the music and less attached to the pulls and tugs of daily life.

"The Wedding Day" which features Danish singer Naja Storebjerg begins with a nod toward Pat Metheny and exhibits yet another facet of Xiame's unique approach to a Brazilian-based "world music."

The scope of their music can be minimalist or expansive, or even both at the same time, which goes far to explain the uncommon strengths of ambient music, as found in "Heart Beats As Long As...," the vocally spiced NEWS from BRAZIL- FEBRUARY 1996

"Stena" and the Bossa-like "Name Upon The Sand."

"Dancing Elephants" is anything but pondero ing a sassy jazz Ve ror' Rodach's guitar play. And Degas, whose credits include time with Al DiMeola shines on the appropriately titled "Wild Impatience."

Also available from Traumton Records is Xiame's self-titled debut CD, which includes a stunning version of Thelonious Monk's "Round Midnight." This album, with its strong rhythmic pulse and innovative blend of jazz, Brazilian and dance music will leave you with. little choice but to redefine your ideas concerning world music. My favorites? "Rio de Janeiro" and "Gone But Still Here."

Flora Purim. For Brazilian music fans in the 70's, there were no other two words that quickened the pulse, that created more anticipation than those. Purim's emotional "Mother Earth" voice played itself as some ethereal musical instrument, evoking rain forest images and the call of the wild. Her uninhibited spirit and six octave range helped her to garner two Grammy

nominations and t e prestigious Downbeat ward for "Best Jazz Vocali t" no less than four times wo new releases from B& Music showcase Flora P rim's revitalized career wit her husband, percussioni t Airto.

And for those of ou who had wondered wha ver happened to Flora Purim, wonder no more, for e en in the face of change, so e things remain the same.

Flora's Speed Light is her first solo rec•rding in over four years, and she picks up right whe she left off; on the cutting dge. Incorporating a lif time of musical experie ce, she channels Brazilia Samba and jazz fusion int new directions, including ondon's new soul, dance and cid jazz scenes. Songs uch as "Wings" showcase Purim's acrobatic vocal ra ge and expressive vocal catting, riding along Airto' explosive percussion. An • "Light As My Flo" carries today's bass driven club usic to new heights with gu sts Chil Factor. Others, uch as "Rhythm Runner' blend seamlessly betw en the Flora we remember and the Flora she's become. rough

it all, Airto has been the platform for her success as an artist and survival as a person.

Together, they created the group Fourth World with guitarist Jose Neto, bassist Gary Brown and keyboard/flute player Jovino Santos to explore the world influence of rhythmic fusion in jazz. Fourth World's new album, Encounters ofthe Fourth World is a live portrait of this talented ensemble's work on tour throughout Europe earlier this year. Onstage, Flora and Airto are Ying and Yang, dancing on the edge of an electric pandeiro, swayed by the twang of the berimbau, the ring of the agogo. The rhythm of life, driven by the pulse of their music. "Do you know me?" Flora asked a crowd recently as she walked onstage. "You don't know us until you've heard our music." So here's a piece of advice. Get to know Flora and Airto soon.

You may sample these albums 24 hours a day by calling The Brazilian Music Review Listener Line at (708) 292-4545.

s is the most-anticipated release of the year; not just for fans of Brazilian music or jazz, but for connoisseurs of great songwriting and eat music. The bfty-five songs in this collection put Antonio Carlos icibim on display in all of his facets as an artist: guitarist, pianist, vocalist and, of course, composer. Included is a containing rare family photographs, interviews, and an extensive essay.

CO ttt is devoted to 23 classic vocal renditions a) it. comprises is instrumental performances giDag provides a chance to hear, side by side, versions of the same songs by different musicians five songs in this collection feature Antonio Carlos lobim Mg his compositions with great jazz and Brazilian musicians og Stan Getz, ;ciao and Astrud Gilberto, Eli, Regina, and many astel,

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Movies Alice que DelIcia -- Written by Ant6nio Bivar and directed by Nildo Parente. Comedy about a bright woman struggling between feminism and femininity. In Rio. Al'o? Madame!... -- It all starts when two friends get a phone number that belonged to a palm reader and decide to take the clients for themselves. By Marcelo Saback and Vinicius Marques. In Rio. Dias Felizes -- Love comedy about a couple who stays together through thick and thin.

Barbara Heliodora's translation from the Thomas Beckett's play. In sao Paulo.

Intensa Magia -- Maria Adelaide Amaral's play about a family's public washing of dirty laundry during an engagement party. Rosa Maria Murtinho stars. Paulo Cezar Saraceni directs. In Rio. 0 Livro de J6 -- Based on the Bible, it discusses divine intervention and God's power. Directed by Antonio Aranjo. In Sao Paulo.

Perola -- Written and directed

by Mauro Rasi. Comedy. Everything in this middle class family, even the little accidents, ends up in big laughable drama.

In Rio. Porca Miseria -- Comedy. A family of Italian immigrants devise a plot to get money in order to go back to Italy. Gianni Ratto directs Marcos Caruso and El iana Rocha. In sao Paulo.

Querida Manule -- The hatelove relationship between daughter and mother. Eva Vilma stars and Jose Wilker directs this Maria Adelaide Amaral's story. In Sao Paulo.

Todo Mundo Sabe que Todo Mundo Sabe -- Another play from prolific and multitalented Miguel Falabella who also directs it. A socialite struggles to avoid economic disaster. In Rio. 46

American films just released: Something to Talk About (0 Poder do Amor), The Lawnmower Man 2(0 Passageiro do Futuro 2), Unzipped (Abrindo o Ziper), The Indian in the Cupboard (A Chave Mcigica), White Man's Burden (A Cor da Faria), Devil in a Blue Dress (0 Diabo Veste Azul), Power Rangers, the Movie (Power Rangers, o Fume), Fluke (Lembrancas de Outra Vida), Goldeneye (007 Contra Goldeneye), Ace Ventura: When Nature Calls (Ace Ventura: Urn Maluco na Africa) 0 Convento -- Portugal/France -- 1995 -Catherine- Deneuve stars on Portuguese director Manoel de Oliveira story about a couple trying to prove that Shakespeare was from Spa in La Flor de Mi Secreto (A Flor de Meu Segredo) -- Spain -- 1995 --Pedro Almodovar directs this comedy about a writer unable to write three novels she has promised her publisher due to a matrimonial crisis.

La Haine (0 Odio) -- France -- 1995 -Twenty four hours in the life of a group of undocumented teenagers living in a Paris suburb.

Mario, Maria e Mario (Mario, Maria e Mario) -- Italy -- 1993 The fall of Russia wrecks havoc at the life of a socialist couple, husband and wife are communist militants.

Ettore Scola directed.

Mushrooms (Cogumelos: Gostosos de Morrer) -- Australia -- 1994 -- Two friendly widows having a hard time to make ends meet are looking for something to do. One decides to steal, the other to take care of a boarding house. Directed by Alan Madden.

0 Quatrilho --Brazil -- 1995 -- Fabio Barreto directs Patricia Pillar, Gloria Pires, Bruno Campos, and Alexander Paternorst in this dramatic story of two couples against the morals of the time. The action takes place among Italian immigrants in the south of Brazil.

Stibado (Saturday) -- Brazil --1994 -- Comedy directed by 'Up Georaetti with Otavio Augusto and Maria Padirha. A group of friends and what happens on a weekend in a sao Paulo old building.

Supercolosso, o Filme (Supercolosso, the Film) -- Brazil -- 1995 -- Colosso TV's dog workers go out to the streets for an adventure with human beings. Based on TV Globo's child cartoon. Luiz Ferre directs.

Terra Estrangeira (Foreign Land) -- Brazil -- 1995 -- Brazilian flees to Portugal amid economic turmoil in Brazil during the Collor de Mello presidency. Directed by Walter Salles Junior with Fernanda Torres and Alexandre Borges.

t-selle Fiction

1. 0 Xango de Baker Street J6 Soares (Comp. das Letras) 2. Benjamin Chico Buarque de Holanda 3. Man/ill, Tarde e Noite Sidney Sheldon (Record) 4. 0 Mundo de Sofia Jostein Gaarder (Comp. das Letras) 5. A Profecia Celestina James Radfield (Objetiva) 6. Calunga, urn Dedinho de Prosa Luiz A. Gasparetto (Espaco, Vida e Consciencia) 7. Comedias da Vida Privada - 101 Cronicas EscoMidas Luis F. Verissimo (L&PM) 8. Pelas Portas do Coracao Zibia Gasparetto (Espaco, Vida & Consciencia) 9. Violetas na Janela Vera L. Marinzeck de Carvalho (Petit) 10. Ensaios Sobre a Cegueira Jose Saramango (Companhia das Letras)

Nonfiction

1. A Estrada do Futuro -- Bill Gates (Companhia das Letras) 2. A Estrela Solitaria -- Urn Brasileiro Chamado Garrinelm Ruy Castro (Companhia das Letras) 3. Minutos de Sabedoria Luis Torres Pastorino (Vozes) 4. Paula Isabel Allende (Bertrand Brasil) 5. 0 Guia dos Curiosos Marcelo Duarte (Companhia das Letras) 6. Diario - Volumes 1 e 2 Getolio Vargas (Siciliano/ FGV) 7. Anjos Cabalisticos Monica Buonfiglio (Oficina Cultural Esoteric-a) 8. A Divina Comedia dos Mutantes Carlos Calado (Editora 34) 9. Erases -- 106 Refle.voes sobre os Guerreiros da Luz Paulo Coelho (Ediouro) 10. Era dos Extremos Eric Hobsbawn (Companhia das Letras) NEWS from BRAZIL-FEBRUARY 1996

CONTINENTAL SAMI3AJAZZ

Luso TRADITIONS Once again this year the University of California, Los Angeles (UCLA), will be the gathering place for Portuguese scholars from all over the world to discuss themes dealing with Portuguese language, history and customs.

The XIX Symposium on Portuguese Traditions (Europe, America, Africa, Asia) will happen on April 21 and 22 at the Sunset Recreation Center, on the UCLA campus.

The meeting is promoted by the University's Department of Spanish and Portuguese, but it wouldn't happen if the weren't for the tenacity of professor Claude Hulet, who has continued this project even after retiring as a Portuguese Literature teacher at UCLA. The Symposium is open to all those interested in participating as listeners or lecturers. You can get more information calling (310) 825-1036 or sending an E-mail to Prof. Hulet at ikcIclh@mvs.oac.ucla.edu

NO ENGLISH, PLEASE! Through IRC (Internet Relay Chat), more computer literate Bra4ilians and non Brazilians have been talking on the Internet for some time. Now, the rest of us who have a computer and a modem and who miss the contact with Brazilians, every night have also a chance to talk on American Online's Brazilian Chat Room.

The chat starts around 9 PM New York time. The instructions to access the room were posted recently on Internet's Brazilian forum, the soc.culture.brazil, by Ariel Goes: From AOL's main menu, click People Connection (the two-faces icon), from there click List Room, then Member Rooms, click on Create a Room, write then Brasil (with an S), and say oi. That's all. A basic subscription to AOL in the US costs around $10. For more information call 1(800) 827-6364.

NEWS from BRAZIL - FEBRUARY 1996

Hendrik Meurkens and Charlie Byrd, both supreme jazz musicians, both touched by European sophistication, and deeply influenced by Brazilian music, have a new record out. Meurken's CD is called October Colors and presents the Germany-born, New YorkCharlie Byrd based composer and arranger playing sambajazz with some of the best Brazilian musicians. Says Hendrik, "Sambajazz is the instrumental answer to the vocal-dominated bossa nova." Meurkens lived in Brazil in the early 80s and went back there in '89 to record his Samba lmportado. In October Colors, among other tunes, he plays Tom Jobim's "Brigas, Nunca Mais" and his own composition "Chorinho No. 1".

At 70, Charlie Byrd, one of the most influential guitarists from the jazz world, continues to amaze. His latest release, The Charlie Byrd Quintet du Hot Club de Concord, is no exception. The recent passing of h is Brazilian friend renowned guitarist Laurindo de Almeida, ended a long and fruitful partnership. In his latest work Charlie includes bossa nova sounds and Pixinguinha's "Carinhoso". Both CDs were released by Concord Jazz (510) 682-6770.

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http://www.earthlink.net/—brazzil 213 255-8062 NEWS from BRAZIL - FEBRUARY 1996

FEIRA LIVRE OPEN MARKET CLASSES

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Will train. P/T $500- $2,000: F/ T $2,000- $6.000 —(310) 3733681 [12;1 See you at the top — Int. Co. seeking bilingual — Portuguese a plus — with positive and outgoing attitude motivated to reach top positions working w/ quality business people. Expansion throughout California. Training available. Call (310) 214-9727 JOB SOUGHT

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Samba. bossa nova. chorinho, NEWS from BRAZIL. FEBRUARY 1996

baiao, axe, and more. Merchant Express - (800) 589-5884.

PERSONAL

American businessman has lived in your country and loves your people, music, & dance.

Desires friendship/romance with Brasileira between 22-30 years.

Interests include yoga, health food, nature. Please write R.B. 1106 2nd St. #268, Encinitas.

CA 92024.

American Doctor, male, seeks Brazilian lady, 18-32 for fun and romance. Must be pretty. I'm very handsome and look Brazilian. (213) 293-8909. Los Angeles area.

American Jewish man, 36, sincere, deep, fun, active, doctor, seeks Jewish lady under 35 with brown eyes and long dark hair, in Los Angeles area. (310) 2713168.

American Plastic Surgeon. Internationally recognized. Attractive. Athletic. Has toured Brazil.

Seeks intelligent, athletic, attractive, non smoking Brasileira who likes skin diving, aerobics, surfing, outdoor photography & cooking. Ages 22-30. Send photos and C.V. to G.M. - 2318 Washington - Great Bend, Kansas. 67530 - U.S.A. Brasileiro, 31, busco outros rapazes 20-35 para am izade, etc.

Los Angeles area. (213) 9698329 Brazilian guy, 27, looking for friendship, collects post cards.

Fabio — PO Box 9091, L.I.C. NY 11103-0904 French American guy looking for friendship with Brazilian men 35-55. (310) 659-3139 or write: Occupant. P.O. Box 16655, Beverly Hills, CA 90209 Handsome gay American man wants gay male pen-pals from Rio and Brazil. Write Roberto — 1086 Post St. #309. San Francisco, CA 94109 USA L.A./Ph.D. - Loyal, funny and supportive seeks smart, loyal and young arazilian lady age 28 to 35 for love and companionship.

Write letter with photo to Dr. G. Martin- 1107 Fair Oaks #184 South Pasadena, CA 91030 or call (213) 223-6100.

Single American male seeks Brazilian women, 18-35 years old. I am 34 years old, healthy, attractive. romantic. Please send note & photo to: 2440 16th St.

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TO PLACE AD: Send ad with check or money order to: News from Brazil P.O. Box 42536 Los Angeles, CA 90050-0536. #179, San Francisco, C 94103.

Sophisticated, attract ye lady with Scandinavian ar degree seeks professional, attra tive 4758 man — non-Ameri , an, non smoker—for love even ual marriage. (213) 851-2767 Sou brasileira, tenho 16 anos, quero me corresponder corn mocas e rapazes bra ileiros, latinos ou americanos q e falem portugues ou espanhol. E crevam para Luciene Pinto Rua Leonardo Da Vinci, 13 — Senador Camara — CEI 21831100 Rio de Janeiro, Bra il [122] Sou gay americano, 2 190, branco. Procuro b asileiro bonito para am izade mais.

Morava no Brasil e ago a tenho saudades. (213) 660-2617 [122] Successful, wealthy, go s d-looking marriage-minded r mantic American comedy wri er, 30, speaks a little Portugues , seeks slender, intelligent, ed cated, English-speaking, nons oking, nonreligious brasileira n L.A. area. Note & photo to: Occupant, P.O. Box 3757, Santa Monica, CA 90408 Voce a viu? Imagino q e ela th morena, alta. saudavel, s nsivel e confiante. corn 32-50 an s. Sou americano (51 anos, 1. 3 m., delgado, branco, divorcia o, sem filhos. urn gato). Ofereco izade atenciosa. correspondida leal, e sem fumaca (nAo obstant o fogo interior). Procuro a min alma gemea para aventura, so riso e paixao. Para uma relac- profunda. Para sempre. Voc a viu?

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for estimate (310) 518-3425.

PSYCHOTHERAPY

Chronic & Life Threatening illnesses, A.D.D. & dyslexia, life transitions, bicultural & relationship issues, sexual identity conflict — Edison de Mello, M.D., Ph.D. — MFCC Lic# 021323— Portuguese/ Spanish/ English. (310) 281-9901 [124] Emotional & psychological help - Elizabete Almeida MFCC licensed psychotherapist. English/Portuguese. Reasonable rates. (310) 281-7536. [127] REAL ESTATE

BUYING, SELLING, RENTING - Let me assist you with all your Real Estate needs. Anywhere in the U.S. through National Referral Services. Call Debora Jackson at (703) 5480700. McEnearney Associates Inc. [122] SERVICES

SOS WORD PROCESSING All types, résumés, term papers, script typing, mailing lists, labels, flyers, laserprinting, pickup an delivery. (310) 815-8717 [124] Silent's — Fine line tattoos. By appointment only. (310) 8428628, (310) 843-1377 or (619) 965-9655 [129] TRANSLATION & INTERP.

J. Henry Phillips, simultaneous interpreter and ATA accredited Portuguese translator: (512) 8341941. Fax: (512) 834-0070.

TRAVEL

Washington Tour & Travel Brasil Vigo - Passagens aereas domesticas e internacionais.

Dinheiro para o Brasil em 24 horas. (703) 527-6977.

49

_domai._ Ant

ax y our alendar info to ( 213) 257-3487, E-mail it to brazilnews . aol.com - ma il to P.O. Box 42536L.A., CA 90050 or ca ll (213) 255-8062. Deadline: the 20t

calendar - february 96 - us.a.

TV & RADIO COAST TO COAST TV Beautiful Brazil - Every Saturday, 9 PM (East CoastTime) with Goulart de Andrade on the International Channel (In Portuguese with English subtitles)

SHORT WAVE RADIO Radio Nacional da Amaz6nia - Daily, especially on evenings and early morning 6,180 & 11,780 Khz Radiobras -All universal time - From 12 noon to 1:20 PM, in English and from 1:30 PM to 2:50 PM, in Spanish - 15,445 Khz

BOSTON Donna° Brasileiro - Every Sunday, 12.00 noon with Dennis Miller - 88.1 FM - WMBR

CHICAGO

THURSDAY 1 BEVERLY HILLS 10:30 PM - Katia Moraes at Bokaos (310) 659-1200

BERKELEY, CAL. 9:00 PM - Carla° & guitar at Nino 's

LOS ANGELES 9:00 PM - Pagode with Josias at Zabumba

SANTA MONICA, CAL. 10:00 PM - Marcos Santos at 14 Below

FRIDAY 2 CENTURY CITY, CAL. 8:00 PM - The Girls from lpanema at The Century Club

LOS ANGELES 9:00 PM - Oba Oba with Max and Swing Brasil at Zabumba

ANAHEIM, CAL. 7:00 PM - Marcos Santos at Ginga Brazil

SATURDAY 3 SAN FRANCISCO 9:30 PM - Entre Nsis at Bahia Cabana

ANAHEIM, CAL. 7:00 PM - Sergio 2000 at Ginga Brazil

SUNDAY 4 LONG BEACH, CAL. 9:00 PM - SambaLa's Baile das Piranhas at Foothill

The Sounds of Brazil - Every Saturday, 10'00 pm -Midnight, 95.5 FM, WNUA with Scott Adams Show Brazil - Every Friday, 8'00 am - 11 00 am, 91.5 FM, WMFO with Edna Moreno Brazilian Style of Music Every Friday, 11 00 am - 2:00 pm, 91.5 FM, WMFO with Marlon Catao

3:30 PM - San Diego Samba School at Café Sevilla 10:00 PM - Sambrasil at Cafe Sevilla

LOS ANGELES

9:00 PM - Carla° & guitar at Nino's

Sounds of Brazil - Every Thursday, Noon - 2.00 pm, KPFK, 90.7 FM with Sergio Mielniczenko Brazilian Hour - Every Saturday and Sunday, 9:00 am 10:00 am, KXLU, 88.9 FM with Sergio Mielniczenko

MIAMI RADIO Brazilians Love Jazz - Every Sunday, 5:00 pm - 6.00 pm with Gina Martelli - 93.9 Love 94

SAN DIEGO, CAL.

THURSDAY 8 BERKELEY, CAL. LOS ANGELES 9:00 PM - Pagode with Josias at Zabumba

SANTA MONICA, CAL. 10:00 PM - Katia Moraes at 14 Below

FRIDAY 9 CENTURY CITY, CAL. 8:00 PM - The Girls from ipanema at The Century Club

STUDIO CITY, CAL. 9.30 PM - Katia Moraes at La Ve Lee

LOS ANGELES 9:00 PM -Oba Oba with Max and

50

Swing Brasil at Zabumba

ANAHEIM, CAL. 7:00 PM - Marcos Santos at Ginga Brazil

SAN FRANCISCO 6:00 PM - Marcos Silva & piano at Chambord

SATURDAY 10 MIAMI 9:00 PM - 9th Annual Carnaval Ball at Ramada Resort Hotel -(305) 450-1772

SAN FRANCISCO 9:30 PM - Pre-Carnaval at Bahia Cabana

LAGUNA BEACH, CAL. 7:30 PM - Baile de Carnaval Verde Amarelo at 20062 Laguna Canyon Rd (714) 857-6764

ANAHEIM, CAL. 7:00 PM - Lois & Zelao at Ginga Brazil

SUNDAY 11 LONG BEACH, CAL. 9:00 PM - SambaLa's Baile Azul & Amarelo at Foothill

SAN DIEGO, CAL. 3:30 PM-San Diego Samba School at Café Sevilla 10:00 PM - Sambrasil at Café Sevilla

THURSDAY 15 BERKELEY, CAL. 9:00 PM - Carlao & guitar at Nino's

LOS ANGELES 9:00 PM - Pagode with Josias at Zabumba

SANTA MONICA, CAL. Moo PM - Lula & the Afro-Brazil Band

at 14 Below

FRIDAY 16 DETROIT 8:00 PM - Brazilian Cultural Club's Carnaval Ball at State Theatre - (313) 862-7824

SALT LAKE CITY, UTAH 8:00 PM - Carnaval dos 100 at Greek Church -(801) 277-8842

SAN DIEGO, CAL. 8:30 PM - Mardis Gras '96 at 4th & B (619) 226-4671

CENTURY CITY, CAL. 8:00 PM - The Girls from lpanema at The Century Club

LOS ANGELES 9:00 PM - Oba Oba with Max and Swing Brasil at Zabumba 10:15 PM - Katia Moraes at Luna Park (310) 652-0611

ANAHEIM, CAL. 7:00 PM - Marcos Santos at Ginga Brazil

NEWS from BRAZIL - FEBRUARY 1996

Ball at YMCA - (602) 451-7360

SATURDAY 17

CENTURY CITY, CAL.

tan Center -(212) 819-9078

LOS ANGELES

MIAMI 9:00 PM - Carnaval Verde Amarelo at Castle Beach Hotel - (305) 866-7718

LOS ANGELES 8:00 PM - Brazil Carnaval '96 at Hollywood Palladium -(213) 852-7119

9:00 PM - Oba Oba with Max and Swing Brasil at Zabumba

ANAHEIM, CAL. 7:00 PM - Kleber Jorge at Ginga Brazil

SAN FRANCISCO

SATURDAY 24

9:00 PM - 27th Annual Friends of Brazil Carnaval Ball at Gallena - (415)

9:30 PM - Viva Brasil at Bahia

334-0106

SAN FRANCISCO Cabana

LAKE FOREST, CAL.

LOS ANGELES

9:30 PM - Carnaval Night at Aldo's -

9:00 PM - Grito de Carnaval at

(714) 472-2272

Zabumba

SAN DIEGO, CAL.

LOS ANGELES

8:30 PM - Mardis Gras '96 at US Grant

10:00 PM & Midnight - Katia Moraes at Luna Park (310) 652-

Hotel -(619) 226-4671

PITTSBURH, PENNSYLV.

0611

10:00 PM - Carnaval '96 at Cozumel

ANAHEIM, CAL.

Restaurant - (412) 621-5100 E-mail: leila@lis. pitt.edu

7:00 PM - Lois & Zelao at Ginga

ANAHEIM, CAL.

SUNDAY 25

Brazil

7:00 PM - Sergio 2000 at Ginga Brazil

SUNDAY 18 LONG BEACH, CAL. 4:00 PM -SambaLa's Baile das Cnancas at Foothill

SAN DIEGO, CAL. 10:00 PM - Sambrasil at Cafe Sevilla

TUESDAY 20

SAN DIEGO, CAL. 3:30 PM - San Diego Samba School at Cafe Sevilla 10:00 PM - Sambrasil at Cafe Sevilla

LOS ANGELES 9:00 PM -Oba Oba with Max and Swing Brasil at Zabumba

WEDNESDAY 28

LOS ANGELES, CAL. 8:00 PM - SambaLa at Olvera Street

THURSDAY 22 BERKELEY, CAL.

BERKELEY, CAL. 7:00 PM - Bale FolclOrico da Bahia at Dept. of Music UC Berkeley- (510) 642-9988

THURSDAY 29

- Carla° & guitar at Nino's LOS ANGELES

BERKELEY, CAL.

9:00 PM - Pagode with Josias at

9:00 PM - Carlao & guitar at

Zabumba

Nino's

SANTA MONICA, CAL.

LOS ANGELES

10:00 PM - Katia Moraes at 14 Below

9:00 PM - Pagode with Josias at Zabumba

FRIDAY 23 PHOENIX, ARIZONA 9:00 PM-Brazilian Institute's Carnaval

ANAHEIM Ginga Brazil - 821 N. Euclid, (714) 778-0266

LOS ANGELES 14 Below- 1348 14th St., Santa Monica -(310) 451-5040 Cafe Danssa - 11533 W. Pico Bl. West L.A.- 010) 478-7866 Foothill - 1922 Cherry Ave. Long Beach - (310) 983-9190 NEWS from BRAZIL - FEBRUARY 1996

SANTA MONICA, CAL. 10:00 PM - Katia Moraes at 14 Below

La Ve Lee - 12514 Ventura BI. - Studio City - (818) 980-8158 Century Club - 10131 Constellation B1.-(310) 553-6000 Zabumba -10717 Venice Blvd Culver City -(310) 841-6525

SAN DIEGO Café Sevilla - (619) 233-5979

S. FRANCISCO Ashkenaz - 1317 San Pablo Ave.-Berkeley (510) 525-5054 Bahia Cabana - 1600 Market St. - S. Fco. (415) 861-4202 Chambord - 152 Kearney St..

S. Francisco (415) 434-3688 - 1916 Martin L. King Jr., Berkeley (510) 845-9303 Yoshi's - 6030 Claremont Ave. Oakland (510)652-9200

TV & RADIO TV

mullPea0 *Z909-99Z £1•Z 11e3JO 09006 y3 "y19£9zt, zue •cycles/ h ew - wooloe@smoupzeiq NI! fiew-3 `Len-Lsz (c

9:00 PM - Carnaval de Gala at Manhat-

8:00 PM - The Girls from Ipanema at The Century Club

BTN (Brazilian TV Network) - 11:00 pm - 1.00 am, DCI ch.

40, S. South ch. 51, Adelphia ch. 52, Gold Coast eh 99 Luqui Corporation - Jornal Bandeirantes - 11:00 pm 1:00 am, Dynamic ch 20, S. South ch 41, Gold Coast ch.

44, DCI ch. 45

NEW YORK RADIO Brasil corn S - Every Saturday, 9:00 PM with Judith King, 88.3 FM - WBGO Brazil Street Samba - Every Friday, 10.00 PM with Leo Costa &Alberto Lopes -89.9 FM - WKCR RadioAmazonia- Every day, 6:30 PM on shortwave -6.185 MHZ

TV Brazil Update - Every Saturday, 3:30 PM - Channel 69 Brazilians in America-TV Every Sunday, 5:30 PM Channel 16

S. FRANCISCO Agora Brasil - Every Saturday, 3:00 PM - 4:00 PM, KPFA, 94.0 FM with Elvira Cola and Eric Taller Brasileirinho - Every Wednesday, 9 30 PM, KZSC, 88.1 FM with Renato Frota Canta, Brasil - Every Sunday, 6:00 PM - 8.00 PM KKUP, 91.5 FM, with Xuxu, Maria Jose and David Heyman Programa de Domingo Every Sunday, 1.00 PM - 2.00 PM, KSQQ 96.1 FM with Lino Bugatti A Taste of Brazil - Every Sunday, 10:00 PM - 11.00 PM, KKSF, 103.7 with Dick Conte Tropicalia Brasiliana - Every Friday, 8:00 PM - 9.00 PM, KUSF, 90.3 with Raimundo Franco

Lau at

NEW YORK

9:00 PM

a4 o u! aepuele3 JnoAx -

calendar - february 96 u.s.a.

51

Boston Area Books Livraria Plenitude (800) 532-5809 Consulate Consulado G. do Brasil (617) 617-542-4000 Dentist Sylvio P. Lessa (617) 924-1882 Food & Pr oducts Aqui Brazil (617) 787-0758 Brasil Brasil (617) 561-6094 Jerry's Cachaca (617) 666-5410 Instruction Braz. & Amer. Lg. Inst.

(617) 787-7716 Music Brazil CDs (617) 524-5030 Publications The Brazilian Monthly (617) 566-3651 Restaurants Café Brazil (617) 789-5980 Tropicilia (617) 567-4422 Pampas Churrascaria (617) 661-6613

Chicago Consulate Consulado C. do Brasil (312) 464-0244 Translations Portuguese Lang. Ctr. (312) 276-6683

Los Angeles Accountant Sheila Shanker (310) 836-3436

Airlines yang (800) GO VARIG Vasp (310) 364-0160 Arts & Crafts Bakari Art Studio (213) 938-0523 Folk Creations (310) 693-2844 Uniquely Brazil - Folk (818) 458-1474 Zebi Designs (310) 391-6530 Auto Repair Cosmo Auto Parts (213) 259-9818

Banks Banco do Brasil (213) 688-2996

Catering Joy's Catering (310) 438-3415

Remi Vila Real (818) 280-0061 Clothes Samba (310) 983-9190 Summer Brazil (310) 455-1772 Clubs & Associations Brazil-Cal.Chbr of Com. (310) 202-6820

Centro Cultural Gaucho (213) 256-6548 Clubinho da Crianca (818) 248-3667 MILA - Samba School (310) 391-6098 SambaLi -Esc. de Samba (310) 983-9190 Computer Henriques - Maintenance (818) 767-5153

Consulate Brazilian Consulate (213) 651-2664 Dentists Gilberto Henriques (213) 464-0524 Jose Carlos D. Polido (714) 848-9200 Events Promotion Brazilian Nites Prod.

(818) 566-1111 Pegasus - Parties & Ent. (818) 549-0383 Ricardo Gehr (818) 831-0992 Food & Products Brazilian Market (310) 827-9139 lrnport/Export Brazil "R" US (310) 607-9771 N & R International (909) 626-3656 Instruction Brasil Brasil Cult. Ctr (310) 397-3667

Modern Lang. Center (310) 839-8427 Legal Services Meiojas & Ferraz (310) 360-0901 Music Bossa Nova - Georgia (818) 891-0912 Braz. Jazz/All Occasions (310) 839-3788 Jazz - Richard Samuels (818) 798-5424 Physician Paulo Coharte (310) 285-9670 Did° Rangel (310) 828-7454 Ingrid Rodi - Gynec.

(310) 451-8144 Nilson A. Santos (213) 483-3430

Psychother/Counsel.

Elizabeth Almeida M.A. (310) 281-7536 Fatima Castro (310) 822-6770 Dr. Jefferson SA (818) 592-0402 Publications News from Brazil (213) 255-4953

Real Estate Cent. 21 - Solon Pereira (310) 633-0787

Cold. Banker -J. Freitas (818) 304-9562 Restaurants & Cafés Bossa Nova (310) 657-5070 Brazilian Tropical (714) 720-1522

By Brazil (310) 787-7520 Café Brasil (310) 837-8957 ' Ginga Brasil (714) 778-0266 Lulu's Alibi (310) 479-6007 Volie's Brazilian Steak (714) 251-0722

Zabumba (310) 841-6525 Translation/Int( Brazilian Int. Affairs (310) 854-5881 Tocantins Communit(818) 248-3667 Around the Worl (800) 471-6335 Brun Air (800) 441-8515 Brazil Tours (818) 767-1200 , Cheviot Hills Travel (310) 202-6264 F & H - Hotel Repnts.

(800) 544-5505 IVA C. W. Travel (909) 988-0552

Miami Airlines Transbrasil (800) 872-3153 yang (800) 468-2744 Vasp (800) 732-8277 Bar s Banco do Brasil (305) 358-3586 Banco Nacional (305) 372-0100 Banco Real (305) 358-2433 Banespa (305) 358-9167

Clubs & Associations ABFC - As. Bras. da (407) 354-5200 Corn. Corn. Brasil- EUA (305) 579-9030 ARARA - Amazon, As. (813) 842-3161

Consulate Consulado do Brasil (305) 285-6200

Dentists Arnaldo Souza (305) 595-3238 Hedimo de Si (305) 262-8212

Food & Beverages All Braz. Imp. & Exp. (305) 523-8134 Guarani Esteves (305) 345-1540 Via Brasil (305) 866-7718 Physician, Dr. Jorge Macedo (305)271-7311 Dr. Mario &inches (305) 541-7819 Dr. Neri Franzon (305) 776-1412

1111111=111111111111 Florida Review ; (305) 374-5235

Brazilian Trim casts (305) 781-1113 Brazilian Delight (305) 374-0032 Brazilian Pie = (305) 866-1001 Cheese Bread House (305) 443-5358 Gula Gula (305) 532-3636 Travel Agencies Brazilian Wave (305) 561-3788, Discover Brazil fours (800) 524-3666 Euroamerica • (305) 358-3003 International Tatra

(800) 8227 k318, 52

' Luma Travel (305) 374-8635 Monark Travel (305) 374-5855 New Port Tours (305) 372-5007 Venture Travel (305) 379-7678 Via Brasil Travel (305) 866-7580

New York New Jersey Books — Luso-Brazilian Books (800) 727-LUSO

Clubs & Associatioi s Brazilian Ch. of Cone (212) 575-9030 Brazilian Corn. Duran' (212) 916-3200 Brazilian Trade Bur. (212) 224-6280

Consulate Brazilian Gen. Cons.

(212) 757,3080 Food & Products Amaz8nia (718) 204-1521 Coisa Nossa (201) 578-2675 Merchant Express (201) 589-5884

Publications The Brasilians (212) 382-1650 Brazilian Voice (201) 955-1137 Portugal-Brasil New (212) 228-2958 Samba Newsletter (718) 937-0574

San Francisco Area Airlines

Barb Tour Service (201) 313-0996 ; International Sandi* (718) 699-2900 Mystical Destinations (718) 956-1630 Nascente Travel (718) 545-0608 Odyssea Travel Sertice (212) 826-3019 Santos Dumont Int.(212) 764-5680

Ivan Porto (800) 314-4826 Clubs & Associations Clube Bras. San D go (619) 295 0842 Sunday Night Cl. Brazil (619) 233-5979 ,

Import/Expor Brazil Imports (619) 234-3401 Money Bernina

Vigo-California (619) 479-VIGO

Musical Instruments Tamborim & Samba (415) 871-2201

Physician

Vang (415) 986-5737 Vasp (800) 732-VAS? Attorney

Dr. Guilherme Salgado (415) 832-6219

Printing M. C. Printing (510) 268-8967

Ralph Baker (510) 444-8100

Publications

Auto Nelson Auto Body (415) 255-6717 Malts Auto Body (415) 565-3560

Beauty Salon Bibbo (415) 421-BIBO Carmen's International (415) 433-9441 Dalven Hair Design (415) 433-7646 Neyde's (415) 681-5355

Bike Repair West Bike (415) 241-9125

Clubs B.A.S.O. (415) 661-2788 Bay Area Brasilian Club (415) 334-0106

Computer Micronet (415) 665-1994

Consulate

Brazil Today (510) 223-5190 News from Brazil (415) 648-5966

Restaur./Night Clubs Bahia Cabana (415) 861-4202

Café do Brasil (415) 626-6432 Café Mardi Gras (415) 864-6788 Canto do Brasil (415) 626-8727 Little Rio (415) 441-3344 Michelangelo Café (415) 986-4058 Mozzarela Di-Bufala (415) 346-9888 Nino's (510) 845-9303

Taqueria Goyaz (415) 821-4600

Soccer Sunset Soccer Supply (415) 753-2666

Translation Port. Lang. Services

Brazilian Consulate

(415) 587-4990

(415) 981-8170

Raimundo Franco (415) 995-2627

Dance Instruction Brasilia (212) 869-9200' Brazil 2000 (212) 877-7730 Brazilian Pavillion (212) 758-8129 Cabana Carioca (212) 581-8088 Indigo Blues (212) 221-0033 S.O.B. (212) 243-4940

Viva Brazil (415) 342-8508 Voz do Brazil (415) 586-2276

Travel Agencies

Aguarela

(510) 548-1310 Brazil Culture & Arts (510) 215-8202 Ginga Brasil (510) 428-0698 Escola Nova de Samba (415) 661-4798

Samba do &track, (415) 826-2588 Samba, Swing & Suor (415) 282-7378

Dental Care Roberto Sales, DDS (510) 451-8315

Food Brazilian Coffee Dist.

(415) 648-5966 California Produce (415) 586-6200 HGc Imp. Wholesale (408) 947-8511

Instruction Portuguese - A. Frame (510) 339-9289 Portuguese Lang. Serv.

(415) 587-4990

Money Remittance Via Brazil (415) 673-0262 Vigo (415) 863-0218 West Brazil (415) 695-9258 Music Fogo na Roupa (510) 464-5999 Marcos Silva (510) 945-0138 Terra Sul (415) 752-9782

Rio Roma (415) 921-3353

Santini Tours (510) 843-2363

Tropical Travel (510) 655-9904

Tucanos Travel (415) 454-9961

ashington DC Area Airlines Transbrasil (202) 775-9180 Varig (202) 331-8913 Vasp (202) 822-8277

Banks Banco do Brasil (202) 857-0320 Banco do Est. de S. Paulo (202) 682-1151

Clubs & Associations Braz. Am. Cult. Inst.

(202) 362-8334

Inst. of Brazil. Business (202) 994-5205

Embassy Embaixada do Brasil (202) 745-2700

Travel Agencies Intern. Discount Travel (703) 750-0101

Washington Travel (703) 527-6977

NEWS from BRAZIL - FEBRUARY 1996

beat of the samba.

Anthropologist Richard G. Parker has defined the ethic of the Brazilian Carnival as -the conviction that in spite of all the evidence td the contrary, there still exists a time and place where complete freedom is possible. As the tropical summer draws to a close, society suspends its rules. hierarchies reverse themselves. and the struggles of daily life give way to the uninhibited pursuit of fun and pleasure.

In the -anything goes- atmosphere of Carnival, neighborhood groups called blocos adopt imaginative or outrageous names: for instance. Simpatia é Ouase Amor, or -Sympathy Is Almost Love. an Ipanema bloco; and Sovaco de Cristo, or "Christ's Armpit,- the designation adopted by people who live beneath the outstretched arms of the statue of the Redeemer atop Corcovado Mountain. In costumes or bloco T-shirts, they take to the streets and cause monumental traffic jams, which the authorities as well as the trapped motorists tolerate with surprising equanimity in the spirit of the season.

Exhibitionism, a natural outgrowth of the cariocas' fixation on physical appearance, bubbles irrepressibly to the surface, most noticeably at gala balls in social clubs and nightspots, where the city's "beautiful people mix with local as well as international celebrities and display their bodies with or without the help of dazzling costumes.

At all levels of society cross-dressing has long been a popular practice during Carnival. Heterosexual men do not hesitate to parade about in feminine attire that has in many instances been made for them by their wives. Even young boys customarily disguise themselves as girls. For avowed transvestites, Carnival is a time when society permits them to have free rein, and they cavort about with wild and often hilarious abandon, blocking or directing the flow of vehicles on the main arteries of Copacabana and Ipanema.

Hugh Gibson, in his 1937 book Rio, notes that although many writers have sought to capture the Carnival of Rio de Janeiro, the event eludes description. "The strange thing is that none of [them] seem to realize that Carnival is not nearly so much what they saw as what they felt; a feeling which enables two million people to be turned loose in the streets for four days and nights with little or no restraint."

The masked faces of Carnival revelers in a sense represent the real countenance of Brazil. Indeed, to make use of an insight offered by the Argentine writer Luisa Valenzuela, in a certain sense Brazilians go about in costumes during the rest of the year and regard what they wear during Carnival as indicative of their real selves.

To be a genuine Brazilian, it is said, one must be able to succumb willingly and wholeheartedly to the enchantment, the delirium, and the splendor of what has become a national allegory. Although this claim is perhaps an exaggeration, the inversion of reality that defines the event— whereby males dress as females, virtuous women as prostitutes, good Christians as devils, the living as the dead, the old as the young, and the poor as nobility from Brazil's past — matches the surreal quality that lies near the essence of all things

NEWS from BRAZIL - FEBRUARY 1996

Brazilian. People from every walk of life transform themselves into whatever they want to be. The Brazilian mania for spontaneity and disorder, sparkle and noise, and pleasure and pathos assumes its ultimate expression.

Yet the Rio Carnival has its critics: those who say that it has deteriorated from a genuine manifestation of popular culture to a media extravaganza concocted by professionals, exploited by publicity seekers, totally commercialized, and increasingly staged for the entertainment of foreign tourists. The samba schools, they aver, are no longer associations serving the needs and aspirations of the slum (and predominantly black) neighborhoods from which they sprang, but rather unwieldy conglomerations struggling to meet the pressures of putting together an elaborate spectacle that calls for expenditures far beyond their means. Thus it has become fashionable in some quarters to belittle the Rio event and point to the street celebrations in Salvador and Olinda in the Northeast as much closer to the true tradition of Carnival.

The exact origins of Carnival are unknown. Some point to the prehistoric practice of painting the body and wearing masks and feathers during rites intended to exorcise demons. Others trace it back to Egyptian, Greek, and Roman festivals during which pleasure-seeking celebrants behaved in a crazed manner and set out to disrupt the established order. Momus, the name given to today's -King of Carnival." was the god of mockery in ancient Greek mythology.

Despite its pagan roots, Carnival eventually gained acceptance, with some modification, in the Roman Catholic world o the Middle Ages, where it became a pre Lenten occasion to feast and bid good-by to the indulgence of the flesh before th season of fasting and penance began. Sing ing, dancing, and the wearing of disguises enlivened the festivities. Masked balls gained great popularity in Italy and France, especially among the upper classes an intellectuals, who brought to the celebra tion displays of wealth and refined taste But by the end of the nineteenth century Carnival had become virtually extinct Europe.

In the New World, however, Carniva flourished. Its evolution in Brazil reflected the peculiar nature of the festival brought across the Atlantic by Portuguese colonists. The pre-Lenten affair in Lisbon had a distinctively unruly character. The Carnival, or entrudo, as it was called, was dirty, boisterous, and at times involved criminal activities. People fought on the street with eggs and eggshells filled with flour, gypsum, and even mud. From windows pranksters emptied bags of sand on top of onlookers and hurled rolls, cakes, and oranges filled with water and perfume. For the rich and powerful, it was merely another excuse to eat well and indulge other appetites.

It was this vulgar and violent entrudo that the Portuguese transplanted to their New World colony. In the street battles that raged in Rio de Janeiro, the weapons of choice were the limaes-de-cheiro, or wax balls filled with water or urine, and large bottles from which revelers squirted

red or black ink on passers-by. Gentler pranks involved people pouring talcum powder or whitewash from the balconies of their town houses. When the royal court relocated to Rio de Janeiro in the first decade of the nineteenth century. the festivities were so disorderly and in such bad taste that foreign visitors to Brazil assumed that the observances had indigenous rather than Portuguese origins.

From time to time, the authorities attempted to suppress Carnival. but without success. Indeed. King Joao's son. who later became Pedro I. and the latter's bookish son, Pedro II. enjoyed the entrudo enormously and immersed themselves in the spirit of the occasion by soaking other members of the royal family with water and perfume.

Throughout the years the gadgets used to inflict Carnival mischief became increasingly sophisticated. Wax limaes-decheiro gave way to balls made of rubber, celluloid, and then plastic. In 1892 the French invented the serpentina, a coil of thin paper that would unwind as a streamer, and the Brazilians immediately put them to use during Carnival. At about the same time they also adopted paper confetti, a Spanish fabrication. Watches and guns that could project water made their appearances at the beginning of the twentieth century. Perfume squirters in all sizes came from France. What made them particularly popular was the fact that their contents might include ether, which produced the same intoxicating effect as cachaca, the national drink the government banned during Carnival.

In imitation of the extravaganzas that had become exceedingly fashionable in Europe, an Italian resident of Rio organized the first masked ball in 1840. The affair, staged at the Hotel de Italia, became an annual Carnival event and was so successful that theaters began to sponsor their own Carnival galas. By the end of the century the balls were competing with one another to produce the best decorations, orchestras, and special guests. The hosts also used gimmicks; for instance, one highly popular 1879 masked ball was staged at a roller rink, with participants dancing on skates. There were scandals, such as that of the 1890 ball where the French cancan was first performed in Brazil. Initially polkas were played at the galas, but later other musical numbers were included — waltzes, tangos, cakewalks, and even Charlestons.

Most of the ideas for costumes at the Carnival balls originated in France. The most popular disguises assumed by ladies were Gypsies, Orientals, Indians, and Moors; while men dressed as Satan, Dominoes, royalty, hustlers, smugglers, and clowns. Boys donned jockey outfits.

The institution of the Carnival ball continued to evolve in the modern era.

Galas proliferated in 1932, when the government sanctioned the celebration of Carnival. Their venues spread from hotels and theaters to social clubs and nightclubs, and they were traditionally scheduled during the five nights before Ash Wednesday. Today the Carnival balls draw. abundant media coverage. Glossy magazines devote page after page to photos of the famous faces, scantily clad bodies, and

extravagant costumes on display at affairs such as the "Sugar Loaf Ball- on Urea Hill and the -Champagne Ball- at the Scala nightclub.

The Carnival ball provides yet another example of how Brazilians from the upper, middle, and intellectual classes aped European fashions. As an institution it coexisted with the entrudo as a means of celebrating the arrival of Lent.

At the same time other traditions with a more distinctively Brazilian flavor began to evolve.

In 1855 a Rio newspaper announced that the members of a new aristocratic organization that had recently been created planned to parade in costume along the streets on the Sunday of Carnival week. The emperor and his daughters were among those in attendance when the eighty members of the group staged what was the first Carnival parade in the history of Brazil. A martial band of -Cossacks from the Ukraine" opened the march. They were followed by lavish floats bearing such notables as "Don Quixote" and "King Ferdinand the Catholic," along with Chinese mandarins, assorted dancers, and other figures. A group of mounted horsemen brought up the rear.

The enthusiastic applause of the spectators at the march was evidence that a trend had been set. Similar groups, which came to be known as grandes sociedades (great societies), began to be formed from the ranks of students, intellectuals, journalists, high government functionaries, and others who could afford the expense of membership. Before long the Carnival parade of the grandes sociedades became an institution. The presentations began to reflect the political views of the group members. During the imperial period, some societies advocated the adoption of a democratic form of government. Many urged the abolition of slavery. One way of communicating this message was to buy certificates of freedom for a group of slaves and then let them ride on one of the allegorical floats.

The grandes sociedades swiftly grew very competitive, often trying to outdo one another in sophistication and learning. They fought their battles through the newspapers, and the weapon of choice was poqtry. This spirit of contentiousness occasionally turned inward, producing squabbles that caused members to leave and form their own new societies (a tendency that would later be repeated at the samba schools).

Elegance and sophistication bordering on preciosity graced virtually everything connected with the grandes sociedades. Yet the care with which the presentations were staged did not prevent complaints from both elements of the public and the police when the allegorical floats carried women in stages of undress that offended contemporary sensibilities.

In addition to the balls and the parades of the grandes sociedades Rio's elite had another outlet for celebrating Carnival. The corso, which originated in 1907, was a procession of open motor vehicles carrying gaily costumed cariocas who tossed confetti, serpentinas, perfume, and bons mots at onlookers as they passed along some of Rio's broad av-

enues. The corso enjoyed a high degree of popularity, until the proliferation of automobiles and resulting traffic congestion brought an end to the practice in the 1930s.

The parades of the grandes sociedades and the corsos served as occasions when people from the wealthy and intellectual classes performed for the amusement of spectators of humbler origins. Eventually the roles of performer and onlooker would be reversed. For in the late nineteenth century, other groups began to march during Carnival week, and one day they would replace the sociedades and the corsos as the principal attractions of Carnival.

The first organized effort on the part of Afro-Brazilians to participate in Carnival appears to have occurred in 1885, when a group of blacks of Congolese origin took to the streets to criticize Brazil's imperial regime. Disguising themselves as figures such as old men, devils, clowns, kings, queens, and the dead, they carried their banners through Rio's downtown at Carnival time to give vent to the frustrations of the common people. A mestre, or "master," blowing a whistle acted as leader; percussionists supplied the rhythm; the old men performed certain steps; and the clowns sang a refrain. Called cord5es, these groups multiplied in succeeding years. They came to represent sharp satire cloaked in anonymity.

Another distinct type of Carnival group was the rancho. Some say that blacks from the Sudan created the first ranchos. They began as rather closed societies that maintained totemic traditions in their names and colors, and evolved into associations drawing members from the working and lowermiddle classes. More refined than the cord5es, the ranchos permitted women to participate, and they accompanied their presentations with string instruments, clarinets, and flutes as well as drums. Instead of one mestre, the ranchos had three: one for the orchestra, one for the chorus, and the mestre de sala, who was in charge of choreography. The themes they adopted were generally mythological (involving gods of the forest, satyrs, nymphs, and godcesses), and the music they played was original.

The most modest of the Carnival groups were the blocos (also known as blocos de sujos, or "blocks of dirty ones" ), formed by friends living on the same blocks in lower-class neighborhoods. In 1889 the police for the first time authorized the participation of some twenty blocos in the festivities. These groups improvised everything, from their costumes to their parade steps. Their spirited and boisterous behavior, which more than occasionally led to street fights, kept alive the tradition of the entrudo. The newspapers sponsored contest§ to crown the yearly champion of the blocos, as well as of the cordoes and ranchos.

Out of these various strands emerged the organizations that today dominate the Carnival scene. The exact origins of what came to be known as "samba schools" remain shrouded in doubt. Several claim the distinction of being the first. Police repression of the blocos and the "respectable" cariocas, disdain for the samba music that had evolved on the morros (hills) in and around Rio inspired the formation of new associations rooted in lower-class commu-

nities, modeled after the ranchos but incorporating the spirit (and some of the personnel) of the blocos. These new groups were called samba schools.

Some say that inspiration for the name came from the presence of a nearby teachertraining school. Others insist that the founders of the schools saw their institutions as vehicles for teaching and passing from generation to generation the forms of music and dance indigenous to Rio's poor (predominantly black and mulatto) neighborhoods. Moreover, referring to the new organizations as schools would lend them prestige.

The samba schools succeeded in transforming the pre-Lenten festivities in Rio de Janeiro. They made samba the music of Carnival, used mass culture as a vehicle for protest for both the lower and middle classes, served as showcases of -racial democracy- in Brazil, and eventually became an indispensable source of revenue for the city.

During the 1920s the samba schools came down from the morros to the Praca Onze (Eleventh of July Plaza), located less than a mile from Rio's downtown, on the Sunday and Tuesday of Carnival week.

Female members dressed like Bahian women, with long, wide skirts, turbans, necklaces, and bracelets; the men generally preferred either striped, pajamalike outfits or the shirts and hats worn by the city's malandros, or hustlers. Crowds gathered to watch them dance and sing sambas that dealt with contemporary national or local themes.

At a time when modern technology, in the forms of the radio set, the phonograph, and phonograph record, was rescuing the samba from disrepute and was converting it into a national craze, the regime of President Getfilio Vargas decided to promote the samba schools from their position on the fringes of Carnival and to make them bona fide participants in the annual affair â&#x20AC;&#x201D; a measure consistent with the myth of racial democracy that the government was promoting. In 1932 the first official samba-school competition was one of the events of the Carnival celebration.

This was the beginning of a tradition that continues to the present day.

The price the schools paid for recognition was the necessity of submitting to government control and the condition of dependency that went with it. The authorities set the criteria for judging the annual contest and placed limitations on the themes that costumes, songs, and floats could convey. One of the early regulations limited presentations to events or personalities drawn from Brazilian history. In 1939 a school that had selected "Snow White and the Seven Dwarfs" for its theme suffered the indignity of disqualification.

The community organizers and samba composers who held positions of leadership within the schools prized acceptance and recognition by society above the creative independence they had enjoyed during the 1920s. Therefore they did not resist the imposition of ground rules that put restraints on articulations of discontent they might otherwise have incorporated into their Carnival presentations.

In the six decades between the first official authorization of the samba-school

parade and the present day, the route along which the schools march has undergone several changes that have taken the procession from the Praca Onze to Rio Branco Avenue in the heart of the downtown district, then to the broad Avenida Getillio Vargas nearby, and finally to Niemeyer's colossal Sambadrome. Each new site permitted a larger number of spectators than before to witness the event.

Throughout the years the Rio Carnival has gained an ever-increasing measure of worldwide renown. The film Black Orpheus might have done more than anything else to bring the event to the attention ofpeople everywhere and to assure its immortality. In his film French director Marcel Camus demonstrates with powerful sensitivity how the illusion of Carnival takes over the lives of samba-school members. Although the score by Luiz Bonfa and Tom Jobim uses more bossa nova than samba, the lyrics that poet Vinicius de Moraes wrote for one of the songs captures the essence of Carnival in a way that has never been matched. "Sadness has no end, the song proclaims,."but happiness does."

The actual scenes of the Carnival parade in Black Orpheus have mesmerized moviegoers for years. Other films, such as the James Bond epic Moonraker, and books such as like Gregory McDonald's Carioca Fletch, have used the parade as an exotic backdrop for plots that have little to do with Brazil, and this publicizing of the event has contributed to the building up of Carnival as an international tourist attraction. But Black Orpheus makes viewers yearn not only to attend the festivities themselves but also to understand more about the context that the movie vividly portrays.

Participants in the Carnival parade must follow a stylized format that at the same time leaves room for enormous creativity. Each school selects an enredo, or "plot, for its annual march. The compulsory components of the group's presentation permit the enredo to unfold.

Thus the school's marchers must include a comissiio de frente (front commission), or welcoming committee, which leads the procession and introduces the school's enredo; a dance master (male) and a flag bearer (female) who perform an exquisite pas de deux, the latter carrying the colors of the school and spinning about with such remarkable grace and economy of motion that her feet seem never to touch the pavement; the bateria, or percussion section, providing the samba beat to which the school marches, the allegoric floats, decorated to illustrate the enredo and carrying the school's destaques, or dazzlingly costumed "stars"; and the alas, or -wings,' discrete groups of dancers, each with its own outfits and colors. The alas must include baianas, a group of older women dressed in versions of the traditional hoopskirts worn by black women in the city of Salvador. The baianas dance in a whirling motion that produces one of the most spectacular visual effects of the parade. All marchers sing their school's theme song, the samba enredo, which conveys the story they have come to tell.

Samba schools have customarily served as strong community organizations

NEWS from BRAZIL - FEBRUARY 1996

that absorb the energies of their members throughout the entire year. Shortly after one Carnival, preparation for the next one begins. The enredo is developed, composers compete fiercely to have their song selected as the annual samba enredo, costumes are sewn, and floats are constructed.

Beginning in November, weekly meetings bring participants together to rehearse the music and dances they will present in their march. The need to scrimp on meager salaries in order to pay for their costumes does not dampen in the least the enthusiasm of the favela-dwellers for whom appearing in Carnival is an all-consuming pursuit.

Over the years the samba schools and their performances have undergone a dramatic transition. In the 1960s an increasing number of people from Rio's upper and middle classes "discovered" the schools, whose rehearsal halls they began to frequent and in whose alas they began to enlist. As a result, the samba schools underwent a degree of bleaching, although they remain predominantly black.

In addition, there was a change in the process by which the schools put together their shows. Traditionally this had been the province of people from the neighborhoods that produced the schools. But by the 1960s the march of the samba schools was turning into a complex tableau emphasizing the visual and requiring the help of outside professionals. Indeed, a school's presentation became increasingly dependent on the genius and leadership of one person, the carnavalesco, or "Carnival master," who coordinates the efforts of costume designers, artisans, composers, and performers. These directors have become the luminaries of the Rio Carnival, and for a number of years the brightest and most controversial star in the galaxy was a short, round-faced, curley-haired, selfeducated, wildly imaginative virtuoso whom everyone calls Joaozinho Trinta (a name that translates into English as Johnny Thirty).

Born in 1933 in Sao Luis, the capital of the northern state of Maranhao, Joao Clemente Jorge Trinta lost his father at the age of two and grew up in very modest circumstances. As a teenager he migrated to Rio de Janeiro, and in 1956 he joined the corps de ballet of the Municipal Theater, where he performed on the same boards with Dame Margot Fontaine and Alicia Alonso. His first love was spectacle, and he learned as much as he could about the staging of ballets and operas from set designers, wardrobe people, and other specialists at the Municipal Theater.

The transition from the legitimate stage to the Carnival parade route was a natural and inevitable step for him.

-Carnival spectaculars are the Brazilian equivalent of opera," he has explained.

"The samba enredo is the libretto, the bateria the orchestra, the sambistas [samb dancers] the ballet corps, the destaques the prima donnas, and the allegoric floats the sets."

Serving as carnavalesco first fo Salgueiro, one of the well established Rio samba schools, and then for Beija-Flor, newer school from Nilopolis in the impoverished Baixada Fluminese Joaozinho compiled an enviable winning record in

the Carnival; competitions of the 1 970s and 1 980s. From his first enredo with Salgueiro â&#x20AC;&#x201D; portraying the conquest of Maranhao by the French, as seen through the eyes of the eight-year-old French King Louis XIII â&#x20AC;&#x201D; his sumptuous presentations went far beyond anything that had previously been attempted in the parade.

He did not shrink from daring themes, such as the supposed presence of the ancient Phoenicians on the Amazon River (and their transport of precious gems back to the court of King Solomon), and developed them with costumes and stately floats that raised lavishness to new levels. He has been innovative on many fronts. Indeed, the first woman to bare her breasts during the parade, and the first male nude marched with Beija-Flor.

Critics accused Joaozi-nho of deforming the true spirit and tradition of the Carnival parade. They claimed, among other things that he was ignoring the wretchedness of everyday life in Brazil and was imposing unwarranted financial burdens on the poor people who made up the bulk of the membership of the samba schools.

Joaozinho's response was characteristically vigorous. "If I made an enredo out of poverty," he said in a 1987 interview, "no one would march. These people are poor all year long. Why would they want to parade as wretches?" The classic, oftquoted rejoinder he aimed at his detractors was "The poor like luxuriousness. It is the intellectuals who like misery."

Yet Joaozinho could not resist fashioning another, quite different reply to his critics. In 1989, staging one of the most astonishing and revolutionary pageants in the history of Carnival, he concocted an enredo whose title translates as "Rats and Vultures â&#x20AC;&#x201D; Let Go of My Fantasia" (a play on a word that in Portuguese means both -Carnival costume" and "fantasy").

It succeeded brilliantly in converting /ixo (garbage) into /uxo (luxuriousness). The comissilo de frente and one of the alas (wings) dressed as beggars in tattered, multicolored rags. Another of the alas represented a group of lunatics and performed as though they were straight out of - the theater of the absurd. Dancers disguised as prostitutes and young street thieves cavorted wildly. There was a float piled high with surrealistic -garbage" and labeled Beggars' Banquet. The directors of Beija Flor, including Joaozinho himself, paraded as uniformed garbage collectors. It was a stunningly original tribute by the poor to the poor, the likes of which had never been seen on the streets of Rio. The panel of j urors found it excessively avant-garde and awarded Beija-Flor only second place, but many impartial observers disagreed.

Staging elaborate presentations in the Carnival parade did not, of course, originate with Joaozinho Trinta. He merely turned out to be consistently better at pulling it off than any other carnavalesco.

Moreover, Beija-Flor's former guiding light has insisted that the costumes and floats his school uses look much more expensive than they actually are. We are very creative in the use of cheap materials, yet we have gotten the reputation of being extravagant.

Criticisms of Jodozinho have related to matters beyond his alleged extravagance. Purists have faulted him for deviating from hallowed traditions that date back to the very first parades of the samba schools. They have argued that by orienting his presentations to please foreign tourists and by imposing his own peculiar views and tastes, he has lost contact with the real meaning of the Carnival parade, which has always been a form of selfexpression for Rio's slum communities.

There is another way to view the negative reactions Jodozinho has stirred. He was an outsider from the north, rather than a product of Rio's Carnival culture. He was a poor boy who made good on his own rather than a Rio intellectual. In addition, his Beija Flor samba school was located in Nilopolis, an impoverished suburb populated by migrant northeasterners who are not part of the local Carnival tradition.

Jodozinho insists that Beija-Flor brings tremendous benefits to the community.

"NilOpolis is a poor suburb, but we are showing people what they can accomplish on their own, with the right kind of leadership. Young people work with our carpenters, sculptors, and seamstresses, and learn trades. Our school has created a day care center for 300 children. From October to March, members of the school perform three nights a week in Rio for tourists. We have traveled and paraded in Paris, Nice, Morocco, Jordan, and Zaire.

"Some say that Carnival is an opiate, a way of deceiving the poor; but it's exactly the opposite: a way to open people's eyes and show them that life has other qualities, other emotions, other possibilities.

A number of forces have shaped the current figuration of the Rio Carnival. The completion of the Sambadrome in 1984 increased the scale of things and reinforced an already existing trend toward more and more elaborate costumes and allegoric floats. With the economic decline of Rio de Janeiro, tourism became its most important -industry," making inevitable the transformation of Carnival into a major attraction for foreign visitors (which in turn necessitated a large-scale facility to accommodate spectators).

Moreover, the tremendous power of the mass media in Brazil has influenced the Carnival parade, which has become a major television event. The television cameras have tended to focus on the participating celebrities (and on displays of nudity, before they were banned from prime time) rather than on the traditional and collective aspects of each school's presentation. The networks have also insisted on a degree of scheduling control over the parade, so that they can maximize their exposure to the nationwide viewing audience.

The samba schools have felt the effects of these changes. The expenses of staging a Carnival march have skyrocketed far beyond the financial capacities of the lower-class neighborhoods that continue to serve as the hearts and souls of the schools. The government, though maintaining control over Carnival, contributes but a modest percentage of what the parade costs each school. Therefore, the schools have had to search for other sources of income. Rehearsals for the parade have

58

become weekly fund-raising events, through the charging of admissions fees and the sale of refreshments and souvenirs â&#x20AC;&#x201D; practices that have drawn the diluting presence of tourists and people from Rio's middle class. Indeed, because of the dire financial straits in which many of the schools have found themselves, anyone with the proper connections has been able to buy his or her way into participating in the march down the Marques de Sapucai Avenue.

This has made the schools vulnerable to the importunings of "civic-minded" bicheiros. The jogo do bicho, or -animal game," is so intimate a part of the fabric of Brazilian culture that its link to other staples of Brazilianness, such as Carnival, should not be surprising. It was logical that the bicheiros, in search of respectability and goodwill in the communities that patronize their business, would become backers of many of the samba schools.

The first of the bicheiros to identify with a school was an Afro-Brazilian named Natalino Jose de Oliveira. Beginning in the 1950s until his death in 1975, this charismatic "sugar daddy" not only channeled some of his earnings from the jogo do bicho into neighborhood social projects; he also became the patron of the local samba school, Portela. This earned for him the sobriquet Natal da Portela and an aura of legend that continues to the present day. The school paid tribute to him in its 1987 Carnival presentation, and a motion picture released two years later presented a glorified version of his life.

A number of other bicheiros have followed in his footsteps. They have arranged to have themselves named presidents or honorary presidents of samba schools, upon which they have then bestowed substantial sums of money. They have also combined forces to form the Independent League of Samba Schools, an entity that has successfully pressured the government of the city of Rio de Janeiro for a larger share of the tourist and television revenues generated by Carnival.

Those who decry the current state of the parade of the samba schools seem to forget that this hallowed institution has been in a constant state of evolution since its birth. In a sense, the "crisis" of today results from the success of the samba schools in producing a sight-and-sound extravaganza that has deeply touched and excited Brazilians and people from all over the globe. The universal appeal of the parade has taken it far beyond the precincts of folklore, and turning the clock back to a more innocent, less complicated era hardly seems feasible.

Nor is it at all clear that most of the poor people who annually electrify the Sambadrome would want to deprive themselves of the experience. A United States consular official who paraded with one of the schools for several years described it in terms that Americans might understand: -There are 90,000 spectators cheering you on, millions are watching on TV, and you are just ordinary folks. It's like playing in the Superbowl, or the World Series, all compressed into an hour and a half."

Heated debate over the Carnival parade erupted after the 1991 event, when

Mocidade Independente spent nearly $800,000 on its winning presentation; Mangueira, a popular school that had refused to take money from any bicheiro, did so badly that it nearly lost the right to march with the grupo especial. At the same time, the bicheiros threatened to withdraw their schools from the official parade and stage their own Carnival show, an act of defiance that for better or for worse would completely privatize the parade.

The samba schools' subservience to the bicheiros has been an unavoidable sequel to their submission to control by the government, and this symbiotic relationship mirrors the dependency of other enterprises on privileges and subsidies provided by the state. Unfortunately, the bicheiros, as well as government officials, have their own agendas, which probably do not feature the promotion of the selfexpression of the lower classes that has traditionally been the defining element of the samba-school performances It would indeed be tragic if the Carnival parade became totally commercialized. Several years ago entrepreneurs were concocting a scheme for constructing luxury hotels along Rio's southwest beaches, far from the center of town, where a new "sambadrome" would be installed and weekly samba-school marches would be staged for the benefit of tourists. Although this scenario remains on the drawing boards, a version of it comes to life in 0 Samba dos Vagalumes (The Samba of the Fireflies), a novel by Rodolfo Motta Rezende, whose imagination conjures up a nightmarish, nonstop parade in the existing Sambadrome, attracting hordes of enthusiastic foreign visitors, some of whom watch from their windows in a new hotel overlooking the Marques de Sapucai Avenue.

Although truly unique in its impact on the emotions of spectators and participants alike, the Rio de Janeiro Carnival parade is perhaps most remarkable for the evidence it offers, year after year, that lower-class Brazilians are adept at conceiving, organizing, and successfully executing a highly artistic pageant that compares favorably with entertainment offered anywhere in the world. The samba schools have somehow managed to overcome the various crises associated with the event and the staggering difficulties in staging it.

The parade is a legitimate source of national pride, and it should be taken to heart by all those who would doubt the capabilities of Brazil's common folk. At least in expressing their Brazilianness year after year in the defining event of the Rio Carnival, they demonstrate to anyone with eyes to see and ears to hear their ability to plan, work together, and produce. The challenge facing the country is to harness this dedication, diligence, imagination, and enthusiasm and apply them to other areas of endeavor, in ways that will do the most good for the ordinary people of Brazil.

This article is a chapter of The Brazilians, a recently released book.

The work written by Joseph A. Page was published by Addison-Wesley Publishing Company.

NEWS from BRAZIL - FEBRUARY 1996

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