Brazzil - Year 8 - Number 131 - November 1996

MUSIC: CHICO CESAR, THE HOTTEST COMPOSER IN TOWN

kear 8— No. 131 —

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CRIME: NOVELA STAR M FINALLY GOES T

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itore's your chants to so* tho lrezliian wvoiroon iamb to Ho slatting, soshodtvo, at fasektatEug way that only agar *mitt BRAZZIL - NOVEMBER 1996

Brazilians will be going to the polls once again this month. This is the second time in two months that the whole nation stops to drop its vote — one third of the country makes a choice by pressing a computer button now — in the ballot box and if the first round was any indication, people are quite happy with their politicians and the economy. The protest vote, at least for now, has been put out to pasture.

But the real proof of Brazilian

8

resignation and submission is that the citizens endure a daily nightmare of bureaucratic lines and Kafkaesque red tape with nary a complaint. For much less than that people in other countries would have started a revolution. Like sheep being taken to the slaughterhouse Brazilians endure it all.

General-president Joao Baptista Figueiredo has even created the Debureaucratization Ministry to help dismantle the infernal machine. As some feared the department ended up being swallowed by the monsters it wanted to slay. Ten years later, the sea of paper has only increased. The impeachment of president Fernando

CONTENTS

http://www.brazzil.com Collor de Mello, who was charged with corruption, was used as an excuse to create even new forms, stamps and signatures.

At least some people love the whole madness. They are the despachantes, middlemen whose only work is to be the conduit between the stamps' givers and the stamps' seekers. In Sao Paulo city alone there are close to 5,000 despachantes' offices.

And you can bet there will be many more next year.

R.M.

35

Cover

Travel

The best bureaucracy money can buy

Rio de Janeiro for beginners - Part II

18

38

Politics

Impressions

Elections keep the status quo

Of gold and history in Minas Gerais

22

Cover by Aylan Mello

40

Crime

Profile

Daniella's show is ready to start

Jorge Ben Jor back in the USA

24

42

Food

Music

The ultimate feijoada experience

They all want to record a Chico Cesar tune

29

54

Short story

Special

Jose Conde's A Velha Senhora Magdala

The Confederate heritage in Brazil TIME TO RENEW?

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E-mail: brazzil@brazzil.com & brazilnews@aol.com Publisher and Editor: Rodney Mello / Editorial Assistant: Graciela Castellanos / Entertainment Editors: Sam & Harriet Robbins / Book Review: Bondo Wyszpolski / Music Editor: Bruce Gilman / Representatives: MIAMI : Nosso Guia (305) 374-0096 - WASHINGTON, DC: Wilson Velloso (Correspondent) (301)585-6549 - BRAZIL: Celso Sawaia (011) 885-9288 E-mail: csawaia@br.homeshopping.com.br BRAZZIL is published monthly by Brazzil -2039 N. Ave. 52, Los Angeles, CA, 90042-1024. Application to mail at Periodicals 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. No back issues sold. Allow 5 to 7 weeks to receive your 'first issue. You may quote from or reprint any of the contents with proper copyright credit. Editorial submissions are welcome. Include a SASE (self addressed and stamped envelope) if you want your material mailed back. Brazzil assumes no responsibility for any claims made by its advertisers.

POST MASTER: Please, send address changes to: BRAZZIL - P.O. Box 42536 - Los Angeles, CA - 90050-0536 BRAZZIL - NOVEMBER 1996 5

0001n1PILIOC

I\ I II 11.111 ;1111-8 Rectifying justice The Brazilian military didn't like the decision.

Some of them, in anonymous comments, called it a "historical toad," but apparently they didn't have any other choice but to swallow the Justice Ministry's decision that guerrillas Carlos Marighella and Carlos Lamarca were murdered by the military .dictatorship in a situation where had no way of defending themselves.

Until now, the official version was that Marighella, leader of ALN (National Liberating Action) and former Army captain Lamarca, the leader of VPR (Revolutionary Popular Vanguard), had been killed while resisting arrest.

Lamarca was killed in 1971 in Bahia and Marighela in 1969 in Sao Paulo. Now the families of both will receive a state pension. After the decision by the Justice Ministry's Special Commission on Political Dead and Disappeared People, retired deputy-captain Jair Bolsonaro, probably expressing the feelings of some of his colleagues in

TV

Centenary boobs Eternally irreverent bad girl of vaudeville turned TV star and cultural icon Dercy Goncalves never stops shocking the bourgeoisie. At age 89, she has again made headlines by doing a striptease on TV where she once again showed her boobies. She did this five years ago in Rio, during Carnaval's Escolas de Sambas' pageant. This time the topless show was performed during Globo TV's comedy program, Sal Debaixo (Stand Clear).

The scene was taped and provoked a stir even before it aired. Some thought G lobo would have second thoughts and skip the bare breasts show. They didn't. Carnaval singer Emilinha Borba, from the same generation as Dercy, commented: "You can't do something like this on TV. They should have cut the part where she exaggerated, showing her breasts and raising her legs. I didn't know if I should laugh or cry when 1 saw it all."

the military, commented: "Our mistake was not having eliminated all the traitors, including President Fernando Henrique Cardoso."

Double score Deciding he didn't want any more children, Brazilian Sports Minister Edson Arantes do Nascimento, 55, better known as Pele, had a vasectomy in 1979.

But then he married Assiria Seixas Lemos, 14 years his junior, who wanted more children. A surgery to reverse the vasectomy was unsuccessful and the couple resorted to in-vitro fertilization. The results were Celeste (the name of Pele's mother) and Joshua, born after only 30 weeks of gestation on September 28.

The minister was watching a soccer game when the news came that Assiria was ready to give birth. After the scare and the good news, he commented, "That was my life's biggest emotion.

Bigger than the day I reached 1,000 goals."

Coca-Cola Generation Geracao Coca-Cola Renato Russo

Quando nascemos fomos prottramados A receber o que voces Nos empurraram com os en latados Dos USA de nove as seis Desde pequenos n6s comemos lixo Comercial, industrial Mos agora chegou nossa

vez Vamos cuspir de volta o lixo Em cima de voces Somos os filhos da revolucao Somos burgueses sem religiio Somos o futuro da nacao Geracao Coca-Cola/ Geracao Coca-Cola Depois de 20 anos na escola Nao ĂŠ dificil aprender 6

n emonam

Rock is crying He could have continued taking the cocktail of drugs that would have prolonged his life, but Renato Russo, the leader of Legiao Urbana (eight records, more than 5 million copies), the most popular Brazilian rock band, wanted to go.

After fighting AIDS for six years, Russo, 36, left the beard grow long, stopped eating and refused to see his friends.

Reduced to a shadow of himself at a mere 99 lb. he was unrecognizable just before dying on October 11. Lately, his mantra had been, "Mom, I'm not from here."

Until the end he refused to let his fans know about his disease. But in "A Via Lactea- (Milky Way), the first cut on his latest CD, A Tempestade (The Storm), he talked about his physical discomfort: "Eu nem sei porque me sinto assim/ Vem de repente, um anjo triste perto de mim/E essa febre gue nab passa." ("I don't even know why I'm feeling like that/Suddenly a sad angel comes close to me/And this fever that doesn't go away").

Russo had made public that he was gay. Very few people knew however that his great love was American Robert Scott whom he met in 1990 in a New York gay bar. The break-up after two years of romance was very painful for the artist.

Renato Russo When we were born we were programmed To receive what you Shoved on us with the TV shows from the USA, from 9 to 6 Since childhood we've been eating trash Commercial, industrial trash But now our time has come We are gonna spit back the trash All over you We are the sons of the revolution We are bourgeois without religion We are the future of the nation Coca-Cola Generation / Coca-Cola Generation After 20 years in school It's not hard to learn BRAZZIL - NOVEMBER 1996

merger „ Univers° Online (http:// uolcom.br) and Brazil on Line (http://bol.com.br), the two competing Brazilian online services inspired

by America on Line (AOL), have merged after only six months of operation.

Ironically, both services started just hours apart, with each delivering halfbaked products so they - could claim primacy on line. UOL is part of Empresa Folha da Manha, the owner of Folha de Sao Paulo, the biggest Brazilian daily with 1 million-plus copies a day. BOL belongs to Grupo Abril, the largest ' publisher of magazines in the country. The new service will use the UOL moniker and will have 260,000 available pages.

Echoing Humphrey Bogart in Casablanca, Abril's President Robeto Civita said: "This is just the beginning of a long friendship."

Even though there was only slight improvement, and the • country is still very far from the First World, the latest census figures in Brazil show a nation with an improved distribution of , wealth. IBGE's (Instituto Brasileiro de Geografia e Estatistica—Brazilian Institute of Geography and Statistics) 1995 sample census shows that while in 1993 the richest 10 percent claimed 49 percent of the salaries, this has dropped to 47.1 percent. The average monthly salary of the ' poorest workers has increased from $23 in 1993 to $42 in 1995. And the number of TV sets in Brazilian homes has grown from 75.8 percent in 1993 to 81 percent in 1995.

Inspired by American Cable News Network (CNN) and using the motto "real life in real time," Globo TV has launched its Globo News in Brazil, a 24-hour news service for the 1 million subscribers of the satellite TV services Net and Multicanal. Globo

BRAZZIL - NOVEMBER 1996

ir ria Only the best Picasso, Goya, Paul Klee, Andy Warhol, and Edvard Munch (artist of The Scream) are all in Sao paulo until December 8, sharing space with 1,500 works ci art by 135 other artists.. To make this the biggest and best ienal ever, the organizers of the arts festival—which has een held at the Parque Ibirapuera in Sao Paulo since 1951—have spared no expense. The $12 million price tag makes the XXIII Bienal the world's costliest contemp rary expo, surpassing 1992's German exposition Documenta in Kassel, which cost $10 million.

The theme this time around is "The Dematerialization of the Work of Art at the End of the Millennium," and the Bienal has new rules. Each country invited to the show could choose only one representative. All 34oreign 4artists, plus eight Brazilians, were grouped at niversalis, with a whole floor dedicated to them. There you can find names like Panamarenko, Enzo Cucchi, HernandezDiez, Braco Dimitrijevic, Luciano Fabro, Tom Friedman, Maria Tereza Hincapie, Ben Jakober, Ilya Kabakov, Anish Kapoor, Cai Guo Qiang,1 Yukinori Yanagi. Panamarenko, for example, is presenting his dreamlike metal submarine sculpture.

According to some critics, the star of the exhibit is French-American Louise Bourgeois, 85, who ives in the U.S. and only recently started to have her worlj displayed in big international shows. Two of her best-kn wn works are in the Bienal: The Arch of Hysteria, a sculpt re that was also shown at Veneza's Bienal in 1993, and the ig spider, which represents the mother of the artist. Fr cm Picasso there are a sculpture, several drawings, and fwo dozen paintings. Munch's The Scream is displayed, al • ng with 36 other paintings by the Norwegian artist. There re also 60 works by the Swiss artist Klee and 46 by the American Warhol, including his portraits of Mao Tse Tung and Marilyn Monroe.

Sinful innocence Cousin of late celebrated writer Otto 'Lara Resende, model Ana Lara Resende has become a top cover girl in Japan. The Japanese love her innocent kind of sensuality and placid beauty. Even though she has already posed for Brazilian Playboy, provoking oohs and aahs from those who saw every concavity of her anatomy, Ana Lara is still very shy at heart.

The Aline iru (from Minas Gerais state) from sao Joao Del Rey only reluctantly posed for an ad campaign in which she wears only a transparent blouse over her bare breasts. Btu when she saw the results of lingerie manufacturer DuLoren's pictures for its chemisette frisson, she put aside her reservations and embarked satisfied to Paris for a fashion show and a reunion with her boyfriend.

News promises to be more , dynamic and less repetitive than CNN. Globo News stars such as New Yorkbased Paulo Francis, political commentator Alexandre Garcia, and news anchor Lilian Witte Fibbe will have their own programs on the new hannel. To present the news, Globo is counting on seven fresh faces, four men and three women, most in their 20s.

Brazilian Nobel He who thinks Brazil never 'Won a Nobel prize doesn't knoNN the story of Peter Medawar. who received the Nobel prize in Medicine in 1960. Medawar was born in Petropolis (state of Rio de Janeiro) in 1915 and left the country at age 14 to finish high school in the United Kingdom. According to Maurice Joseph Kassab, 85, Medawar's Cousin, the scientist lost his Brazilian citizenship because he refused to be drafted in the military. The Nobel prizewinner died in England in 1987. Queen Elizabeth made him Sir in 1965.

Going nuclear President Fernando Henrique Cardoso wants to become the Atomic President. No President since general Ernesto Geisel has dedicated so much attention and money to the nuclear program.

Cardoso would like the military to accelerate the Construction of the Brazilian nuclear submarine, has restarted work at Angra 2— a nuclear plant, and included the building of a new plant (Angra 3) in the strategic planning of Eletrobras, the state company that has the electricity monopoly in the country. The President has created a Center for Nuclear Sciences in Pernambuco and has also committed to investing $20 million to produce uranium powder and uranium tablets in Resende, state of Rio.

Bureaucraccty

1-# rm e oi ndsetnet d y r dwetados M i n i stry it' h ete rscsesb deb atba an .r: _ mu ucrati

ad in Brazil that a reate a Bureaucracy e the bureaucratic ore than ten years emise of the on department and worse than ever.

NASCIMENTO

BRAZZIL - NOVEMBER 1996

D

o you need a butcher? The Brazilian government has one on its staff. How about a hairdresser, a masseuse or mas seur, a baggage handler, a metal worker, a Venetian blind technician, or a decorator? You will find all these workers and dozens more occupying roles as public servants for the federal government. The Agriculture Ministry, for example, has the luxury of employing five full-time governesses. By the government's own admission, at least 44,000 of these workers could be sent home without harming the administration ofthe country and with substantial payroll reductions.

Since times immemorial and inspired by its Portuguese discoverers and settlers, Brazil has been a bureaucrat's paradise. "Bureaucracy resists," said President Fernando Henrique Cardoso recently when complaining about some bureaucrats who he said were preventing the implementation of constitutional reforms.

"When we decide, as we did, to transfer responsibilities and resources, certainly Brasilia's bureaucracy loses power. The bureaucrat becomes very important when he doesn't sign a document."

Brazil is so aware of its bureaucracy addiction that General-President Joao Baptista de Oliveira Figueiredo, who governed from 1979 to 1985, created a much-ridiculed Ministry of Debureaucratization to try to solve the problem. Eleven years after the demise of the National Program on Debureaucratization, Brazil is more awash than ever in red tape.

In Sao Paulo alone, a city with 11 million people, an average of 127,000 signatures are notarized every day at the city's 85 notary publics so documents will have legal value. In some instances, bureaucracy has become even worse than it was before the creation of the debureaucratizatitn ministry. Since the end of last year, for example, the signature of someone selling a car in the city of sao Paulo will be accepted only if the notarization is made with the interested party signing the document in front of the notary public.

What's happened? "Since the impeachment of President Fernando Collor de Mello, the country was engulfed by the winds of moralization, and the number of required papers has increased," says Joao Geraldo Piquet, former executive secretary for the debureaucratization program, in an interview with the daily newspaper 0 Estado de Seio Paulo. "The efforts to simplify matters have been completely abandoned," he adds.

Sao Paulo's Detran (Departamento de Transito—Traffic Department) had no choice but to get tougher, said Director Enos Beolchi Killion An investigation conducted by the organization in December 1994 showed that 82 percent of the 1.8 million cases being considered had at least one falsified or irregular document.

In June of this year, 29 Detran workers were fired, accused of participating in a corruption scheme that made life much easier for some middlemen and those citizens willing to contribute a cervejinha (a little beer), a synonym for grease. Beolchi, however, was complaining that such firings were very harmful for Detran since that BRAZZIL - NOVEMBER 1996

department is lready in need of many more hands. "And besides," he sa s, "our obsolete computer system goes on the fritz severa times a day, compounding our problems."

Even though processes of granting drivers licenses shoulOn't take ore than three to five days, these documents are not eady in less than three to four weeks.

The bureau ratic maze has created a vast and lucrative network of mi dlemen called despachantes, whose sole purpose is to f cilitate obtaining these documents. In the state of Sao P lo there are 10,500 despachante offices, with nearly ha f, 4680, located in the capital city. Needless to say, th whole system marches much faster when oiled with kic backs and gratuities. , Last year, omoter Ruth Escobar complained that she had to appeal o "friends in power," including President Fernando He rique Cardoso, and spend $60,000 on despachantes n order to get scenery released from Customs and start er Festival Internacional de Artes Cenicas (International estival of Scenic Arts) on time. Today there are speci lized despachantes who deal with cultural events and ch ge no less than $2,000 for their work.

The Amen ,an consulate in Sao Paulo has considered cutting some f its cultural offerings, such are the difficulties 'cif imp rting foreign art. It's common that the work of cleani g Customs be given to a despuchante. But even this invo Ves bureaucracy, as the Receita Federal (Federal Reve ue. Service) asks that a power of attorney with eight copi s be given to the despachante and that the diplomat signi g the power of attorney present a certified ID card. copy of his o At the end of 1Last year, five sculptures by French artist Auguste odin had to wait 45 days at Cumbica, Sao Paulo's intern ional airport, being released only after the direct interven ion of the chief inspector of the Federal Revenue Servi e in Sao Paulo, Flavio del Comuni, who was contacted y the French consulate there.

Any painti g, sculpture, or film that enters Brazil, even when de tined for an exposition or fair, is treated like any other erchandise: The responsible party has to pay what is ca led a "caucao bancaria" (banking bond), which is equ 1 to the amount—the II (Impost° de Importacao—I port Tax) and the IPI (Imposto sobre Produtos Indu trializados—Tax on Industrialized Products)—that wo Id be paid if the work of art were bought.

The money is returned by Caixa Economica (Federal Savings Bank) after the exhibition, but it can amount to thousands of d liars for valuable pieces, and this practice may hurt exhi it promoters financially.

ORN TO CARRY PAPERS Reconheci ento de firma (signature notarization) and autenticacao d documentos (document certification) are an integral pa of every Brazilian's daily life. People maintain cards of signatures similar to the ones used by Banks in the U. . sometimes in several CartOrios. To have his signature i a Cartorio, the person has to pay a fee and present his ID nd CIC, the Federal Revenue Service card.

From getting library card to obtaining a death certificate, very few hings can be done without the necessary stamps from the always-crowded Cartorios and Tabelionatos hich dispense these services.

CartOrios, which have license to make money and are a synonym of privilege, are a concession from the state to people who are cozy with those in power. Once granted, the benefit becomes a hereditary feud as it is transferred from generation to generation. The new 1988 Constitution changed this, but only on paper, as new requirements that owners of the establishments be accepted through competitive examination have yet to be implemented. Bureaucracy is so ingrained in the public psyche that even laws created a decade ago, like the one that ended the obligation of certifying copies of documents, have been ignored. , razilians live submerged in a sea of paper, starting with the birth certifi cate which is procured from a CartOrio or Tabelido, a notary public with much more power than those in the U.S.. Curiously, the mother has 15 days to request the paper without any penalty, while the father has 60 days. To get a Certidao de Nascimento, the father or mother— after buying a special form (document of deposit) at any stationery shop, filling it out, and going to a designated bank to pay the necessary fee—must present a marriage license (without which the father's name cannot be given to the child unless the father himself goes to the Cart6rio), a hospital declaration confirming the birth, and the mother's ID. Those who are unemployed or who make $100 a month or less don't have to pay for the birth certificate.

Studying at a public school requires less paperwork and effort than most other activities involving bureaucracy. At least in Rio, all the parents have to do is to go to the school closest to their home, bringing proof of residence (a water or electricity bill will do), a birth certificate, and a 1.2" x 1.6" photo of the child..

To get a Carteira de Identidade (Identity Card), an indispensable official document, the problem is not the price, but the work involved. First, a form must be bought in any stationery shop, and two 1.2" x 1.6" photos taken by any photographer. The applicant must also bring a certified copy or an original Birth Certificate or Marriage License. There is no fee to get the document, but this apparent simplicity can be deceiving. The most formidable barrier are the lines to deliver the papers at the Secretaria de Seguranca Publica (Department of Public Security). And the document is sent home by mail no sooner than one month after the application is received.

To get a job, the applicant needs lung X-rays, a battery of police certificates that prove his honesty, and a Carteira Profissional (Professional Card) from the federal Departamento do Trabalho (Work Department). To get this latter document, applicants, including minors, must present an ID, proof of residence, and a 1.2" x 1.6" photo. Those who worked previously without registering the job on their work card must go to a branch of the Caixa EconOmica Federal (Federal Savings Bank) to fill out a questionnaire about their former employer before being allowed to file for a Carteira de Trabalho.

This official working permit is a booklet in which the employer writes the employee's date of admission, vacations, contributions paid, and even salary raises. All workers when

B

10

they start paying their dues to the INSS (Instituto Nacional de Seguridade Social— Social Security National Institute) are rewarded with a new document: the PIS (Programa de Integracao Social—Social Integration Program).

As in the U.S., a Driver's License (Carteira de Motorista or Carteira de Habilitacao) is required to drive a vehicle. The minimum age to get this document is 18.

Obtaining a Driver's License can be a little more complicated than getting other documents since it involves an eye examination and a psychological test, as well as a written test and a driving test. At least in the big cities, the practice of buying a ready license, saving the applicant the trouble of going through any tests, seems to have all but disappeared.

Voting is mandatory in Brazil, and naturally all citizens must add to their vast arsenal of documents a Titulo de Eleitor (Voter Card).

Those who don't vote may have to pay a fine or lose some of their salary. The vote is such a sacred duty that Brazilians living overseas must go to a consulate when there is an election in Brazil to "justify" their absence and obtain the necessary papers to prove they didn't forget their obligation. During national elections, Brazilians overseas are allowed to vote at the consulates.

For tax purposes, every Brazilian citizen is supposed to have a CPF (Cadastro de Pessoa Fisica—Natural Person's Record) number, which is provided on a narrow card called CIC (Cartao de Identificacdo do Contribuinte—Taxpayer's Identity Card). The CPF is asked routinely for many commercial transactions.

For men, there is another required document that they will be asked for throughout their entire lives. It is the Certificado de Alistamento Militar (Military Draft Certificate), a paper that proves the individual dedicated one year to the Army or was duly exempted from doing so.

The dead are not spared the bureaucracy.

An Atestado de Obito (Death Certificate) costs only $1.98, but the document won't be issued without a doctor's declaration and his signature duly certified. For babies that die soon after birth, the law requires a Birth Certificate followed by a Death Certificate.

BRAZZIL - NOVEMBER 1996

When there is nobody to prove the death, there are more costs and papers involved, including a process of death justification and a fee to pay for the magistrates' association, called mUtua dos magistrados.

Everyone who needs a birth certificate, a marriage license, or who buys real estate pays from $1 to $3 to this private association. It can be absurd, but it is legal.

COMMERCIAL NIGHTMARES tf Brazilians have so many hurdles to clear to exercise heir citizenry, those trying to conduct business must have a special mettle, especially if they want to start their own company.

Luis Carlos Ewald, a professor of Economics at PUC-Rio (Pontificia Universidade Catolica—Pontifical Catholic University, wrote recently in Rio's daily Jornal do Brasil: "How many opportunities of generating new jobs were lost due to the discouragement of heroic entrepreneurs who gave up due to the unnecessary documents, negative or positive certificates, marriage and death certificates, medical and dental certificates, police clearance, vaccinations, pedigrees, CGCs (Cadastro Geral de Contribuintes— Taxpayers' General Register), IPTUs (Imposto Predial e Territorial Urbano—Urban Building and Land Tax), alvaras (licenses), permits, authorizations, collateral signatures, cadasters, criminal records, X-rays, insurance, paternity DNA, certified signatures, certificate of occupancy, proof of residence, IPVA (Imposto sobre Propriedade de Veiculos Automotores—Tax on Ownership of Automotive Vehicles), blood group, Rh factor, and so many more, all with certified photocopies."

To start a sole ownership company, the individual faces a via Dolorosa of different places and assorted lines. He has to present a $35 Registro de Declaracao de Firma (Business Declaration Record) obtained at the Junta Comercial (Board of Trade),

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BRAZZIL - NOVEMBER 1996

FERNANDO SABINO Receiving a certain amount at a Department's window, he noticed that the public servant had given him an extra 100 cruzeiros. He wanted to go back to return the money, but other people protested: he should go back in line.

Patiently he waited for his turn, only to have the little window closed at his face by the cashier.

— I'm sorry, but it's my coffee break now.

Now it was a question of stubbornness. He came back in the afternoon to find an even longer line—he wasn't even able to get close to the window before office hours came to a close.

The next day he was the first one in line. Look, yesterday you gave an extra 100 cruzeiros.

— Me? Only then he noticed that this was another worker.

— Your colleague, then. The guy with the little mustache.

Mafra.

If his name is Mafra, I don't know.

It could only have been Mafra. The only ones who work:, and Mafra. It wasn't me. So. .

He scratched his head, annoyed.

OK, it was Mafra. What's the difference?

The public servant explained very politely that he couldn't answer for Mafra's absent-mindedness: This here is a paying department, pal. I cannot receive. AU pay. To receive, only the receivership. Next.

The guy next in line, already impatient, pushed him with an elbow. Love your neighbor as yourself. He tried to keep calm and left, a little lost. In a sudden impulse of indignation—now he would go to the bitter end—he marched to the receivership.

— Mafra? He doesn't work here, my friend. By the way, he never did.

— I know that. He is from the paying department. But he was the one who gave me the extra 100 cruzeiros.

They told him that they couldn't receive, that this was a restitution, wasn't it, and not a payment. Had he brought the form?. What then? How could he make any payment without a form? To receive one thousand cruzeiros? For what purpose?

— Not one thousand, one hundred. For the purpose of returning some money.

— Purpose of returning. Can somebody explain me that?

— But I will return it and that's the end of it.

— You have to .deal with the chief. Next!

The department s chef i had already left. He would have to wait one more day. The next day, after making him wait for more than half an hour, the chief informed him that he would need to write a letter telling what had happened and including the money.

— Since you are so intent on returning it.

— I abso1utely want to do it.

— I praise you character.

— But our friend at that window told me that all 1 had to do was to hand the money over to you—he sighed.

Who said that?

A man wearing glasses at that section on the other side Receivership, I believe. , — AraUjo. He said that, um? Well, listen, go back there and tell him to stop being such a jackass. You can tell him that I said that. This Aratijo is always pretending that he knows it all.

How about the letter? I have nothing to do with this quarrel, let's do that letter right now.

It's impossible. First you have to deliver it to the registry window.

Leaving the place, instead of going to the registry window, or to Araiajo's desk to tell him to stop being such a jackass, the honest citizen went up to the window where they had Given him the money, made a little ball with the cruzeiro bill, threw it over 'the glass and left. (from A companheira de viagem) , 11

a Fire Department Approval Certificate ($37), and a $208 Alvard de Localizacao (Localization License) issued by City Hall. For a business corporation, these documents must be accompanied by a certificate showing that the specific business name is not in use, as well as a Registro do Contrato Social (Certificate of Incorporation Registration).

In 1995 alone, .10B, a publication of business tax information, published 3,800 pages related to changes made during the year in the rules for payment of taxes to the Union, the state, and the municipalities. This amounts to 15 changes per day! And while in the U.S. or Europe a person is able to start a business in as little as two days, in Brazil this process takes at least 40 days. Up to 96% of small businesses are not able to deal with the company's accounting without hiring an accountant.

And business people spend 26% of their time dealing with official bureaucracy, according to a study conducted by CNI (Confederacdo Nacional da In&Istria—National Confederation of the Industry). ccording to Sebrae (Servico Brasileiro de Apoio a Micro e Pequena Empresa—Brazilian Service for Helping Micro and Small Businesses), anyone willing to jump through all the bureaucratic hoops would require up to six months to be able to open a company. A little grease, however, can dramatically reduce this wait to a couple of days. Some people, like photographer Tercio Luz have learned this the hard way. He told 0 Estado de Soo Paulo about his marathon effort to open a studio.

Accountants from the Junta Comercial do Estado de Sao Paulo offered to get him all the documentation in two days for an extra $600 under the table. He decided to go by the rules.

Three months later, with a place already rented, he was still waiting to get his permit.

For him, to do things the honest way became very expensive.

In some cases, the Brazilian dream of becoming an international business partner is just that, a dream. The bureaucratic traps are like land mines ready to explode. Even though Brazilians are in need of electrical appliances, for example, they cannot be imported unless the product comes with a manual in Portuguese (when Spanish would do just fine) and the distributor has enough original spare parts for repair, even when parts from other

A

12

On April 1996, two reporters from the daily newspaper 0 Estado de Selo Paulo spent a week following the adventures of common citizens waiting in line while taking care of official business, timing how long people had to wait before being heard. No line took less than an hour.

1 hour, 5 min.— Eletropaulo (Department of Power)—a complaint about an electricity bill 1:30—Detran (Traffic Department)—paying for car license 1:35—Caixa Economica Federal (Federal Savings Bank)—paying a bill 1:40—Instituto de Identificacdo (Identification Institute)—applying for an ID 1:50—Federal Revenue Service - getting a negative certificate 2:35—Caixa Economica Federal (Federal Savings Bank)—getting unemployment benefits 3:10—Federal Police— delivery of documents and picking up passport 4 hours--Secretaria Municipal de Negocios Juridicos (Business Municipal Department)—Paying overdue tax

All kinds of notaries Cartorio de Registro Civil (Civilian Registry Notary)—Deals with birth, marriages, death, adoption, citizenship, opening of business Carterio de Notas (Notary Public)--In charge of contracts, power of attorney, wills, notarization and certification of documents.

CartOrio de Registro de Imoveis (Notary for the Registry of Deeds)—Sale and purchase of real estate.

Cartorio de Distribuic5o (Filing Notary)—It issues negative and positive certificates about taxes paid to the Union, state of municipality.

Carterio de F'rotesto (Protest Notary)—It issues declaration that a debtor has refused to pay a bill.

Registro de Titulos e Documentos (Register of Titles and Documents)--Tran scription of private contracts.

ERAZZIL - NOVEMBER 1996

manufacturers could be used without any problem.

The situation can reach Kafkaesque heights. To import antidepressant medication that contains lithium, for example, two licenses are required: one from the Health Ministry and another from the CNEN (Comissao Nacional de Energia Nuclear— Nuclear Energy National Commission). The latter agency is involved because Lithium is a substance used in thermonuclear weapons. It doesn't matter that the product is also used in alloys, ceramics, and medicinal drugs. Such barriers are often imposed under pressure of national business lobbying groups, making a product unavailable for six months or more or prompting the would-be importer to give up the idea of getting the item.

With globalization, the Brazilian bureaucracy has become a turnoff for foreign companies looking to invest in the country. A just-released World Bank's comparative study between Chile, Peru and Brazil shows that in Chile a private firm's worker spends 0.5% of his time dealing with governmental bureaucracy, in Peru 4%, and in Brazil 5%.

According to Geoffrey Shepherd, a World Bank economist who participated in Sao Paulo in a seminar on the costs of doing business in Brazil, the "complex and discretionary" nature of the Brazilian bureaucracy forces private companies to have to constantly negotiate with the government.

His conclusion: "This encourages corruption." Shepherd believes that Brazil loses an investor every time trade conditions are the same in competing foreign countries, as strong regulation scares off prospective investors. oreign companies can operate in the country only after making a special request to the Ministry of Industry and Commerce and securing permission by presidential decree. Several sectors still need clearance from different departments. Oil products, for example, are controlled by the DNC (Departamento Nacional de Combustiveis—National Fuel Department); for wheat there is the CRTM, the Department of Wheat. Arms and ammunition are linked directly to the Ministry of the Army.

THE PAPER CHASE

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BFtAZZ1L - NOVEMBER 1996

Active and retired bureaucrats have been shamelessly sucking the system. At the end of 1995, weekly newsmagazine Veja revealed that a still-open audit had revealed 1,851 public servants with salaries higher than the $8,500 paid President Fernando Henrique Cardoso and ten people making between $24,000 to $33,000 a month. There was also the story of Aloysio Lopes Pontes, a 77-yearold retired judge whose monthly paycheck through a series of legal maneuvers amounted to more than $162,000. It would take a worker earning minimum wage 150 years to be paid this kind of money. Pontes didn't get all the money (he still took home $24,000) only because the government has imposed limits on what can be paid.

In October, after several attacks on bureaucracy and apparently tired of waiting for a constitutional reform that would eliminate various bureaucratic procedures, President Fernando Cardoso decided to take the problem in his own hands, issuing an executive order, the MP (Medida Provisoria—Provisional Measure) 1524. The resolution eliminates a total of 72,930 federal jobs, including 27,650 that are already vacant. Firings, closing of departments, and cuts of posts should add to 251,500 positions eliminated in federal facilities and state enterprises, or 18.8% of the whole federal work force of 1,340,000 workers. The bureaucracy shrinking act starts with a redefinition of public service categories that are being reduced from 1,772 to 107. Among other measures being implemented, there is the closing or transfer to the states of 20 foundations, autarchies, and public institutions.

There will be no saving at first, however, since no workers are being fired. The cuts

should happen by attrition, including retirement and resignation in the coming years. It's believed that it will take at least five years until all the posts vacate.

But that won't come cheap.

Public servants are being encouraged to retire with up to an additional 20% in their pensions.

Most of the extinct functions will be filled by outside private contractors.

Right now the federal government will go on with its 90 waiters, 57 butchers, six locksmiths, three governesses and two tailors, among others.

All the presidential hoopla seems aimed at placating public opinion that has been accusing the administration of immobility in a key electoral promise to contain inflation. According to newspaperman Alexandre Pinheiro, the new measures will represent $380 million in economy for the government in 1997, or less than 1% of the budget money used for personnel.

The surprising reform pleased almost no one, especially those who are being directly hit. Departments in the line of fire are scrambling to try to save their jobs.

Among the 20 or so that are scheduled for cuts, several are privatizing or transferring to the states, including Conab (CompanhiaNacional do Abastec imento— National Supplying Company), DNOCS (Departamento Nacional de Obras Contra a Seca—National Department of Work Against the Draught), and Funai (Fundacao Nacional do Indio—National Foundation for the Indian). • 14

DOUGLAS READ

4, tfile story about the Kafkaesque nature. ove (a play with burro, which in Portuguese tly used a US passport to enter Brazil and end; having to Sta e. ation of my visa/entry stamp. No problema,1. ,justgo tothe explain why, pay the fee, and get an extensions don the passpoi ,the Fodors' tourist guidebook. Wrong! Here t really works the federal police station. two hours in line, then two more while 'lain to big, smiling, friendly (but not too b gp why '1 °U .W° te .,!knswer ,, 30 minutes worth of questions about you aril y.tives are, what do they do, your medical histo. sten politely while Mr. Cop explains that, just m, eat lUr ther-in-law, and they used to be on rival futeli r) teams. ns a little farm not too far out of town, an for aria so. No iiroblema, the office is air-condition around 50° F` poor suckers sweating bullets out in thWaiing room are all't mind. . . so what if the office closes t4 p.m.? They can come, m d try again. p finally comes to the point: "Sorry, w process your itil you pay the fee, but you can' t pay it here. You ne , o t o the bank 4,, then bring back the receipt and we'll stamp your passport, OK? Re, eeting you! Have a nice day. Ciao!" ow the banks are all closed, so walk half a e;to the Dearest bus ally "great" (sarcasm) neighborhood. Wait20mmutesforbus.Bus or back door to open ... front door opens 20 micro seconds s out, peeling rubber. OK, dummy, you forgot this year you e d exit though the rear. . . never mind that last year it was the othei another 30 minutes for next bus.. . standing (and sweating) room 1. Now the trick is to start worming tOWarcitho exit so in a few blocks of your intended stop wiQiqut tranplingor getting ., .

Ily an art to getting your position just 'right. d. ',bright and early (for bankers, anyhow), at the "Benji' bank. .we don't take that kind of payment. You need* ,, Q to Banco do Brasil."

25 minutes or so in line to see the "Special ces” representative. on borrowed bicycle and pedal off to main t) of B do B, risking life razilian cyclists, dogs, motorists$t. eTvetO avoid a really big pile Loo in the middle of the "cyclovia," ly cutting of another free lesson in Brazilian hand gestures and colloquial idiom. at Banco do Brasil IS. Spend 10 iniflutesasking various guards, etc., which line get et th7ee different answers, est of three . . . wa ine, you need federal ... up two flights, a 3rd office on the right to main lobby down y window. tairs: (elevator out of -get Federal Receipt ! That's one floiitt n . have to wait. I'm going to lunch now, and l'ma ate. I'll be back just a: little while. Make yourself comfortable. Sorry at' e air-conditioning. e've been after maintenance to fix . ittfor a month now. e o can turn this round . . . much better, no? See you In a Wile , 12. At around 1:20, Ms. Qurei4rnez, returns from her ,``cluick (Acto7_110):, I shnulgan't complain; . d 4 half real) lunch break for number of the iS a PJet'"Y' '9uick • *edsof .aVO-hiM to get the rbrnif Y: -

g

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BRAZZIL - NOVEMBER 1996

t number!" "Well, ah, then, could you call the •erat Police post and ask officer Ze Cop? "OK, since you are a foreigner, I'll try, but remember in the future to always get the form number!"

13. Ms. Queiroz comes back at 2:10. "Yes, here it s. You' need form number 0835 000176/96-08 of Decree Number 86.715/81, and it must be your lucky ay, because we actually have that document in our files. But before we give it to you, you will have to go downstairs and pay the R$3.75 document duplication fee and bring me back the receipt, OK?" 14. The bank closes at 3:00 and they have already cut off the line, so it's back on the bike through the etc loony l5.traffic 0 and do number thnrbee. There' already 0 AM of dg du°' not to ad ( Brazilians are banakY a line outside not generally the risers). s). getting edgy, ''ank w 16. 10:1giekrly d grow at scow as sup_ guard at _10:00.

• CrowdFinally pose1d6.t° open ling mugrowls: "Get back idour orsihows up and does, We do, aand he away from the it!" like w°1-1't 0 pen show up at te roach Raid shows and then it's when es party n on th e floo a •• zoom, swish, splat . goesall Pe mei° the lines ar formed and in less than 15 seconds sec .. th eelongest up otherr I m at the end ofgot or sort - the Brazilian still h ost 20 years and I Almost 20 „I quit "line etiquette" ' samba e Lie be born born guess, 43 17:1A7 have t the receipt, and head ound 11 rs to pick' up 'Paythth fee g(triplicate, of eeforms upstairs `S0—.

Q come in yet. Please MS ue'iroz hasn't have a,•seat "Y Sorry .about the air-conditioning; wouldturn on the fan? There, now that's better, me to So you like* _ no?" . r ' 18. Around 11:45 AM she shows up. "Oh, hi m Ready! Glad you came in early. I have a luncheon meeting with a el'lent in just a few minutes, so you were how, ,,, really lucky to catch me," "Yes, I know! Any here's the receipt., - I please have my forms now ehaouI , had the origi"OK, just a minutm nal for that form out for you yesterday. Now where the heck did it go?"

19.11:55 AM. "Ah, here it is! Oh, . spilled coffee fiddle! Who went and 11 over it? Hey Silvia, I've gotta run. aSee if You can,.help Mr. Ready here, OK?" After diddling with 20. 12:20 (that's Brazilian for he "Cherox'P'M(t "copier") for nearly sh al fhour, Silvia comes back with three a almost legible copies (the part with the coffee stain came out the best), and I'm outta , there! Sprinting downstairs to get in line again to pay the Prorrogacao Tax." 21. 15 PM at the window: "No, I'm sorry, we can't accept your payment of the "Prorrogacao Tax" here.

No, sorry, I don't know where. If you wait over there, I'll see if my supervisor can help you. Next please.

22. About 2:10 PM: Sr. Ze Chief shows up looking ery distinguished in his neatly pressed dark blue suit. i)fp, we can't accept that payment here. Yes, I know

they s id Banco do Brasil, but they should have told you that only our branch office inside the Federal Revenue building can do it." "Kind sir, could yon possibly do me the great favor of orienting me where I might find that noble edifice?" said I (well least that's the general meaning of what I saich.,, actual words may have been slightly less elegant).

23. Day number 4,9:30 AM, in front of the Receito Federal. Half the bloody town is over here today yesterday it was the bank, what's next!?

24. 10:30 AM: Wow, only 30 minute's in line and 'm at the window! "Yes, Mr. Ready, this is the right place, but we need a transaction code or the computer will not let US process your payment and issue youreceipt." "Well, kind sir, I haven't a fucking clue whit the fucking transaction code is. Isn't that supposed to be your fucking job!?" "Calm down, Mr. Ready, let me see if my supervisor can find the right code, Please have a seat over there. Next please."

25. About 11:15 AM: Banco do Brasil Mr. C number 2,—a.k.a. The Walrus, this guy has to Weigh atleast 275 lbs., with a Ze Sarnely (former President Jose Sarney) mustache and all; I that's missing are the ah dignity he can muster. tusks waddles up with all the "What seems to be the problem,Ready?" "Oh nothing, really. I've just been tryingMfr r th past week to renew my visa before I make international headline's as the first American to get deported from this fair ci as an illegal alien." "OK, this should be easy* Just get back at the end of the line and when the clerk asks for the code you tell him "0835" and then add your CPF number." "CP what?" "CPF, of course. You do have one, don't you, Mr. Ready? No? Uai, then you will have to go over there and stand in,that other line and wait 4ur turn to be cadastrated.”,"WhokW Chief!

I'm just looking to extend my visa for a few weeks and I don't have AIDS or anything nasty like that, and, • besides, my wife might not like that idea." another 45 minutes in line, the actual 26. After cadastration was relatively painless. And I finally did (after another hour or so back in the bank window line) get the stamps on my receipts.

27. Day number '5: Spent theywhole morning waiting in thepo"sweat borX" to see cia Federal and Ze Cop back at the stamp on my finally got my prorogation passport, literally just hours before I would have become an illegal alien.

So now I proudly carry my CPF card wherever I go, so I can prove to anybody who asks that I am a Cadastrated Physical Person (yeah, I know that's CFP, not CPF, but everything is ass-backward in the Southern Hemisphere).

Moral of the story: If you ever have to deal with the Brazilian burrocracy, be sure, to leave yourself at least 500% more time than you would figure in the real (as (*posed to $Real ) world.

Unfortunately, this story will likely appear rather trivial to most people who live in Brazil and have to put up with far greater and even more comical levels of incompetence and confusion every day of their lives.

• 15

BRAZZIL - NOVEMBER 1996

WAY TO GO I enjoyed very much reading about the Brazilian women writers and the excerpts that Brazzil printed. I identify myself with them, as I love reading and I write a little.

The magazine in the past has published articles on women which I eagerly read to be disappointed. They were worried about the size of their breasts or bumbuns. They were prostitutes or men chasers. They showed their private parts to make a living.

And I thought, 'Gee whiz, I don't know anyone like that!' The women I know are mothers trying to raise their children as decent citizens in a difficult world. They are in schools teaching the ABCs. They are in farms raising food.

They are in offices treating the sick or fixing peoples teeth. They are in hospitals comforting the ill and so on. We rather show our intelligence and concern for a better world.

I was happy to know that writer Rachel de Queiroz is still alive. As a young girl in Brazil I enjoyed reading her articles in the last page of 0 Cruzeiro magazine. Please write more about women like us, we are the majority. This article was a good start.

Geoniora Oliveira Fountain Valley, California BLAME THE COMPUTER A friend loaned me a copy of Brazzil.

I noticed in your October issue's article on Rio some glaring boobies; the contrast between the zona sul and the zona sul, for example, became more comical as the piece wore on. Of course everyone realized eventually that it was zona norte and zona sul, but who could tell which was which? In any case, I would be interested in volunteering to proofread the English articles as time allows.

Dave Kelley III Via E-mail WE GET HELP I am currently a training specialist with the US Peace Corps in Washington, DC, but am looking for a way to put my five years of previous professional experience in proofreading and editing to use. I am also a confirmed Brazil nut, having lived in Rio de Janeiro for one and a half years (until December 1995), and am excited at the prospect of using my skills to help promote awareness and appreciation of all things Brazilian! I also speak fairly fluent Portuguese.

Michelle DeFayette Washington, DC

article on the origin of Carnaval in Brazil.

WE GET KUDOS I need to make a report on Brazilian I applaud your efforts to keep us inCarnaval to a group of foreign students formed of what is really going on in Brazil. and I would like to use your article as I am particularly interested in up-to-date reference. Can you authorize this? Is that business information. Keep up the good number still available for purchase? We work! are remodelling our house and the back Frank D. Johnson issues are stored some place. If I only Columbia University could find them!

Astoria, New York Sueli C Zardo SHARING THE FUN Via E-mail It is with great pleasure that I receive LONGING FOR PIGALLE Brazzil every month! Congratulations for Please renew my subscription for anthe excellent work in making the Brazilian , other year. I have really enjoyed your culture known in the United States. I am magazine and the perspective it offers on enclosing a check not only to renew my Brazilian affairs. Until I can afford to drop subscription, but also to give subscriptions back to the Pigalle restaurant under the as a gift to two very special people, with Rio Palace in Copacabana for a chope or whom I would like to share our culture: ten, this is definitely the next best thing!

Eszter (my mokuci)and Ricardo (my kamba).

Cheers and obrigado!

Andre DiMarzio Terry J. Cooper Urbana, Illinois Ottawa, Canada DON'T MENTION IT NEXT STOP: BRAZIL This is to thank Brazzil for the article on I just want to let you know that! really ,"Luiz Inacio e os Trezentos Picaretas," our enjoy Brazzil because it gives me the opsong that was banned by the Brazilian Jusportunity to know more about that wontice. The sequence of the facts is very well derful land, Brazil. lam a Mexican citizen, written as well as the translation of the lyrics. We are copying and printing your , but I am much in love with Brazil and I artiele so we can show it when somebody - hope that I will be able to go there in the near feature. In the meantime reading your asks us about the censorship episode. If you magazine makes me feel closer to that will allaV tis, naturally. country. Do you have a WEB page?

Jodo Basone Lucy Burnette Paralamas do Sucesso Via E-mail Brazil - Via E-mail TO A FUTURE EMBASSADOR TOO CRAZY Thanks for a wonderfully informative It's my pleasure go give a one year magazine. The name change from News subscription of Brazzil to my good friend from Brazil to Brazzil was muito /ouco.

American-Brazilian Prof. Michael Leitao And does not add anything to your otherDougherty. Prof. Dougherty teaches Latin wise fine publication. Unfortunately most American and Brazilian History at Miami Americans will now think this is the way University for many years. He has visited to spell Brazil.

Brazil more than 25 times, and even though James Herring he was born in Delaware his heart is BrazilElizabeth, New Jersey ian. One day, he says, he wants to be the American Embassador to Brazil. That's his LOOK INSIDE dream!

Don't you have any news on the trial Prof Esdras Othon Leitdo of Paula Thomaz and Guilherme de Padua Los Angeles, California who killed the actress Daniella Perez?

RESEARCH SOURCE And why was her death surrounded with so much violence? Black magic? Thanks.

First of all I would like to tell you that Your magazine is getting better and better. everyone at home greatly enjoys reading Octavia Moy Brazzil. In one of your back issues (FebruSan Francisco, California or March) you published an excellent

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I

n at least five of the main state capitals, the message by the mayor they served. Pitta worked for Paulo Salim of the voters in the October election, which renewed Maluf, and Conde for Cesar Maia. Curiously, Maluf and every city hall and city council across Brazil, was Maia are controversial politicians finishing their mandates unequivocal: People want administrative continuwith record popularity indexes, due less to their charisma or ty independent from party affiliation or ideology. congeniality than to their ability to do a lot of made-forThis desire for continuity was even more pronounced in the effect work—like big roads, hospitals, schools and residen10 biggest cities of the country. In 60 percent of these cities, tial buildings—and then take credit for it. Maluf increased candidates supported by the current mayor (reelection is not the marketing for city hall by 400 percent, the same 400 allowed) have either already been elected mayor or will be percent increase for new tunnels around town. competing in the runoff election on November 15.

Maluf, who is continually trying to become Brazil's The victors of the first round were able to appeal to the President, is finishing his mandate with a 67 percent apelectorate's local interests. Candidates like former Planning proval index. Compare this to his predecessor and the person Minister Jose Serra, who wanted to discuss national themes who will be running against Pitta in the runoff, Luiza including minimum wage and agrarian reform, didn't have a Erundina. Her popularity at this time during her mandate was chance. The effort of those who manichaeistically limited only 29 percent. Sao Paulo's mayor, who is 65 years old and the choices between left and right were more disastrous still. has run in eight previous elections, losing five, has become For example, in Porto Alegre, capital of Rio Grande do a symbol of these elections and a major threat to Fernando Sul, Raul Pont won the mayor's seat in the first round of the Henrique Cardoso. Cardoso wants to be reelected as presielections, eliminating the need for a runoff and guaranteeing dent in 1998 but needs to reform the constitution to pull this a third mandate for the party in power, the leftist PT (Partido one out. Maluf, the leader of the PPB, the third largest party dos Trabalhadores—Workers' Party). Porto Alegre's mayor, in Congress, is against such a change because it could make Tarso Genro, is a rising star in his party and is being his own run for the Palacio do Planalto much harder. identified by some as an alternative to Luiz Inacio Lula da Worried about this likely opposition, President Fernando Silva for the 1998 presidential elections. Lula has been the Henrique from the PSDB, has authorized his close aides to PT's presidential candidate for the last two elections. back Pitta in the runoff. Ironically, Maluf had offered to back In Curitiba, capital of Parana, the moderate PDT (Partido the President's candidate for a small exchange of favors, an Democratic° Trabalhista— Labor Democratic Party) took offer that was politely rejected. The Sao Paulo campaign was city hall for the third time in a row. The victory of Cassio a disaster for the President and his party. PSDB's candidate, Taniguchi, in this case, was also a tribute to Jayme Lerner, senator Jose Serra, had left his post as Planning Minister to the legendary governor of Parana who was previously run for the mayor's seat, but President Cardoso's backing Curitiba's mayor. was never more than half-hearted. Then his Communications Even more dramatic were the victories of the candidates Minister, Sergio Motta, known as Ser.* (big Sergio), enin S5o Paulo(capital of Sao Paulo) and Rio (capital of Rio de tered the fray with a comment that offended almost everyJaneiro), the country's body, crediting Eruntwo most populated dina's behavior to her cities, though there menopause crisis. will still be a runoff.

Alagoas state Celso Pitta, from the senator Teot6nio Viright wing PPB (Partilela Filho, PSDB's do Progressista Bras inational President, leiro—Brazilian Prowasn't thrilled with gressive Party), was Cardoso's willingclose to taking the ness to please Maluf prize the first time and concluded there around, obtaining 48 was no need to get percent of the votes close to the Paulista against 22 percent of mayor to pass the reBrazilians are going to the polls for the runoff the closest candidate, election constituelection November 15. But for the most part they former mayor of Sao tional amendment in Paulo, Luiza Erundina have already given their verdict. They are happy Congress. "Maluf has de Sousa (PT). In Rio, always been against with the present administrators and don't want PFL's (Partido da the reelection," he any abrupt changes Frente Liberal—Libpondered. "His party eral Front Party) canis always divided on didate, Luiz Carlos this question. He has EMERSON LUIS Conde, obtained 35 an arrogant way of percent of the votes dealing with these while the second place matters, and he is finisher, Sergio de someone who creates Oliveira Cabral from division even among the PSDB (Partido da his fellow party memSocial Democracia bers."

Brasileira—Brazilian PPB's national Social Democracy president, Espiridiao Party), received 21.5 Amin, however, says percent. there is nothing more In both cases, the logical than Cardoso would-be mayor backing Pitta: "Pitta wouldn't have a is a candidate from the prayer without the full PPB and has a candicommitment of their date of the PFL as a political godfathers, running mate. But the the incumbent mayor.

PT is opposition."

Both were obscure city The voting machine Ideologically, the hall aides handpicked President, who has a

Don't Touch •That Dial!

18

BRAZZiL - NOVEMBER 1996

Marxist past, and his party are much closer to the PT, a party that was formed with much help from Fernando Cardoso.

In Rio, the President's party must also walk a very fine ARTUR XEXE0 line. The runoff there will have PFL's Luiz Paulo Conde facing PSDB' s Sergio Cabral. Nationwide, the PSDB hasn't excerpt from Rio's daily Jomal do Brasil been much luckier. Its candidates will get a second chance in the runoff for the two important capitals of Rio and Belo Naive, the voter woke up all excited Thursday. It looked Horizonte (state of Minas Gerais), but a victory in either city like he was in the First World. The vote was going to be is far from certain. electronic. He made sure he had the right number for his Among the curiosities in these elections was the victory candidate for city council because he didn't want to make a in Oaipoque of Joao Neves (PSB—Partido Socialista fool of himself when pushing the button and went ahead.

Brasileiro—Brazilian Socialist Party)—the first Brazilian Before leaving home, he read the paper and inflated his chest.

Indian to become a mayor. The Galibi Indian got 1,713 votes, Besides the electronic ballot box, the results would be avail47.6 percent of the total. Oiapoque is in the far North of able the same day through the Internet. He then applied at the Brazil, and of its 4,231 voters, 1,311 are Indians. Neves, 34, TSE (Superior Electoral Tribunal) to receive every half hour, is married and has three children. He left the reservation starting at 6 p.m., an E-mail with the vote-counting results. where he was born at age 10 to live with a white teacher.

Let's be honest, I don't even think Stockholm is that First In Porto Alegre, Nega Diaba (Blackie Devil), 58, won a World. seat as a council member despite all the religious opposition Then the naive voter left home—it could be a sunny day but to her. Nega, whose real name is Teresa dos Santos, anStockholm must also be cloudy like that—bumping into that nounced at the start of her campaign that she had been a drug sea of people who were all happy because they were also going addict and trafficker and a prostitute for 36 years. Elected by to vote electronically. The precinct, in a little school that didn't PTB (Partido Trabalhista Brasileiro—Brazilian Labor Party) seem at all from the First World, was empty, And then he had she promises to be the voice for those who suffer. his first disappointment. The voting machine was broken.

Of the 12 candidates for city council who came out of the closet and announced they were gay, only one won. This was Broken?! A voter, drunk of civic fervor, pushed the number of Katia Tapeti, a transvestite, who was the victorious candihis candidate with such brute force that the computer packed date in Colonia do Piaui in Piaui state. She should become up, somebody explained. the president of the council and is already thinking about a What are we supposed to do now? Just fill out the ballot as run for the office of mayor in the year 2000. in old times. Frustrated, the naive voter drops his vote at the Some of the just-elected mayors, at least nine of them, ballot box, goes back home and decides to kill time watching will not have a city hall in which to be inaugurated. Mauricio TV until 6 p.m., when the Internet would start releasing the Bittencourt (PPB), for example, who was elected in Macuco TSE's results. The newscasts were scary. In Sao Paulo the in the state of Rio, has alcounting was slow due to the rain that delayed the ready announced that his inarrival of the diskettes at the IRE (Regional Elecauguration will be at the centoral Tribunal). In Rio, there were problems with BRAZILIAN PA RTIES tral square's bandstand. the telephone transmission of the results. That's Macuco is just one of the when the TRE gave up the on-line scheme and municipalities that were crePC do B—Partido Comunista do Brasil started to use some Kombis (old Volkswagen ated in the last two years and (Brazilian Communist Party) minivans). Vote counting with a Kombi? Do they have no infrastructure.

PDT—Partido Democratic° Trabalhista still have Kombis in Stockholm? That was too Former President Jose (Worker's Democratic Party) much.

Sarney, who is contemplatPFL—Partido da Frente Liberal (LibSix p.m., the voter flies to his computer so he ing another run for the presieral Front Part) ) can smell a little of the First World. Nothing. SixPL—Partido Liberal (Liberal Part) ) dency, has suffered a series PM DB—Partido do Movimento Demothirty, seven, seven-thirty, eight. No results. Would of defeats, including in the cratic° Brasileiro (Brazilian Democratic 17 cities in Amapa where he he have to be satisfied with the exit polls? EightMovement Party) was elected for the Senate in thirty, nine, nine-thirty . . . To make a long story PM N—Part ido da Mobil izac.5° Nacio1990. He even lost in Cidade short, the first results on the Internet came at 2:30 nal (National Mobilization's Party) Sarney, a town named after in the morning. And the second bulletin went on PP—Partido Progressista (Progressive him, which is now going to line only at 11:30 a.m.. Didn't they say that it was Party) hold a plebiscite to change going to be every 30 minutes? Unless the TSE's 30 PPB(Partido Progressista Brasi leiro— its name. minutes takes nine hours. The naive voter abanBrazilian Progressive Part) ) Thanks to new legisladoned the computer and went back to the Third PPR—Partido Progressista Reformador tion that made obligatory at (Reformer Progressive Party) World, just in time to discover through the papers least a 20 percent presence PPS—Partido Popular Socialista that the results in Rio, promised for Thursday at of women among the candi(Popular Socialist Party) midnight, would be released Friday night. So he dates for city council in all PRN—Partido da Reconstrucao Naciowent to rest from his electoral hangover, sure that parties, 70,000 women ran nal (National Reconstruction's Party) he was living farther and farther from Stockholm. for electoral posts in Octo-

Not Stockholm here

ber. Twenty of them were trying for mayorships in 13 capitals. Four of them still have a chance to win. In Natal and Maceio, two women will be facing each other on November 15. In Florianopolis, Angela Amin (PPB) won more votes than her opponent in the first round, and in Sao Paulo, Luiza Erundina won second place, taking Jose Serra, Fernando Henrique's candidate, out of the race. HowBRAZZIL - NOVEMBER 1996

PRP—Partido Republican° Progressista (Progressive Republican Party).

PSB—Partido Socialista Brasileiro (Brazilian Socialist Part) ) PSC—Partido Social Cristfio (Social Christian Party ) PSD—Partido Social Democratic° ( Social Democratic Parts) PSDB—Partido da Social Democracia.

Brasileira (Brazilian Social Democracy Party) PT—Partido dos Trabalhadores (Worker's Party) PTB—Partido Trabalhista Brasileiro (Brazilian 1,abor Party) PV—Partido Verde (Green Party)

••

• •

The numbers

• Brazilian electorate: 101,284,121 (men: 50.1 • • percent—women: 49.5 percent) • • umber of candidates for mayor and city • • ouncil: 1,015,187 • • • oters under 18: 2,135,046 • • unicipalities holding elections: 5,507 • • otal ballot boxes: 77,069 • • l ities voting by computer: 57 • oters using voting by computer: 32,478,153 • • ity with most voters: sao Paulo (6,765,407) • ity with fewest voters: Lavandeira, state of •• • • ocantins (473) • • • ••• OOOOO •••••••••••••••, 19

ever, to defeat Celso Pitta in the runoff and return to her seat in the mayor's office, she will need something like a miracle.

Voting by computer It's believed that part of the PT's success in these elections was due to the introduction of the voting computer, which has drastically cut the possibilities of fraud. The new machines were used for the first time in Brazil, and only the 57 cities with more than 200,000 voters were able to utilize it. This represented almost one-third of the electorate. The system also seems to have helped in reducing the blank votes from 10.75 percent in 1992 to 1.81 percent this year, while keeping the void vote around 9.5 percent.

In sum, the TSE (Tribunal Superior E leitoral—Superior Electoral Tribunal) is so happy with the results that it has already announced that by the year 2000 the whole country will be using computers to cast their ballots. In 1998, when Brazil will have presidential elections, the computer vote will be extended to the 27 Brazilian capitals and 893 other municipalities with more than 20,000 residents. By then, the voters should have a magnetic card in lieu of their present paper voting ID. According to the TSE, only 1.5 percent of all electronic voting machines experienced mechanical failure, although in 5 percent of the cases, the new gadgets were abandoned for the old ballot boxes. Marco Aurelio de Mello, TSE's president, explained that most of the problems were due to human error and blamed unprepared precinct personnel and careless voters for the snarls. The most frequent problem was caused by bad connections between the voting machine and the precinct's manager keyboard.

• 20

Party portrait About 85 percent of the elected may ors (4.70() of them) belong to six major parties. According to political'. Scientist Bolk ar Lamounier in an interview with weekly neo, sm ne I .t.. -This sholAs that They are the only iable parties at a national level.-

PSDB Partido da Social Democraci a Brasileira-Harazilian Social Democracy Party ): Their members are frequently called tucauos. (toucans). Fernando I lenrique Cardoso's party didn't change' its political strength in the country . Their candidates on as may ors of Cuaiba and Vitoria'. two state capitals. and the ha e a chance to win the runoff election in another Ike: Rio. Belo Itorizonte. Manaus. Goiania and Terezina. The loss in S5o Paulo. however. was a bit humiliating.

PM DB (Partido do Mo imento Democratic° Brasileiro-Arazilian Democratic Moy einem Party ): Still the biggest party . but someyy hat weakened after the elections. I heir candidates won as may ors of tyy 0 capitals. Fortaleza and Rio Branco. In the runoff they \ ill be vy ing for smaller cities: Teresina. A meal u. an i a. Campo Grande. Joao Pessoa. In all. they yy on in nearly 1.500 city halls.

PT (Partido dos Trabalhadores—Worker's Party): lost important cities yy here they were the dominant force for y ears—such as Diadema in Greater Silo Paulo and Belo lorizonte. the capital of Minas Gerais—but they were able to widen their influence across the nation. Besides taking Porto A leere's may orship for a third time. they are also in the runoff in S5o Paulo. Belem. FlorianOpol is. Natal. MaceiO, and Campo Grande. The P I celebrated the fact that they won 3.8 million votes in the state capitals. more than any other party.

PFL (Partido da Frente Liberal—Liberal Front Party j:•The right wing side of the coalition that guaranteed Fernando I len rique Cardoso election to the presidency, had an astonishing pert-ormance. They won more capitals than any other party in the first round, and they had the fifth largest number of otes in the capitals of states even thougt4the) were running in only nine of these capitals. merely hal Ithe number olcities in yy hich the PT and the PSDB had candidates.

They are poised to YY in Rio's city hall in the runoff. afteralready w inning in Salk ador. Recife and Macapa.

PPB (Partido Progressista Brasileiro--Brazilian Progressive Parts ): PPI3 became sy nonymous w ittePaelo Salim Maluf. Sao Paulo's mayor.

The party, barring a catastrophe. is guaranteed Sao Paulo's city hall. despite the fact that it \OH have to dispute it in a runoff election. No small feat since SaO Paulo is by far the biggest source of votes in the country. yy ith close to seven millibn voters.' The PPR conquered only one capital city' hall: Palmas in Tocantins. But it yy ill also be vying for Florianopolis. S5o I.uiz. and Manaus in The.runoff. The party got 3.2 million votes nationwide. but 2.5 million came from Silo Paulo alone., PDT-Partido Democratic() Trabalhista ( Worker's' Democratic Party ): The PDT yy on the mayors race in two capitals: Curitiba and Porto Velho. It also has a chance of taking Belem..loilo Pessoa. and Sao Luiz. Leonel Brizola's (Rio's former governor) party. ho Yy ever, lost in [NY° of their traditional strongholds: Rio and Porto Alegre--i-alVide blow to PDTs leader. All in all. the party was still able to elect mayors in nearly 500 cities.

'rho

apital by capital Mayors elected and in the runoff Aracaju (Sergipe)—Runoff: Joao Augusto Gama da Silva (PMDB) x Ismael Silva Santos (PT) Belem (Para)—Runoff: Edmilson Brito Rodrigues (PT) x Ramiro Jayme Bentes (PDT) Belo Horizonte (Minas Gerais)—Runoff: Cello de Castro (PSB) x Amilcar Martins (PSDB) Boa Vista (Roraima)—New mayor: Ottomar de Souza Pinto (PTB) Campo Grande (Mato Grosso do Sul)—Runoff: Jose Orcirio Miranda (PT) x Andre Puccinelli (PMDB) Cuiaba (Mato Grosso)—New mayor: Roberto Franca Auad (PSDB) Curitiba (Parana)—New mayor: Cassio Taniguchi (PDT) Florian6polis (Santa Catarina)—Runoff: Angela Regina Heinzen Amin (PPB) x Afranio Tadeu Boppre (PT) Fortaleza (Ceara)—New mayor: Juraci Vieira de Magalhaes (PMDB) Goiania (Goids)—Runoff: Nion Albernaz (PSDB) x Luiz Jose Bittencourt (PMDB) Joao Pessoa (Paralba)—Runoff: Cicero de Lucena Filho (PMDB) x Antonia Lucia Navarro (PDT) Maca pa (Amapa)—New mayor: Annibal Barcellos (PFL) Macei6 (Alagoas)—Runoff: Katia Born Ribeiro (PSB) x Heloisa Helena Lima (PT) Manaus (Amazonas)—Runoff: Alfredo Pereira do Nascimento (PPB) x Serafim Fernandes Correia (PSDB) Natal (Rio Grande do Norte)—Runoff: Vilma Maria de Faria (PSDB) x Maria de Fatima Bezerra (PT) Palmas (Tocantins)—New mayor: Manoel Odir Rocha (PPB) Porto Alegre (Rio Grande do Sul)— New mayor: Raul Jorge Anglada Pont (PT) Porto Velho (Rondonia)—New mayor: Francisco Jose Chiquili (PDT) Recife (Pernambuco)—New mayor: Roberto Magalhaes Melo (PFL) Rio Branco (Acre)—New mayor: Mauri Sergio Moura Rio de Janeiro (Rio de Janeiro)-4 off: Luiz Paulo Fernandez Gold (PFL) x Sergio de Oliveira 'Cabra (PSDB) Salvador (Bahia)—New mayor: Antonio Jose Imbassahy (PFL) Sao Luis (Maranhao)—Runoff- Jackson Kepler Lago (PDT) x Joao Castelo Ribeiro (PPB) Sao Paulo (Sao Paulo)—Runoff: Celso Roberto Pitta (PPB) x Luiza Erundina de Sousa (PT) Teresina (Piaui)—Firrnino da Silveira Soares (PSDB) x Alberto Tavares Silva (PSDB) Vitoria (Espirito San to)—New mayor: Luiz Paulo Velloso Luca(PSDB)

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professional ballerina, 22 years of age, of gracious gestures and pleasing semblance, initiating her career as an actress. She was interpreting Yasmin, one of the major characters of the then current prime-time TV entertainment, the Corpo e Alma (Body & Soul) novela (soap opera) created by her mother, Gloria Perez, renowned script novelist in Brazil. She was also married, apparently happily, to actor Raul Gazolla.

Guilherme de Padua—model, actor, murderer. He enters the scene with not-so-good an image. After admitting to the crime, the actor, who then was working with the victim as her antagonist character in the novela, began altering his version of the occurrence until he framed Paula, his wife at the time, as the person responsible for the strikes which killed Daniella. In prison he wrote A Historia que o Brasil Desconhece (The Story Which Brazil Does Not Know) which has had its publication prohibited by the Judicial system until the case is settled.

Paula de Almeida Thomaz had been married to Guilherme for a short seven months. The only child of a well-to-do upper middle-class family in Rio de Janeiro she was only 19 years of age at the time of the murder. She became a suspect the very next day the crime was committed. At the time she was three months pregnant, has since then had their baby boy Felipe in prison, and now awaits the resolution of the trial hoping to reunite with her family and child. She denies having confessed to the crime in an informal setting to the police, and swears her innocence in the case. Guilherme and Paula got divorced in November of 1994, and both await the hearing.

4 The facts: At the closing of the night on the 28 of December 1992, the body of actress Daniella Perez was found at a thicket in Barra da Tijuca (a neighborhood in the South Zone of Rio) with 18 blows in the heart and throat. Hours prior to being arrested as prime suspects the actor, Guilherme de Padua, and his wife, Paula Thomaz, were at the police-headquarters consoling the victim's family. Imprisoned for three years and seven months the two contingents exchange accusations.

The versions: The jury will have to decide among three options for the most likely to have occurred on the day of the murder.

The accusation: The prosecutor, Jose Munhoz Pinheiro Filho, alleges that Guilherme and Paula, moved by a fidelitypact, deliberately planned and executed the crime against Daniella Perez. As a premeditated homicide he will claim Guilherme went to pick-up his wife Paula at their apartment in Copacabana (a neighborhood in the South Zone of Rio de Janeiro city, about 20 miles from Barra da Tijuca) to execute the murder. The sentence under such circumstance may represent 30 years in prison without parole.

Supporting evidence: 1. That it was a premeditated homicide: * photograph of the body with clear sign of a contusion on our years after a crime that the face, possibly a result of a punch by Guilherme, which may have been the cause for the victim's passing-out, facilitating ..ridwide headlines only one her abduction and transportation to the secluded area where she ',lain: Daniella Perez, the was murdered; turned actress who was * the counterfeited license-plate. Hugo da Silveira, witness from Porto Seguro, state of Bahia, was visiting his daughter her leading man in a who resides in the area, wrote down the plate number (OM The murder weapon, 1115), originally (LM 1115) which had been altered with .distors or a dagger, masking tape.

2- Involvement of Paula in the murder: d, and still no one * Silveira also testified he saw a female at the location which ives behind the later he identified as being Paula.

3- Motive of murder laying in fidelity-pact: * argument will be made that, to sustain the pact, Guilherme had his wife's name [Paula] tattooed on his genitalia, and she ELA LACE LOPS had his name tattooed on her groin. •kY Guilherme's Defense: Guilherme's defense attorney, Paulo e characters: Ramalho, will make a case alleging that Paula was the one The p10to this story is nothing short of complica e a potentially successful tale gone bad. The major players responsible for the fatal strikes against Daniella, and that his consist of the victim and the two suspects. Daniella was a client had no plausible reason for killing the victim.

Supporting evidence: 22

BRAZZIL - NOVEMBER 1996

1- Paula's responsibility: * based on the testimony of four police officers who claim Paula made an informal confession to the crime and that no further attempt was made to make it official because Paula contended to be feeling sick. From the very next day on, she denied any involvement in the murder.

2- Guilherme's innocence: * argument will be made attempting to show Guilherme did not even witness Paula fatally striking the victim who was unconscious due to the punch he had given her in an attempt to defend his pregnant wife from a jealousy fight between the two women, and that he was "encompassed" in the plot.

3- It was not a premeditated homicide: * Ramalho will claim Daniella Perez had a romance with his client, and then argue that she was not abducted, but rather conducted her own self to the location.

Paula's defense: Paula's defense attorney, Carlos Eduardo Machado, will claim his client's innocence and plans to support his contention by refuting the arguments of the prosecutor.

Supporting evidence: 1- Paula's innocence: * Paula continues to claim she spent seven hours walking about Barra Shopping (a good-sized shopping mall in the area) after being dropped-off at that location by her husband Guilherme. She argues that the people who could probably testify on her behalf are not doing so due to the high-profiles of the people involved in the case, thus she is left with no supporting evidence for that contention. * Machado plans to disprove the claims made by the prosecutor: that Hugo da Silveira' s first testimony was very general and dubious (not certain of the type of car, or whether the license plate read UM, LM, or OM, and minimal description of the woman he claims to have seem with Guilherme); against the testimony given by the four

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police officer about Paula's informal confession he plans to present the testimony of a friend of his client present on the day the confession is said to have been made, affirming that it did not.

The hearing, originally scheduled for the 28 of August, was postponed per request of the defense attorneys.

No dates were determined, and it could be delayed until December or January of 1997. Claims have been made that the adjournment of the trial was caused by the annexation of documentation by the prosecutor which the defense knew nothing about.

Outside the courtroom: The murder of a promising young actress has become the symbol for the fight against impunity. Manifestations organized by representatives of different and sometimes antagonistic groups have all the same goal: get justice.

The merit of uniting under the same banner groups as diverse as M es de Acari (Mothers from Acari) whose children hav disappeared and the emerging society of Barra da Tiju a befits the novelist Gloria Perez, mother of the murder vi tim.

And in the battle for a just trial for her daughter's murder, Glorir Perez has certainly counted with the solidarity of pub ic opinion. But it is with other mothers of victims of violence that the writer identifies the most. By taking to prime-time TV the battles being fought for the disappeared children she became one-on-one with the MAes da Cinelandia and Maes de Acari, placing under the spotlight issues which are related, but rarely fought for in great, signifi ant numbers.

Her efforts go beyond revenge against those who killed her da ghter. Gloria Perez has led, thus far, a national campaign which has gathered over one million signatures in order to alter the Brazilian Codigo Penal (Penal Code) by which even the worst criminals don't get more than 30 years of prison.

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I may not be a total expert on Brazilian food. but I know my way around a kitchen fairly well and I am able to make people come back for more and more when I cook Brazilian dishes—and I know it's not because my guests and family are being polite that they do so! One of my specialties is frijoada completa. Brazil's national dish. The actual origin of the dish is essentially African. but popular belief has it that it evolved from a! combination of sources, from the African slaves,:to the Portuguese colonists, to the indigenous Indians: , The African slaves had the basic bean stew, the Portuguese added the linguip,(sausage). and the Indians added the jarofa (toasted manioc flour). Regardless of its origin and evolutionary history, everyone loves my feljoada completa and I enjoy making it. Of course. I usuall) make enough to feed an army and I often find long lost "soldiers" dropping by my house at meal time w hen word gets out that I am preparing one.

Perhaps it's just a coincidence! Be that as it may. I'd like to tell people about some less traditional "feijoadas- from different regions of Brazil. For-the traditionalists amongst you. I w ill give you my traditional recipe from my cookbook. Delightful Brazilian Cooking. after I have given the non-traditional ones. These "feijoadas" are popular in the regions where they come from, but are often strange sounding to those people who come from other regions of Brazil because they aren't truly fe(joadas.

It's like anything else really—people eat whatever grows in their region and they modify recipes from other areas with their home-grown ingredients. Basically, these other socalled feijoadas are various regional dishes prepared with different kinds of beans. To call them "feijoada- could be considered a national sacrilege to many people. but to others it's just a'name. You decide for yourself whether these are fetjoadas orfeijoada impostors. Whatever they are. I hope you try some of them so that you can experience a little bit of Brazil while living far from there. Please note that in some of these recipes. I have had to substitute the actual beans called for with as close an American equivalent as I could come up with.

24

2 tablespoons canola oil 2 large yellow onions, chopped 5 cloves garlic, crushed 4 slices bacon, chopped 1 cup Italian parsley, chopped 5 large tomatoes, chopped 1 red cayenne pepper, chopped 4 cups dried beans (any kind of small brown bean), soaked overnight, drained 1 lb. salt pork, boiled for 5 minutes, cut into 1-inch cubes 1 lb. Italian sausage 2 lbs. corned beef, cut into 2-inch cubes 1 lb. smoked lean ham hocks 1 whole chicken breast, boned, skinned, cut into 2inch cubes 1 lb. round steak, cut into 2-inch cubes 1/2 teaspoon salt 2 teaspoons ground black pepper 4 bay leaves 2 1/2 quarts water 1 lb. pumpkin, peeled, cut into 2-inch cubes 2 chayote squash, peeled, cores removed, cut into 2inch cubes 1/2 lb. green cabbage, cut into 2-inch cubes 1 bunch collard greens, washed, shredded 1/2 lb. fresh string beans, ends removed, cut into 2-inch lengths 1 large potato, peeled, cut into 2-inch cubes I small sweet potato, peeled, cut into 2-inch cubes 3 ripe plantain bananas, peeled, cut into 2-inch lengths Heat the oil in a large, heavy, deep pot and stir-fry the onion, garlic, and bacon for 2 minutes or until light golden brown. Add the Italian parsley , tomatoes, and cayenne and sauté for 1 minute. Add the beans, salt pork, Italian sausage, corned beef, ham hocks, chicken, round steak, salt, black pepper, bay leaves, and water.

Cover and simmer for 2 hours or until the beans are tender, stirring occasionally and adding water if needed to ensure

that the beans are completely covered while cooking. Add the pumpkin, chayote squash, green cabbage, collard greens, string beans, potato, sweet potato, and plantain bananas. Simmer for 15 minutes or until the vegetables are soft. Do not overcook the vegetables. Serve immediately. Serves 8-10.

Feijoada a Baiana (Bahian feijoada) 2 tablespoons canola oil 2 large yellow onions, chopped 5 cloves garlic, crushed 4 slices bacon, chopped 1 cup Italian parsley, chopped 1 red cayenne pepper, chopped 4 cups dried beans (any kind of small brown bean), soaked overnight, drained 1 lb. salt pork, boiled for 5 minutes, cut into 1inch cubes 1 lb. smoked Polish sausage, cut into 2-inch cubes 2 lbs. corned beef, cut into 2-inch cubes 1 lb. smoked lean ham hocks 1 lb. round steak, cut into 2-inch cubes 1 lb. pork spareribs, cut into small pieces 1/2 teaspoon salt 2 teaspoons ground black pepper 4 bay leaves 2 1/2 quarts water Heat the oil in a large, heavy, deep pot and stirfry the onion, garlic, bacon for 2 minutes or until light golden brown. Add the Italian parsley and cayenne and sauté for 1 minute. Add the beans, salt pork, smoked Polish sausage, corned beef, ham hocks, round steak, pork spareribs, salt, black pepper, bay leaves, and water.

Cover and simmer for 2 hours or until the beans are tender, stirring occasionally and adding water if needed to ensure that the beans are completely covered while cooking. Serves 8-10.

BRAZZIL - NOVEMBER 1996

Feijoada a Fran cesa (Cassoulet or French Feijoada)

Feijoada cornpleta

2 tablespoons canola oil 2 large yellow onions, chopped 1 cup Italian parsley, chopped 1/2 cup green onion, chopped 2 whole duck breasts, boned, skinned, cut into 2inch cubes 4 lbs. lamb, cut into 2inch cubes 1 lb. smoked polish sausage, cut into 2-inch lengths 4 large tomatoes, chopped 2 tablespoons tomato paste 1 cup white wine 4 cups dried white beans, soaked, overnight, drained 1/2 teaspoon salt 2 teaspoons ground black pepper 2 1/2 quarts water 4 whole cloves 2 white onions, peeled 2 lbs. carrots, peeled, cut into 2-inch lengths 2 chayote squash, peeled, cores removed, cut into 2inch cubes 4 stalks of celery, cut into 4-inch lengths

Delightful Brazilian Cooking

Heat the oil in a large, heavy, deep pot and stir-fry the onion, Italian parsley, and green onion for 2 minutes or until light golden brown. Add the duck, lamb, and smoked Polish sausage and sauté for 3 minutes. Add the tomatoes, tomato paste, wine, white beans, salt, black pepper, water, cloves, and onions.

Cover and simmer for 1 hour or until the beans and the meat are tender, stirring occasionally and adding water if needed to ensure that the beans are completely covered while cooking. Add the carrots, chayote squash, and celery. Simmer for 15 minutes or until the vegetables are soft. Do not overcook the vegetables. Serve immediately. Serves 8-10.

Feijoada a Carioca (Cariocan [from Rio de Janeiro] Feijoada) 2 tablespoons canola oil 1 large yellow onion, chopped BRAZZIL - NOVEMBER 1996

Brazilian black beans from the book _

2 tablespoons canola oil 1 large yellow onion, chopped 4 cloves garlic, crushed 4 cups dried black beans, soaked overnight, drained 1 lb. salt pork, boiled for 5 minutes, cut into 1-inch cubes 2 lbs. Portuguese sausage (iinguica) or Italian sausage 1 lb. smoked lean ham hocks 2 lbs. corned beef, cut into 2-inch cubes 1/2 teaspoon salt 2 teaspoons ground black pepper 4 barleaves 1 fresh orange, washed very well, cut in half 2 quarts water 6 oranges; peeled, sliced Heat the oil in a large heavy,.deep pot and stir-fry the onion and garlic for 1 minute or until light golden brown. Add the beans, salt pork. Portuguese sausage, ham hocks, corned beef, salt, black pepper, bay leaves, halved-orange and water. Cover and slimmer for 2 hours or until the beans are tender, stirring occasionally and adding water if needed. Serve with sliced oranges, manioc meal with butter and eggs, Brazilian rice, collard greens, vinaigrette sauce, and cachaca (Brazilian spirits) cocktail. Serves 8-10 Vinaigrette sauce

(molho de vinagrete) 1/2 cup olive oil 1 cup white vinegar 1 teaspoon salt 1 cup Italian parsley, finely chopped 4 large fresh tomatoes, chopped 1 large yellow onion, finely chopped 2 fresh red cayenne peppers, finely chopped (optional) Combine all the ingredients in a large bowl. Stir well and serve either at, room temperature or cold. Serve Over meat and beans. Makes 3 cups.

Collard greens (couve refogada)

Brazilian 4 tablaSprroOZ yellow onion, f y 1 clovesgarlic, cnihedt 3 3 cups white long rat washed, drained 4 cups boilin ' a 1 barletif 2 medium to tional) 1/2W teaspoo In a 4 quart pot, heat the oil over medium-high heat and stir-fry the on1011 and garlic until golden. Pour in the rice and stir for 2 to 3 miritites. Add the water, bay leaf, tomatoe 4$J. Return to a boil and ,COnt stirring ., until almost all the,;Water! evaporated, about 5 mint*. Coy e pot - and reduce the -teiiiPeratur for 20 minutes:, cit,Mitil cooked. Serves , 44. tilahloc

2 tabletshpobountt sb eurnael 1 small yellow chopped 2 eggs 2 cups manioc 2 tablespoons Italian chopped <• 1/2 teaspoon ground

mely per

Melt .the butter large frying pan andsaut bton until, golden browit., dd the :eggs and scramble atii firm and separated in small pieces.

'Add the manioc Meal, parsley, salt and pepper.utirring well until lightly browned. Serve with any beati diSh. Serves 6Cacha (Brazilian spin'

2 tablespoons sugar, 2 fresh limes, finely squeezed 1 cup cachava or white ru 1 cup crushed ice In a smallbowl, combine the grated lime peel and lime 'juice stand for 5 minutes. Add the td) Pour the cocktail mixture intd glasses filled with ice. Serves

2 tablespoons canola oil 3 cloves garlic, crushed 2 bun chessollard greens, washed, shredded 1 teaspoon salt

Delightful Brazilian Cooking. autographed

•Heat the oil in a large frying pan and satit6 the garlic until light golden brown.

Add the collard greens and salt. Stir-fry over medium-high heat for 3 minutes or until greens are tender. do not overcook.

and with a dedication, please contact Ambrosia Publication at PO Box 30818. Seattle. WA 98103 or phone or fax your order to (206) 789-3693. If on order now,. you \\ ill recei c two copies of the book for the price of one. $14.95. plus $5.00 shipping and ,handling.

Serves 4-6.

If you are interested in ha N ing a copy of

4 cloves garlic, crushed 1 red cayenne pepper, chopped 4 cups dried black beans, soaked overnight, drained 1 lb. salt pork, boiled for 5 minutes, cut into 1inch cubes 2 lbs. Portuguese sausage (linguica) or Italian sausage 1 lb. smoked Polish sausage, cut into 2-inch lengths 1 lb. smoked lean ham hocks 2 lbs. corned beef, cut into 2-inch cubes 1 lb. pork spareribs, cut small pieces 1/2 teaspoon salt 2 teaspoons ground black pepper 4 bay leaves 1 fresh orange, washed very well, cut in half 2 quarts water 6 oranges, peeled, sliced Heat the oil in a large, heavy, deep pot and stirfry the onion, garlic, and cayenne for 2 minutes or until light golden brown. Add the beans, salt pork, Portuguese sausage, smoked Polish sausage, ham hocks, corned beef, pork spareribs, salt, black pepper, bay leaves, halved-orange and water. Cover and simmer for 2 hours or until the beans are tender, stirring occasionally and adding water if needed to ensure that the beans are completely covered while cooking. Serve with sliced oranges, manioc meal with butter and eggs, white rice, collard greens, vinaigrette sauce, and cachaca (Brazilian spirits) cocktail. Serves 8-10.

Feijoada A la Recife s (Recife Feijoada) 2 tablespoons canola oil 2 large yellow onions, chopped 5 cloves garlic, crushed 4 slices bacon, chopped 4 cups dried beans (any kind of small brown bean), soaked overnight, drained 1 lb. salt pork, boiled for 5 minutes, cut into 1-inch cubes 2 lbs. corned beef, cut into 2-inch cubes 1 lb. smoked lean ham hocks 1 lb. round steak, cut into 2-inch cubes 1/2 teaspoon salt 2 teaspoons ground black pepper 2 1/2 quarts water 1 lb. pumpkin, peeled, cut into 2-inch cubes 8 chayote squash, peeled, cores removed, cut into 2-inch cubes 1 lb. fresh okra, ends removed Heat the oil in a large, heavy, deep pot and stirfry the onion, garlic, and bacon for 2 minutes or until light golden brown. Add the beans, salt pork, corned beef, ham hocks, round steak, salt, black pepper, and water. Cover and simmer for 2 hours or until the beans are tender, stirring occasionally and adding water if needed to ensure that the beans are completely covered while cooking. Add the pumpkin, chayote squash, and okra. Simmer for 15 minutes or until the vegetables are soft. Do not overcook the vegetables. Serve immediately.

Serves 8-10.

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E urn burrinho velho e magro que vem em marcha cadenciada, levantando poeira. Segue-o, a poucos passos, urn menino, de cabeca baixa, corn os pes descalcos pisando a terra que escalda ao sol do meio-dia. Tilinta o cincerro. No galho seco do oitizeiro, um pintassilgo ensaia algumas notas. Interrompe, porem, e fica de bico aberto, afogueado pelo calor. Mas acaba flechando sobre o menino e o burrinho, para ir pousar do outro lado, numa estaca de cerca.

Do alpendre da casa-grande, uma voz chama: —Neco! 0 Neco!

Assustado, o passarinho foge para a ravina mais prOxima. A negra Joana chama outra vez. Resmungando, dirige-se para o terreiro, olha em todos os sentidos. Subitamente, desiste. Senta-se na roda de urn carro de bois abandonado e fixa a curva da estrada onde o menino e o animal desapareceram.

Uma pequena nuvem de poeira ergue-se por urn instante, demora pouco no ar, voltando em seguida terra de onde saiu.

—0 que é da terra, d terra torna a voltar — diz Joana.

Havia alguns anos, tambem ela partira para a cidade e acabara voltando. Pouco importava que a fazenda já no fosse o que tinha sido; que em vez de fartura de antigamente, ate necessidade passassem hoje em dia. Ali nascera e vivera grande parte da existencia; au i queria acabar seus dias e ser enterrada no pequeno cemiterio dos escravos. Fora invadido pelo mato e pelas cobras, sabia ela; quase no havia cruzes de pe e, por outro lado, os tijolos do muro tinham sido todos vendidos.

Entretanto, igual destino tivera tambem o muro do cemiterio dos brancos. Somente a terra se conservava no mesmo lugar como se eta propria desejasse ser enterrada.

Joana olha na direcao da estrada e se lembra de que por al i vira passar muitas carruagens puxadas por animais ricamente ajaezados. Sim, hd muito, muito tempo: nos dias solenes de batizados, nos casamentos das mops da casa-grande, durante as festas da colheita. "Ha muito, muito tempo..." torna a pensar. Pouca gente agora atravessava a velha porteira: urn ou outro fazendeiro da vizinhanca, o fiscal da Prefeitura de Santa Rita, ou o homem do banco, que aindanao desistira de adquirir a propriedade da velha Magdala.

BRAZZIL - NOVEMBER 1996

Old a Tears came to her eyes. She felt a little dizzy, and she didn't know the reason. Was it the wine or was it the emotion? Mentally she followed the melody, recalling the lyrics... She is now crying but she doesn't if it's for poor Amelia of the song or for herself—for her memories. She sobs. All her body is treembling like a leaf shaken by the wind.

JOSE CONDE

A negra continua olhando. Entre o porta° e o alpendre, tudo é mato rasteiro, esturricado, ,onde cascaveis faziam ninhos. A esquerda, ficava um resto da antiga senzala; mais atrds, na pequena elevacao de terreno que ia ter aos cafezais de outrora, a capela, cuja porta principal já nao se abria hd tantos anos. Inexoravelmente o sol ia queimando tudo.

Joana torna a se lembrar do Neco. Onde se metera o diabo do moleque? Chapa-o: Neco! 0 Neco!

Decide voltar ao alpendre.

Arregaca a saia, por causa do mato rasteiro, e caminha corn cautela, resmungando sem parar. Sobe as escadas. Olha em tomb, novamente. Ve, entao, o negrinho, que se aproxima, sem pressa, cabisbaixo.

— Onde tu andou, negro ruim?

Neco nao responde.

Mas Joana já esqueceu o motivo por que o chamara. Faz urn muxoxo, enquanto os olhos se alongam na direcdo da estrada: o menino e o burrinho estao de volta. Tilinta novamente o cincerro. E tornam a sumir ao erguer-se sobre eles outra nuvem de poeira amarela.

II De tarde choveu. Uma nuvem ligeira que o vento trouxe e, rapid°, levou para outros horizontes. Mas deixou urn ceu azul translOcido e tambem o ar leve corn todos os perfumes do mato lavado.

A velha Magdala estava no alpendre; no teve a menor surpresa quando o cabriole de Antonio Arruda atravessou a porteira e veio se aproximando da casa-grande.

— Boa tarde, dona — saudou o homem, tirando o chapeu.

Ela fechou a cara. Por que voltara outra vez? Odiava aquele homem alto e magro, de voz fina, irritante, que falava como se soprasse as palavras. Via-o agora caminhar na direc-do onde ela estava, curvado, naquele passo curto, sorrindo. Pensou: "Sua rndo está sempre fria e suada. Dá-me nduseas." Ant6nio Arruda subiu as escadas, cumprimentou-a e pediu licenca para sentar-se.

— 0 calor nao estd para brinquedos, dona.

Defrontavam-se, ambos, na mesma expectativa inquietante.

Foi o homem quern, dentro em pouco, puxou o assunto: — Entao, Dona Magdala?

A velha apertou corn forca o 29

espaldar da cadeira. Sim, — recordava — era a mesma conversa de outras vezes: de que adiantava conservar uma propriedade sem nenhuma serventia, uma casa que estava caindo aos pedacos, quando eta, Dona Magdala, corn o dinheiro da venda, poderia se mudar para um sobrado em Santa Rita e ali viver tranqtiila os dias que the restavam?

Quarenta contos era born dinheiro em qualquer lugar. Onde encontraria melhor oferta?

— Nao e questa() de dinheiro — Já the disse respondeu a mulher. que nao é questa() de dinheiro.

— Que diabo sera entao, dona?

"Ele nao se ird embora enquanto eu nao Ihe tornar bem claro que sua presenca aqui me é desagradavel."

Entretanto, mesmo depois de ter dito o que pensava, depois de ver Antonio Arruda afastar-se para o cabriole, no seu passo curto, cabisbaixo, prometendo que dai a dias estaria de volta, que quarenta contos era uma fortuna, e a fazenda estava em ruinas, a casa-grande acabaria desaban do quando eta menos esperasse, mesmo depois de tudo isso, a velha Magdala se sentiu cansada e triste. "Por que ainda o aturo, meu Deus?"

Ergueu-se, desceu as escadas que davam para o patio, e saiu caminhando na direcao do carro de bois abandonado. 0 cachorro, que madornava na som bra formada pela roda, abriu os olhos, bocejou, e se Os de pe, abanando a cauda. A velha nao the deu atencao e continuou andando. Ao alcancar a senzala, mudou de rumo, tomando a picada que levava a igreja e ao cemiterio. 0 mato rasteiro ainda estava molhado e as hastes se prendiam ao vestido. Magdala afastava-se, sem pressa, recomecando a andar, para tornar a descansar mais adiante, respirando corn esforco. Assim foi ate atingir a colina onde se erguia a capela da fazenda. Contemplou-a de alto a baixo, tranquilamente, detendo-se no exame de cada janela, da porta, das fendas que cortavam a parede do oitao. Ha quanto tempo nao fazia isto? Pensou depois: —"que importa a separacao dos anos?" Poderiam passar mais cinqtienta ou mesmo cem anos, e nao esqueceria urn so detalhe da construcao: o grande portal de cedro bordado por maos habeis, as cornijas, o nicho entre a torre e a fachada, acolhendo a imagem de Sao Jose, as duas janelas e os vitrais; nao, nao a esqueceria, sobretudo a voz do sino. Estava calado, é verdade, mas se alguern o 30

fizesse tocar, estivesse ela onde estivesse, reconheceria o chamado. Quem sabe -indagou — nao teria sido aquele silencio de tantos e tantos anos, que semeara a morte e a solidao nos campos em derredor? Quein sabe?... Aproximou-se da porta e empurrou4.

Foi um esforco inOtil. Tornou a empurrar, desta vez numa tentativa quase frenetica.

Houve como que urn suspiro abafado, tremulo, e a porta se escancarou, oferecendo aos seus olhos a visao do altar-mor iluminado por uma restia de sot que descia de uma telha quebrada. Antes mesmo de entrar, Ode sentir a crosta de poeira agarrada aos bancos e as imagens. No entanto, havia qualquer coisa de sagrado e de singela beleza naquele silencio de abandono. Exatamente como sempre fora — disse cons igo mesma — a pintura do tetO, os casticais, o ouro do pirlpito...

Dirigiu se a sacristia; depois ao corredor que ia ter a escada em caracol por onde se subia para o campandrio. Tremiam-lhe, excitadas, as maos. Mas estava feliz. Jã nao importava o cansaco, a respiracao dificil, a dor que feria nas juntas como se the estivessem dando agulhadas. E, amarrando-se ao corrimao, comecou a galgar a escada; em cada degrau vencido fazia um a pausa e respirava corn sofreguidao. Enfim, a torre, pequena, suja e o subito despertar de asas de morcegos em debandada. Levou as maos ao rosto e fechou os olhos. Ao abri-los, novamente, descobriu os campos em derredor: la estavam os morros onde pastavam as reses de uma fazenda vizinha; Id estava a sua propria casa-grande, a velha senzala, o carro de bo is abandonado...

Ao pe da capela, a esquerda, o cemiterio.

Mesmo daquela altura, podia reconhecer cada sepultura. Estavam cobertas pelo mato e somente uma ou outra cruz ainda se mantinha erguida. Mas as flores silvestres, vermelhas, amarelas e brancas, despontavam aqui e irredutiveis a invasao do mato traicoeiro.

Magdala ergueu a mao e agarrou corn forca a ponta da corda presa ao badalb.

Puxou-a. E ficou aguardando, ansiosa, que a badalada forte a envolvesse. Mas nada ouvitr.

Repetiu o gesto, e so agora corn o novo impulso, pos-se o sino a tocar alto, sempre mais alto, firme, talvez alegre, como outrora.

Ali permaneceu a velha Magdala ate que as sombras do crepasculo desceram sobr& a terra, os morros, a casa-grande, a senzala e a encontraram, nem triste nem feliz.

0 jantar foi servido a hora do costume.

Magdala nab tinha vontade de corner. Cruzou O talher, afastando o prato que nab havia tocado. Levantou-se e, como de habit°, foi tomar a fresca da noite, na cadeira de balanco do alpendre. 0 cachorro apareceu para ocupar O lugar de sempre aos pes da velha. 0 silencio e o misterio da noite ja rondavam os campos, a lua ainda nao surgira; alem da estrada, a mata e os morros eram uma sO mancha escura e densa, tambem triste. Mas essa tristeza nao se comunicava ao coracao de Magdala.

Balancando-se na cadeira, os olhos semi-

cerrados, parecia distante do mundo e de si mesma. Dai a pouco devia recolher-se ao quarto, onde, depois de trocar a roupa, faria as oracOes de costume, ajoelhada ao lado da cama, e dorm iria profundamente.

Antes disso, nao fora o cansaco que the trouxeram as emocOes daquela tarde, gostaria de tocar urn pouco de piano. Nao por prazer. Era urn habito antigo. Mas os bracos e as pernas pareciam presos de estranha lassidao. Os prOprios pensamentos, confusos.

Distante, urn cao ladrou.

Depois, foi o vento que comecou a soprar quase inesperadamente. A principio, um a simples aragem, trazendo o cheiro da terra; em seguida, a propria terra numa vaga de poeira, veio chocar-se de encontro as paredes da casa, levantando redemoinhos no terreiro e invadindo o alpendre. Magdala resolveu entrar.

Fechou a porta que se comunicava corn a sala e, apanhando o candeeiro sobre a mesa, subiu a escada que conduzia ao quarto, no fim de corredor.

Deitou-se depois das oraceies, e adormeceu.

Pela madrugada, acordou corn urn ruido estranho. Sentou-se na cama e ficou ouvindo: o vento zunia nas arvores do patio. Mas nao foi propriamente o vento que a despertou, tinha certeza; foi urn ruido diferente, quase indefinivel, mesmo.

Sim, era uma especie de estalos estranhos que se repetiam, confundindo-se corn gemido prolongado.

Escutava-os perfeitamente; urn estalo, dois, tres... afinando-se, pelo contrario, quase num lamento...

Ainda no escuro, ficou indecisa e teve receio de acender o candeeiro.

De onde viriam? Do corredor, do teto, da sala la embaixo? 0 vento cresceu de intensidade e por alguns instantes sufocou todos os rumores, inclusive o uivo do cab. Dentro em pouco, no entanto, os sons enervantes ergueram-se outra vez e tomaram conta da casa.

Magdala levantou-se, acendeu o candeeiro, foi a procura da negra Joana, no quarto ao lado . Mas teve dificuldade de chegar ate la. Bateu a porta. Nenhuma resposta. Tornou a bater. Uma lufada mais forte de vento fez o assoalho estremecer sob os seus pes.

— Joana! — chamou.

Como ainda desta vez nao obtivesseresposta, esmurrou a porta.

Ouviu, finalm ente, o ruido da taramela e a voz da negra.

— Abra! abra! — gritou.

Joana surgiu, empunhando o BRAZZIL - NOVEMBER 1996

castical.

— Voce ouviu, Joana?

— Escuto todas as noites, sinha, mas ndo queria dizer nada pra no assustar vosmece.

Conservaram-se em silencio durante alguns instantes. Escutaram, entdo, nitidos, os gemidos. Seguiu-se o uivo do cachorro, demorado, varando a soliclao la fora.

— Venha! — ordenou Magdala.

Atravessaram o corredor e, com o movimento de ambas, urn rato, assustado, saiu correndo e chegou a rocar a saia de Joana. Desceram as escadas. A luz do candeeiro se projetava verticalmente, envolvendo moveis, paredes, a poeira adormecida nos quadros suspensos das paredes. Diminuira a intensidade do vento. Coisa estranha: já ndo se ouvia agora nenhum ruido. A sala parecia major no seu ermo. As cadeiras, a enorme mesa de jacaranda, eram como pessoas mortas, em rigidez cadaverica, no esquecimento em que se encontravam. As mulheres continuavam avancando; foram pelo corredor que ia ter a cozinha, examinaram a despensa, o quarto dos arreios, a camarinha. Saito, recomecaram os gemidos. Entreolharam-se, ambas. Era impossivel afirmar de onde vinham, assim de repente: do teto, do soalho, das proprias paredes? Pareciam partir da cozinha, da despensa e da camarinha. De um momento para outro silenciaram de novo.

Magdala deixou Joana na sala, abriu a porta, atravessou o alpendre, dirigindo-se ao terreiro. Arrefecera de todo o vento, e a lua brilhava sob o ar frio. Cheirava o mato noturno nos campos adormecidos. E o branco sujo das paredes da capela, la adiante, era como urn fantasma que velasse a soliddo do vale. Al, entretanto, nenhum ruido chegava aos ouvidos da velha. Escutava somente o cricri dos grilos e, de quando em vez, o uivo do cachorro.

Entdo, esquecida de tudo, pos-se a contemplar a casa. Curioso: era como sea tivesse esquecido durante anos e, de repente, a reencontrasse, diferente, ndo conseguindo nela vislumbrar a razdo do amor antigo.

Mas, por que? Ali nascera e sempre vivera; au i haviam nascido e vivido pensamentos, vozes, ruidos, gestos que sempre The pertenceram. Escutava-os ainda: pareciam tdo vivos e tdo proximos como se apenas estivessem ocultos sob as paredes, e jamais mortos. No entanto, a casa parecia ter agora uma fisionomia diferente. Envolvida pelo luar — pensou — era como urn tiamulo BRAZZIL - NOVEMBER 1996

abandonado.

IV No dia seguinte, a velha Magdala nao desceu, e recusou o alimento que a negra Joana mandou Neco levar ao quarto.

— Ndo tenho fome — disse.

Recostada na cama, diante dajanela aberta, esteve todo o dia a pensar. Houve um instante, mesmo, em que chegou a admitir a possibilidade de acabar vendendo a fazenda a Antonio Arruda. Arrependeu-se, logo, dessa fraqueza, e teve a impressdo exata de quern estivesse cometendo uma traicao.

Olhando pela janela, via os campos iluminados pelo so!, o oitdo do estabulo, urn pedaco do morro por onde subiam outrora os cafezais. Lembrou-se do pai, a cvalo, percorrendo a plantagao e dando orders aos escravos. E tdo funda foi a recordacd que, por urn momento, julgou ouvir-lhe voz.

Uma saudade grande e dolorida Ihe subiu pelo peito e morreu na garganta.

Depois dormiu e s6 desperto , ao entardecer, quando uma pancada de vento fez bater a janela do quarto.

— Cheiro de chuva — disse.

Ao cabo de uma hora, corn efeito, o aguaceiro desabou, forte, cantando no telhado.

Prolongou-se por toda a noite e o dia seguinte.

Mas agora já ndo era uma chuva grossa. Caia quase de !eve sobre a casa e o patio, transformando-se em lama, na estrada.

No alpendre, onde os passos da Magdala nao se faziam ouvir ha dois dias, o cachorro cochilava. Vez por outra, abria, penosamente, os olhos, levantava a cabeca e torn va a pousa-la sobre as patas, voltando a ma; orna.

Quando, de subito, a noite chegou, abriu os olhos novamente e fixou a cadeira vazi4. Mao aparecera ninguem para The trazer c mida.

Desanimado, retornou a mesma postuija.

Passos no terreiro vieram, final ente, desperta-lo. Ergueu-se. Ainda ind ciso, caminhou ate a escada. Parou. Estava uito escuro e ndo via nada; ouvia; a enas.

Assustado, poe-se a ladrar. Mas ndo s iu do lugar. E quando o homem subiu os degraus, aos pubs, ele recuou para a porta que dava para a sala.

— 0 de casa! — gritou o estranho.

0 cachorro comecou a latir corn mais forca. 0 homem, porem, fe-lo fugir para longe, quando sapateou o chdo e ergueu os racos num gesto de ameaca.

— Fora!

Depois: — 0 de casa!

A negra Joana apareceu na soleira da porta: — Quern esta ai?

— E de paz, dona. Queria falar om o homem da casa.

Joana examinava-o; a mdo direita segurando o candeeiro e a esquerda agarrada a porta, numa atitude de expectativa. 0 vi itante tinha as calcas arregacadas, as botina sujas de lama e o casaco de couro aberto no peito.

— Quero falar corn o homem da c sa — insistiu o estranho.

Joana pediu-lhe que esperasse. Fe hou a

porta, e os passos se perderam la dentro. 0 patamar ficou novamente no escuro. Parara de chover e trilavam as grilos, quando urn gemido seco e prolongado, vindo do teto, obrigou o homem a erguer a cabeca. Pensou: "Estas vigas est-do podres."

Ouviu o ruido da taramela.

Abriu-se a porta e Joana botou a cabeca para fora: — Sinha esta doente e ndo pode aparecer.

E depois de uma pausa: — Que esta querendo vosmece?

0 estranho ia comecar a falar, quando, por tras dos ombros da preta, viu surgir a cabeca da velha.

Joana afastou-se, e Magdala avancou alguns passos d frente.

— Dona, — disse o homem — somos artistas de uma troupe ambulante. Vim na frente para The pedir agasalho por algum tempo; o carro em que a gente viajava quebrou-se e o conserto vai demorar pelo menos umas tres horas: E depois: — Somos de paz, dona. Ha duas mulheres corn a gente.

— Estao corn fome?— indagou, secamente, Magdala.

0 homem sorriu e concordou, balancando a cabeca.

Magdala disse: — Diga a eles que podem vir.

V Depois de ordenar a Joana que preparasse jantar para os forasteiros, a velha Magdala subiu para o quarto.

Sentia-se ligeiramente excitada: talvez porque a negra n5o tivesse recebido de boa vontade a incumbencia de fazer comida para urn bando de gente, aquela hora da noite; talvez porque... Bern, ela tambem estava se achando diferente corn a novidade de ter visitas para jantar em casa. Ha quantos anos ndo acontecia isso? Parou, no meio da escada, pois a respiracdo The fugia e o coracdo batia mais apressado.

"Realmente, estou alegre." Mas logo em seguida (pensou): "Por que?..."

Sorriu. Acabou de vencer as derradeiros degraus que davam para o corredor largo e mal iluminado pela chama do candeeiro de azeite de peixe. No quarto, foi diretamente ao lugar onde se achava ha tantos anos a velha arcade couro. Guardava al toda serie de objetos de uso particular: algumas joias sem muito valor, tres on quatro vestidos (que ndo usava pelo menos ha vinte anos), fitas, dois pares de sapatos, urn album corn os retratos da familia.

"Quern haveria de dizer que urn dia tornaria ainda a usar essas coisas?..."

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41 .

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— Mas, — lembrou-se num relance — onde botei a chave?

Talvez o mais acertado fosse perguntar a Joana... Nao, no perguntaria. Aborrecida como estava, a negra acabaria por desfazer a alegria em que ela, Magdala, sentia mergulhar. Comecou entao procurando na gaveta da comoda, deu em seguida uma busca na mesinha de cabeceira, chegou ate a subir no banco para olhar em cima do armario. Movimentava-se com certa sofreguidao e foi obrigada a sentar-se um pouco, pois o coracao batia cada vez mais agitado. Recuperada, porem, a calma, fez a affirm tentativa na gaveta do consolo, onde guardava os papeis da propriedade.

Felizmente, al estava a chave.

0 cheiro forte da naftalina se desprendeu da arca, quando Magdala ergueu a tampa.

Dir-se-ia que os tres melhores vestidos, de seda macia, dobrados corn capricho, estavam au i sua espera ha muitos e muitos anos.

Estendeu-os sobre a cama e ficou a mird-los com tamanha ternura, que Ihe vieram lagrimas aos olhos. Sim, era born alisa-los, deixar que a ponta dos dedos corresse sobre o tecido macio. Pelo qual se decidiria?

Subito, notou: o de alpaca preta, corn rendas guipur (e fora o seu predileto em certas ocasilies!) estava ligeiramente poido na dobra da manga esquerda e havia uma pequena mancha na altura do peitilho. Ergueu-o na altura da luz para melhor examina-lo. Mais convincente do que esses pequenos defeitos foi o mundo de recordacOes que, de repente, baixou sobre ela: sim, as velhas e boas coisas de outros tempos, que o vestido evocava.

Na tarefa de vestir-se consumia uma meia hora e, durante todo o tempo, Magdala nao poucas vezes se viu obrigada a fazer uma pausa, numa procura desesperada de ar.

Houve um momento mesmo em que precisou abrir a janela. Olhando a noite la fora, escura, varrida pela chuva, uma noite triste como as inumeras outras que desceram sobre ela e a solidao em que vivia, teve sua primeira davida: sim, Deus do ceu, qual o sentido de tudo isso? da sua alegria? desse vestido?...

Depois foi o penteado. 0 espelho estava embacado, a chama do candeeiro nao ajudava muito — e suas maos tremiam tanto, tanto, santo Deus! A caixinha de grampos estava diante dos olhos, enquanto ela tateava a gaveta a procura. Inatil foi tambem a busca do perfume — um vidrinho cuja essencia talvez, 32

mesmo, já se tivesse evaporado. Pronta, finalmente, examinou-se longamente no espelho, sorriu, e tornou a pensar: — "Por que?..."

Nao desceu em seguida. De olhos cerrados, envolvida pelo silencio do quarto, foi-!he impossivel repelir os pensamentos que a subjugaram, de sabito. Na verdade (pensou) desejaria repeli-los? Deixou-se, entao, envolver por eles, como quem se entrega a uma cancao antiga, muitas vezes ouvida e cada vez mais amada. Vozes subiam da sala.

Tambem sons de musica. Risos conhecidos.

Tudo isto perfeitamente identificavel. Eram animais resfolegando no patio, batidas de portas de carruagens, ordens dadas aos gritos.

Estava atrasada, Deus do ceu, e no entanto nao tinha pressa de descer. Curioso! esperara tanto, tantos meses se passaram desde que sonhara corn essa festa, contando os dias que ainda faltavam, fazendo-a lembrada de todos em casa. E o vestido? Perdera a conta dos modelos escolhidos e substituidos; perdera nao poucas noites de sono... E, agora, chegado o instante de tomar uma decisao, pois a data já estava to prioxima, vira-se obrigada a nao protelar por mais urn minuto sequer. Ja pronta, linda como estava, com os longos e perfumados cabelos, a pele jovem e macia, as pessoas esperando la embaixo no salao, a orquestra, as amigas, os parentes, os convidados que vieram das fazendas vizinhas — deixava-se estar au, apatica, quase desesperada de ansiedade, mas tambem de temor...

Escuta passos que se aproximam no tapete do quarto. Uma mao cai-!he sobre o ombro.

Seu pai que a vem buscar? Quem?...

Abre os olhos e ve Joana: — Nao vai descer, sinha?

Magdala fica olhando a negra e nAo parece compreender-Ihe a presenca.

— Como? — indaga.

A negra da urn muxoxo. Magdala desperta, ergue-se e avanca para o corredor.

VI Eram duas mulheres e quatro homens, sem contar com o negro condutor da carroca, que ficara na estrada consertando o veiculo.

Magdala estendeu a mao a cada urn, retirando-se depois para ver se estava tudo em ordem. Nao estava. A mesa parecia posta para urn piquenique e no para um jantar de cerimonia, como determinara. Teve impeto de repreender asperamente Joana. Conteve se, para evitar novos aborrecimentos. E ela mesma apanhou os cristais no aparador, mudou a colocacao dos talheres e dos guardanapos. Dirigiu-se, depois, a cozinha, onde sabia estar guardada, num armario, a altima garrafa de vinho existente na casa, urn Porto corn mais de trinta anos. Joana mexia a cacarola, mas nao deixou de lancar uma olhadela de censura a patroa. Nao, nao compreendia a razao de tamanha estrepolia.

Teria sinha enlouquecido ? E o espanto foi ainda major quando viu os trajes da velha.

Pas se a resmungar. Magdala percebeu tudo, mas estava decidida a nao se deixar envolver pela ma vontade da negra. Ajustaria contas no

dia seguinte. Porque, apesar dos pesares, Joana continuava sendo uma escrava, e como escrava deveria ser tratada. Logo que fora abolido o cativeiro, partira da fazenda. Mas acabara voltando. E, se tinha voltado, era porque desejava continuar no antigo modo de vida.

— Voce podia cortar algumas fibres la fora.

Joana voltou-se, surpreendida: — Onde you encontrar flores neste escuro e debaixo da chuva, sinha?

A velha já estava botando a galinha na terrina, esquecida do pedido que fizera. A negra deu outro muxoxo e nao teve mais davida: a dona enlouquecera.

Magdala voltava a sala: — Vamos logo, pelo amor de Deus, criatura — disse. — Aquela gente esta morrendo de fome.

Agora, sim, — pensou depois — a mesa estava com urn ar decente: a luz suave dos casticais se espalhava sobre a toalha branca, os cristais e os talheres. Ficou a admira-la, feliz.

Sim, porque estava realmente feliz.

E quando Joana surgiu trazendo as terrinas fumegantes, Magdala dela se aproximou numa atitude de reconciliacao: — Sinto-me tao alegre, Joana.

A outra nada responde.u.

Tudo pronto, afinal, foi ela chamar os visitantes, que, dai a pouco, sentavam se em torno da ampla mesa de jacaranda. E somente quando Magdala assumiu o seu lugar a cabeceira, os artistas The notaram o traje de gala. Ninguem achou ridiculo. Admiraram, pelo contrario, o porte da velha senhora, a elegancia corn que dirigia a refeicao, a simpatia que se irradiava do seu rosto e de seus gestos. Ninguem teve mesmo coragem de falar antes que ela o fizesse. Houve, assim, um silencio longo, profundo, so interrompido quando urn som estranho, porem breve, desceu do teto quase como urn gemido. 0 homem ao lado de Magdala ergueu a cabeca e olhou para cima: "Estas vigas..."

VII — Corn sua licenca, dona — disse o diretor da troupe.

E foi apanhar o acordeao.

Estavam todos na sala de visitas, paraonde foram levados os casticais.

Magdala sentia-se envolvida por urn agradavel torpor, em consequencia do copo de vinho que havia bebido.

Escutava, de uma das mulheres, a narrativa das aventuras da troupe ambulante. Ha mais de tres meses — contava a loura — que se encontravam fora do Rio, visitando BRAZZIL - NOVEMBER 1996

cidades do interior de Minas e de Sao Paulo. Regressavam agora ao ponto de partida. Era uma vida de sacrificios. Fora urn fracasso a temporada e voltavam mais pobres do que quando partiram.

Acrescentou sua decisao firme de abandonar aquela existencia errante e boemia, ja nao era crianca, precisava pensar no dia de amanha.

Foi interrompida pelas primeiras notas do acordeao. Uma polca. 0 homem cantava: Tive um amor na vida, Urn velho amor la no Sul. E quando a tarde vem, Leontina...

Todos entraram alegremente ern coro. Magdala havia cerrado os olhos. 0 vento frio da noite atravessava as janelas abertas. E quando a tardevem, Leontina... Magdala abre os olhos: bem a sua frente, sobre o consolo de jacaranda, parece contempla-la a imagem do alio Felipe.

Nao o conhecera, é verdade. Mas pela descricao que dele costumava fazer o pai, facilmente Ihe reconstituia os tracos na memoria. Via-o, assim, como nos velhos tempos, enchendo a fazenda de escravos, multiplicando as terras, arrancando riquezas do solo. Em poucos anos transformara os poucos alqueires de sua sesmaria naquele mundo de serras, de vales e planicies que as plantacOes de cafe e de cana-deac8car dominavam ern dezenas e dezenas de leguas. A vasta casagrande, quadrada, simples, fora erguida por ele. Tambem a capela.

A musica silenciara.

— Que deseja ouvir agora? — indagou o homem do acordeao.

Magdala pensou urn pouco e pediu o Doce Amelia. Era uma cantiga triste e Magdala a dancara muitas vezes. Tambein costumava canta-la ao piano, acompanhada pela irma Tereza.

• Oh! doce Amelia Quem pode ver te. . .

Vieram-Ihe lagrimas aos olhos.

Sentia-se ainda tonta, e nao sabia se era do vinho ou de emocao. Mentalmente, acompanhava a melodia, recordando os versos: a doce Amelia fora obrigada a casar-se corn urn velho conde, porque assim Ihe ordenara o pai. Mas o grande amor de sua vida era o mancebo que todas as tardes passava a frente do sobrado e suspirava por Ihe tocar nos longos cabelos negros. Urn dia, por intermeBRAZZIL - NOVEMBER 1996

dio da mucama de confianca, conseguem ajustar a fuga para dai a tres noites. pai descobre o piano e manda assassinar o joVem. Amelia suicida-se, apertando entre os dedos o lengo de renda que o amado Ihe rem tera pouco antes de atingi-lo o punhal assas ino.

Oh! doce Amelia Quern pode ver-te...

As lagrimas escorrem pelas faces de Magdala. No sabe se chora pela infeliz Amelia, ou por ela mesma — pelas suas lembrancas. Soluca. Todo o seu corpo .estremece como uma folha sacudida pelo vento.

0 homem Ora de tocar: — A senhora nao esta se sentindo bern?— indaga.

Magdala faz um esforco para sorrir.

— Continue, por favor. E tab bonito.

Novamente o retrato do avo Feli e a contempla-la: esta sentado numa cadei a de bracos e tern as maos apoiadas no cajado. Sob o cabelo cortado a escovinha e a barba cer ada, sobressaem os olhos escuros , penetrant s, a fita-la do fundo do tempo. 0 mesmo r da familia — pensa Magdala: olhos que ta beim foram do seu pai, do seu irmao Abilio, dela mesma; formato de rosto semelhante as de Maria e ao de Tereza. Onde estavam t dos, onde estavam? Deus, nao somente as t rras haviam sido duramente marcadas selas intemperies; tambem os seus o foram, sua gente, o seu sangue. E estavam todos mo tos, como a terra.

Lembrou-se entao de Antonio Ar uda.

Via-o saltando do carro e se aproximan o do alpendre. Que importava o dinheiro ele?

"Ca°, cao miseravel!"— murmurou. Msjá era impossivel afastar a verdade q e a lembranca de Antonio Arruda vinha su erir.

Sim, o mato, que Id fora invadira toda a a tiga extensao de terreno coberto pelos cafezi is e canaviais, acabaria tambem avancando sobre a casa-grande, para subjuga-la. Nas noit s de pesadelo, acordava sentindo cipOs que se Ihe enrodilhavam ao pescoco. Eram c mo centenas de maos de dedos longos e finos procurando estranguld-la. Gritava, pos uida de terror. Despertando, sentava-se na ca na e nao conseguia tornar a adormecer. 0 tras vezes, aproximava-se da janela e olha a la fora comb para se convencer de que inda estava em seguranca; tudo escuro nos ampos, tudo escuro e triste, como sempre. Mas — sabia — o mato ruim continuava all r uma ameaca permanente, crescia dia a dia, avancava para os degraus do alpendre, inexoravelmente.

Magdala olhou em volta: o homer' do acordeao continuava tocando e os outros cantando. Indagou, de repente: "Por que estao aqui? que significa a presenca deles esta sala?" Sente-se cansada. DOi-lhe a ca eca.

Passado o efeito do vinho, o organ smo comeca a reagir. "Por que estao aqui . Por que?..." — volta a interrogar a si mesma, num crescente espanto. Ergue-se de repen e. A

chama das velas diminui cada vez mais. Apenas muito vagamente consegue enxergar os homens e as mulheres. Parecem nao ter forma definida, sac) como fantasmas. Ao dar acordo de si, estava quase gritando, no meio da sala: — Deixem-me, deixem-me!

Vao-se embora, vao...

Virou-se, rapidamente, e abandonou a sala.

VIII Os artistas entreolharam-se, sem compreender. 0 homem do acordeao aproximou-se da janela. Parata de chover e a lua cheia comecava a subir no ceu, iluminando os campos adormecidos, a copa das arvores, a capela la no alto da colina. 0 mato noturno cheirava. E os grilos assumiam o comando da noite.

—Bern, — disse ele— podemos partir.

Foi quando tornou a ouvir aquele estranho gemido que vinha do teto.

Olhou para cima: — Estas vigas estao podres.

A mulher loura disse, por sua vez: — Diabo de velha esquisita, hein, gente?

Safram para o patio. A carroca, ja consertada, fora trazida para au.

Um a urn, os artistas tomaram seus lugares sob o toldo de lona.

— Tudo pronto?

Urn grito, o estalar do chicote, e a carroca comecou a se mover.

Deixou o patio e alcancou a estrada na rampa. Era uma rampa em curva e tao extensa que, Id adiante, a uns trezentos metros da fazenda, nao perdia de vista a casa-grande, a capela, a senzala iluminadas pelo luar. Alguem p8s-se a assobiar. 0 homem do acordeao retirou o instrumento da caixa e executou Leontina.

Tive urn amor na vida, Um velho amor la no Sul. E quando a tarde vem, Leontina...

Entao, ouviram o estrondo. Era como se subitamente a terra se tivesse aberto sob as rodas do carro e os cascos dos animais. Voltaram-se todos para o caminho ja percorrido: silencio, agora; urn silencio denso, profundo, quase palpavel. Mas a lua cheia velava os escombros.

Originally published as "A Velha Senhora Magdala" in Maravilhas do Conto

Moderno Brasileiro, Editora Cultrix, SAo Paulo.

33

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TRAVEL BRAZZIL - NOVEMBER 1996

There's more to Rio than beaches. Don't miss exploring some of the city's museums, colonial buildings. churches (of course) and traditional meeting places — restaurants, bars. shops and street corners. The center of Rio. now a pot pourri of the new and old, still has character and life. Here's our suggested walking tour.

Take a bus or the metro to Cinelandia and find the main square along Avenida Rio Branco: called Praca Floriano. it's the heart of Rio today. Towards the bay is the Praca Mahatma Gandhi. The monument was a gift from India in 1964. Behind the praca and across the road, the large airplane hangar is the Museu de Arte Moderna.

Naga Florian° comes to life at lunch time and after work when the outdoor cafes are filled with beer drinkers, samba musicians and political debate. The square is Rio's political marketplace. There's daily speechmaking. literature sales and street theater. Most city marches and rallies culminate here on the steps of the old Camara Municipal.

Across Avenida Rio Branco is the Biblioteca Nacional.

Built in 1910 in the neoclassic style, it's open to visitors and usually has an exhibition. The most impressive building on the square is the Teatro Municipal. home of Rio's opera. orchestra and gargoyles. The theater w as built in 1905 and revised in 1934 under the influence of the Paris Opera. The front doors are rarely open. but you can visit the ostentatious Assyrian Room Restaurant & Bar downstairs (entrance on Avenida Riol3ranco).

Built in the '30s. it's completely covered in tiles, with beautiful mosaics. In Avenida Rio Branco you'll also find the Museu Nacional de Belas Artes, housing some of Brazil's best paintings.

Now do an about-face and head back to the other side of the •Teatro Municipal and walk do w n the pedestrian-only Avenida 13 de Maio (on your left are some of Rio's best suco bars). Cross a street and you're in the Largo da Carioca. III') on the hill is the recently restored Convento de Santo Antonio. The original church here was started in 1608. making it Rio's oldest. The

BRAZZIL - NOVEMBER 1996

This is the second in a series of articles that we will be publishing in the coming months on Rio de Janeiro. Downtown Rio isn't the sophisticated place it used to be, but it still has a lot of charm and attractions for those willing to stroll through it main streets and monuments.

PART II

35

church's Santo Antonio is an object of great devotion to many.

Cariocas in search of husbands. The church's sacristy, whichdates from 1745, has some beautiful jacaranda-wpod car and Portuguese blue tiles.

Gazing at the skyline from the convent, you'll noti Rubix-cube-like Petrobris building. Behind it is the modern Catedral Metropolitana (the inside is cavernOus, huge, stained-glass windows). If you have time for trajde consider heading over to the nearby bonde (trim) thatg to Santa Teresa.

Next find the shops along 19th-century Rua daCarioca. The old wine and cheese shop has some of Brazil's best cheese from the Canastra mountains in Minas Gerais.

They also have bargains in Portuguese and Spanh wines; Two shops sell fine Brazilian made instruments, inehiding all the Carnaval rhythm-makers, which make great gifis. There are several good jewelry stores off Rua da Carioca, on Rua Ramalho °alga°.

Whenever I'm near Rua da Carioca 39 I stop at the Bar Luis for a draft beer and lunch or snack. Rio's longest running restaurant, it was opened in 1887 and named Bar Adoittuidi WW II. For decades, many of Rio's intellectuals hayOt the fat while eating Rio's best German food here.

At the end of the block you'll pass the Cinema iris, whicii, used to be Rio's most elegant theater, and emerge into the hustle of Praca Tiradentes. It's easy to see that this wai once a fabulous part of the city. On opposite sides of the square are the Teatro JoAo Caetano and the Teatro Carlos Gomez, which show plays and dance performances. The narrow streets in this part of town house many old, mostly dilapidated, small buildings. It's worth exploring along Rua Buenos Aires as far as Campo de Santana and then resuming along Rua da Alfandega. Campo de Santana is a pleasant park, once the scene — re-enacted in every Brazilian classroom — of Emperor Dom Pedro I, King of Portugal, proclaiming Brazil's independence from Portugal.

Back near Avenida Rio Branco, at Rua Goncalves Dias 30, hit the Confeitaria Colombo for coffee and turn-of-the-century Vienna. Offering succor to shopping-weary matrons since 1894, the Colombo is best for coffee (very strong) and desserts.

From here, cross Avenida Rio Branco, go dowif.Rua da Assembleia, stop at Riotur and TurisRio if you want tourist information, then continue on to Praca 15 de Novembro. In the square is the Pyramid Fountain, built in 1789, and a crafts market. Facing the bay, on your right is the Palacio Imperial, which was the royal palace and the seat of governmeat. With independence it was ingloriously relegated to the Department of Telegraphs but has recently been restored.

On the opposite side of the square is the historic Arco de Teles, running between two buildings. Walking through the arch you'll see, immediately on your left, the elegant and very British English Bar — a good place for a quiet, expensive lunch or drink. The stores along the stone streets here have a waterfront character. There are several seafood restaurants, fishing supply stores and a couple of simple colonial churches. It's a colorful area.

Back at Praca 15 de Novembro, take the overpass to the waterfront, where ferries leave to Niteroi and Ilha do Paqueti.

The ferry to Niter6i takes only 15 minutes and you never have to wait long. Consider crossing the bay and walking around central Niteroi if you have some time (the feel is different from Rio — much more like the rest of Brazil). Even if you return immediately the trip is worth it just for the view.

When you're facing the bay, the Alba Mar restaurant is a few hundred meters to your right. It's in a green gazebo overlooking the bay. The food is good and the atmosphere just right. On Saturdays the building is surrounded by the tents of the Feira de Antiguidades, a strange and fun hodgepodge of antiques, clothes, foods and other odds-and-ends.

Beaches The beach, a ritual and way of life for the Carioca, is Rio's common denominator. People of all walks of life, in all shapes and sizes congregate on the sand. To the casual observer one stretch of sand is the same as any other. Not. so. The beach is complex. Different times bring different people. Different places attract different crowds. Before and after work, exercise is the name of the game. Tanning is heaviest before 2 pm. On prime beach days, the fashionable pass the morning out at Pepino or Barra beaches and the afternoon back at their spot in Ipanema.

Every 20 meters of coastline is populated by a different group of regulars. For example, Arpoador has more surfers and people from the zona norte. In front of the luxury hotels you'll always find tourists and a security force watching over them. Wherever you do go, don't take valuables.

Swimming isn't recommended at any of the bay beaches because of the sewage and industrial waste that pollutes the water.

Flamengo— This popular beach is a thin strip of sand on the bay, with a great view. The park and beach were a landfi.11 project. Within an easy walk of most of the budget hotels in Catete/Flamengo, there's a different class of Carioca here than on the luxurious beaches to the south, and it's fun to watch them play.

Botafogo — This small beach is on a calm bay inlet looking out at Pio de Acucar. The Rio Yacht Club and Bateau Mouche are next door.

Copacabana/Leme — The world's most famous beach runs 4/2 km in front of one of the world's most densely populated residential areas. From the scalloped beach you can see the granite slabs that surround the entrance to the bay — a magnificent meeting of land and sea. The last km to the east, from Avenida Princesa Isabel to the Leme hill, is called Praia do Leme.

When you go to Copacabana, which you must, do as the locals do: take only the essentials with you. This is the best place in Brazil to get robbed. It's also not a good idea to walk down by the water at night.

There's always something happening on the beach during the day and on the sidewalks at night: drinking, singing, eating and all kinds of people checking out the scene; tourists watching Brazilians, Brazilians watching tourists; the poor, from nearby favelas, eyeing the rich, the rich avoiding the poor; prostitutes looking for tricks, johns looking for treats.

Arpoador — This small beach is wedged between Copacabana and Ipanema. There's good surfing here, even at night when the beach is lit, and a giant rock that juts out into the ocean with a great view.

Ipanema/Leblon — These two beaches are really one, although the beach narrows on the Leblon side, BFtAZZIL - NOVEMBER 1996

separated by the canal at Jardim de Alah. Ipanema, like the suburb, is Rio's richest and most chic beach. There isn't quite the frenzy of Copacabana, and the beach is a bit safer and cleaner. There are only two sidewalk cafes facing the ocean in Ipanema— Barril 1800 and Albericos — and one in Leblon — Canecao.

Ipanema is an Indian word for Dangerous, Bad Waters. The waves can get big and the undertow is often strong. Be careful, and swim only where the locals are swimming.

Different parts of the beach attract different crowds.

Posto nine is Garota de Ipanema beach, right off Rua V inicius de Morais. Today it's also known as the Cemiterio dos Elefantes because of the old leftists, hippies and artists who hang out there. The Farme de Armoedo at Rua de Armoedo, also called Land of Marlboro, is the gay beach. In front of the Caesar Park Hotel there's a very young crowd.

Vidigal — Under the Sheraton Hotel and the Morro Dois Irmaos, this beach is a mix of the hotel and favela dwellers who were pushed further up the hill to make way for the Sheraton.

Pepino/Sao Conrado —After the Sheraton there is no beach along the coast for a few km until Pepino beach in Sao Conrado. You can also take Avenida Niemeyer to the tunnel leading to Barra da Tijuca.

Pepino is a beautiful beach, less crowded than Ipanema. Currently Rio's most 'in' beach, it's popular with the surfing set and many in their 20s. Along the beach are two big resort hotels, the Hotel Inter-Continental and Hotel Nacional. Behind them, nestled into the hillside, is Brazil's biggest favela, Rocinha.

Bus No 546, 547 or 557 goes to Pepino. Don't take valuables, as these buses are frequent targets of robbers.

There is also an executive bus (No 2016 'Sao Conrado') that goes along Copacabana and Ipanema beaches to Pepino.

Praia Barra da Tijuca — The next beach out is Barra. It's 12 km long, with clean, green water. The first few km are filled with bars and seafood restaurants (Peixe Frit° is recommended). Further out there are only barracas on the beach. It's calm on weekdays, and crazy on hot summer weekends.

Barra's population has doubled in the last 10 years and it's currently the most fashionable place to live in Rio. There are more than a hundred closed condominiums, and the area is now known as the 'CalifOrnia Carioca'.

Further Out—The beaches further south — Prainha, Grumari, Marambaia — are very beautiful and worth exploring but not easily accessible by public transport.

They only get busy on weekends, when bus lines swell.

All have barracas. Prainha, the next beach past Barra, is one of the best surfing beaches in Rio. Grumari is arguably the prettiest beach near the city. There is a restaurant on the beach where the crabs are good.

To reach these beaches by car you can turn off the Rio to Santos road, BR-101, at Barra and follow the beach road. If it's a busy weekend, wait a few km and BRAZZIL - NOVEMBER 1996

turn left at Estrada Bemvindo Novais, at Recreio dos Bandeirantes or Estrada VereOdor.

Maracana This stadiu , Brazil's temple of soccer and a colossus among coliseu s, easily accommodates over 100,000 people and on occasion -- the World Cup Game of 1950 or Pele's last game — has squ ezed in close to 200,000 crazed fans (although it's difficult to see how). If you like sports, if you want to understand Braz I, or if you just want an intense, quasi-psychedelic experienc then by all means go see a game of, futebol, preferably a cha pionship game or one between rivals Flamengo (Fla and Fluminense (Flu).

Brazilian soccer is the most imaginative and exciting in the world. Complementing the action on the ield, the stands are filled with fanatical fans wh cheer their team on in all sorts of ways: cha ting, singing and shouting; waving banners and Istreamers with team colours; pounding huge samba drums; exploding firecrackers, Roman candles and smoke bombs (in the team colours); launching incendiary balloons; throwing toilet paper, beer and even dead chickens — possibly Ma umba inspired. The scene, in short, is sheer lunacy.

Obviously, y u have to be very careful if you go to Maracana.

Don't wear a w tch or jewelry. Don't bring more money than you need for tic ets, transport and refreshments. The big question is how to g t to and from the game safely.

The big ga es are held on Sundays at 5 pm year-round.

Tourist buses le e from major hotels at 2.30 pm (they often run a bit late) for 5 phi Sunday games. They cost about $22, which is a rip-off, but it's the safest and easiest way to get to the game.

They drop you off and pick you up right in front of the gate and escort you to lower-level seats. Unfortunately this is not the best perspective for watching the game, but it is the safest because of the overhead covering which protects you from descending objects.

However yoi4 get to the stadium, it's a good idea to buy these lower-level seat, called cadeira, instead of the upper-level bleachers, caIlec arquibancada. The price is $8, unless it's a championship game, when it's more.

The metro is closed on Sundays, and taking a bus or cab can be a hassle. Getting to the stadium isn't too difficult: catch a bus marked `Maracaria' (from the zona sul, No 433, 432, 464 or 455; from Centro, No 260, 238 or 239) and leave a couple of hours before game-time. Returning to your hotel by bus is often a drag. The buses Iire flooded with passengers and thieves set to work on the trapped passengers. Taking a cab is a possible alternative, but they can be hard to flag down; the best strategy is to walk away from the stadium a bit.

Surprisingly, driving a car to th staExcerpts from Bra.:il dium is pretty asy.

A Travel Survival Kit You should le ve a 2nd edition, couple of hours .efore

by Andrew Draffen, kick-off and, fo easy Deanna Swaney departure, park way and Robert Strauss. For from the stadiu . The more information call traffic isn't all th t bad Lonely Planet: (800) 275and if you arrive early 8555. Copyright 11)92 you can watch th preLonely Planet Publications. liminary games.

Used by permission.

To be continued 37

les Built with the wealth from the gold rush, Ouro Preto is an historical monument. Miles of cobblestone streets and blocks of rowhouses dip gown hills and meander around churches. The evidence of mining is everywhere. Occasionally a man seems to appear out of nowhere, ambling down the road, or a small herd of zebus meander by with a confounded look. *0 KATHLEEN DE AZEVEDO In the Serra do Espinhaco range of Minas Gerais. Brazil, a bit of gold still sleeps underneath the soil, though the dreams must be unsettling. The hills are covered with green scrub, and granite rocks pushing out of the ground look like rough knuckles. It is a rugged country, a perfect setting for the tumultuous gold rush that swept through Brazil during the late 17th and early 18th century. Today, the colonial town of Ouro Preto with its red tiled roofs sits in a high valley between the folds of the hills. The resplendent gold-plated cupolas of its many churches are like the gleam in a thief's eye.

Gold was discovered by the bandeirante Manuel de Borba Gato. The bandeirantes grew out of frontier settlements in sao Paulo and were a mixture of Tupi Indian and European blood. Many were outlaws, and made good money searching the backwoods for Indian slaves In 1690, Gato, himself an exiled murderer, found gold in the Rio das Velhas, a discovery which brought fortune seekers from all over the world.

Ouro Preto. built with the wealth produced from this gold rush, is today an historical monument. Miles of cobblestone streets and blocks of rowhouses dip down hills and meander around churches. The smell of Pao de Queijoâ&#x20AC;&#x201D;mineiro cheese bread made with more cheese than flourâ&#x20AC;&#x201D; wafts in the early morning air.

Spectacular churches are the main attraction. The church walls inside are a light blue and trimmed with gold-painted grape vines. Thick ornate candlesticks flank tabernacles of silver and gold. On the walls and ceilings stretch painted murals of biblical scenes. Some churches have religious statues carved by the great Aleijadinho, Brazil's most formidable sculptor. In colonial times, the churches functioned as a bank where newfound riches were woven into religious art, thereby keeping the wealth in Brazil, and away from the clutches of the distant Portuguese monarchy and their royal coffers. N.W.44 - 044 41.1 The Portuguese monarch 'Dem Joao V issued a 20% tax on all mined gold. The Brazilian colonists resisted. Smuggling was rampant. Resistance to the royal tax peaked in 1788, with formation of the revolutionary Inconfldencia Mineira.

The Inconfidencia was made up of intellectuals and lead by Tiradentes, or "tooth puller", so named because he was a dentist. The Inconfidencia, angered by the crown's "taxation without representation", and inspired by the French and American Revolution, attempted to form their own independent republic. They drew up the Declaracao which resembles our Bill of Rights, including the freedoms of speech and religion. The Inconfidencia wanted to inspire the people of Ouro Preto to rebellion; but the plot was uncovered, the revolutionaries imprisoned, and Tiradentes executed.

The Museu da Inconfidencia on the main square, the Praca Tiradentes. ip an homage to this rebellion. Housed in the old prefeitura, or city hall, the museum exhibits include Tiradentesi barbaric-looking dental tools and memorial to the rebels`'ia room of granite slabs fashioned like tombstones.

38

BRAZZIL - NOVEMBER 1996

In a glass case holds a proud American import—a small black book containing the US Bill of Rights and Constitution used to draw up the Declaracao.

The Casa dos Contos, another museum, provides a look into official activities of the time. The two-story building with rooms that face an open air walkway, had many functions, first as the residence for royal tax collector and then, during the Inconfidencia, a prison. Later, in 1820, it became ,a gold foundry and treasury. The museum reflects this span of history, with documents, coin collections, a dungeon of poet and Inconfidencia rebel Manuel da Costa, and a copy of a poem he wrote expressing his longing for a free Brazil.

History seeps into the performing arts at Ouro Preto. In July it's the Festival de Inverno (Winter Festival — remember, it is winter in the Southern Hemisphere). Each night at or near the Praca Tiradentes are many events, most of them free, or inexpensive. The main presentation Os Dois Cavaleiros de Verona (Shakespeare's Two Gentleman of Verona) was performed in the Teatro Municipal, the oldest theater in Brazil.

The production, had a rag-tag feel of an itinerant theater company shuffling from boomtown to boomtown. The play started as a street procession with a man in a dog costume, a performer on stilts deftly dodging the pitfalls of cobblestone, and a small band of Elizabethan musicians playing the recorder, violin, and drum but with a samba beat. The rest of the performance took place in the Teatro Municipal, with its three tiers of horseshoe-shaped red and gold balconies.

The evidence of mining is everywhere, even on the outskirts, and on the loneliest roads. A red clay back road runs from BR040 (the road from Belo Horizonte to Rio) to Ouro Preto. The road winds up the side of a grassy mountain, then opens up to a valley of green craggy hills and wide sloping saddles.

Occasionally a man seems to appear out of nowhere, ambling down the road, or a small herd of zebus meander by with a confounded look. As beautiful and wild as this lonely land is, the mountains are scarred with grey gouges from old strip mining, and smokestacks of modern ore processing plants peer through the trees.

The Minas de Passagem outside of town provides a look at a real mine, which used to produce gold, copper, silver and iron. Visitors descend into the mine on a small cart resembling a giant skateboard on tracks. Deep underground, the cart stops at the main tunnel lit by a row of light bulbs. A labyrinth of side passageways continue off in darkness.

The ground is littered with black rocks, which housed the gold ore. Ouro Preto, which BRAZZIL -NOVEMBER 1996

translates as "black gold", got its name from those rocks. A short walkway through the main tunnel passes by an altar to Santa Barbara, patroness of miners. At the end of the tunnel lies a pond of clear cool water.

On the surface again is a preen gorge bridged by an abandoned sluicebox. I went over to a sma trough of sand and water, and tried my hand at panning for gold. Taki g the gold pan and swirling off the top layers of dirt trying to find the small bits of gold dust at the bottom is strenuous and allusive. The righ grains of dirt can turn barren mountains into towns rich with gold and series of triumph and greed. Ouro Preto, which has sprung from those grins, is no exception.

Accommodations: There ar hotels in nearby Belo Horizonte and in Ouro Preto. Prices and status of businesses fluctuate, but for the most current tourist information, pur hase the guidebook Quatro Rodas which sells for about $20 at magazine s ands in Brazil's big cities. Quatro Rodas includes a good road map.

Transportation: By car: 0 ro Preto is a walking city but there is parking at the Praca Tiradentes if you get there early. Belo Horizonte is the nearest big city with better priced hotels and car rentals. To drive from Belo Horizonte to A master navigator of sound, Sergio Ouro Preto, take Mendes takes us on a musical voyage, the BR-040 south combining the class of smooth jazz with for about 32 kilothe sophistication of Brazilian music and meters, exit at the rhythmic drive of global fusion.

MG-262 and continue 65 kilometers to Ouro Preto.

The roads are paved and wellmarked and the drive takes about 1-1/2 hours.

To go on the red clay road as mentioned in the article, continue BR-040 until just past Congonhas and follow the signs to Ouro Branco.

This much is paved.

From Ouro Branco to Ouro Preto, the road is unfeaturing international guests: paved.

cruise

season

Emmanuel, Gilberto Gil,

To get there by bus: Buses leave every hour from the Belo Horizonte bus station starting from 6 a.m. to 8:15 p.m..

The trip takes about two hours.

Caetano Veloso, "...the epitome of tasteful, sophisticated BILLBOARD MAGAZINE Brazilian pop:' F visit us at: www.verveinteractive.com

• 39

Mas Que Nada °aria raio Oba,Oba Obi Mas que nada Sai da minha fren Eu quero passar Pois o samba esti animado' 0 que eu quero sambar Este samba Que é misto de maracatu E samba de preto velho Samba de preto tu Mas que nada Um samba como esse tao legal Voce nal) vai querer t Quo on enegne no final

Pals Tropical Moro Num pals tropical Abencoado por Deus E bonito por natureza (mas que beleza) Em fevereiro (em fevereiro) Tern carnaval (tern carnaval) Eu tenho um fusca e um violao Sou flamengo, tenho uma nega chamada Teresa

No Way Oaria raio Oba Obi Obi No way Get out of my way I want to move on Because the samba is lively I want is to samba This samba That's a mix of maracatu It's old black man's samba Black man's samba you No way A samba as groovy as this You'll not want That I get to the end

Tropical Country I live In a trOpical country Blessed by God And beautiful by nature (oh what a beauty) In February (in February) There's Carnaval (there's Carnaval) I've got a VW bug and a guitar I'm a Flamengo fan, I've got a black girl called

I'maboyoaverage Sou um menino de mentalidade Intelligencehyeal But even soI happy an so) medialia (pots 6) towe Mas assim mesmo feliz e(:i vey Idon' anyon;appr nythlngto Because happy da vida Pois eu nao devo nada a yeah) tiinguem aec se I'm ithmysef (pais é) Pois eu sou feliz, muito feliz -comigo mesmo ,.

ImaY not beabandleader Eu posso n"ao ser urn (oh yeah) band-leader But anyway, home, ois 6) Mas assim mesmo la em buddies easa, todos meus amigos nie That's what means beint esPeetmeeh,eah) Meus camaradinhas me respeitam (pois 6) That's the power of Esta 6 a razdo da sim- something extra and the patia ,, joy Do poder doalgo mais e da alegria I live In a tropical coun try MO num pa tropi Blessed by God Abencod por De And beautiful by nature E boni por nature (mas (but oh whata beauty) qui bele) Em fevere (em fevere) In February (in February) Tern curia (tern carnal) There's Carnaval (there's Carnaval) .

Eu tenho urn fu e um I've got a VW bug and a vio guitar Sou Flame, te uma nd I'maFlamengo fan, I've chama Tere got a black girl Sou Flame, te uma ne called Teresa chama Tete

allt yfrieais

40

"I am an urban suburban poet and my beat stays the same," says Jorge Ben Jor one of the most enduring Brazilian pop musicians. His old compositions have resisted the inclemency of time and he himself has renewed constantly and successfully his repertoire.

LIANA ALAGEMOVITS

"Mas Que Nada," (Why, No Way), one of the biggest hits ever in Brazilian pop music, was the first single release of an until then unknown singer/composer called Jorge Duilio Ben Zabella Lima de Menezes or Jorge Ben for short. That was just the beginning of a career still going strong that would span three decades of successes and all the musical genres from from rock to bossa samba to nova, passing through tropicalismo, jazz and reggae. He has never limited himself to a particular style of music and has never looked down at any musical style.

"Mas Que Nada" was recorded about 200 times around the world and according to his author it was just to pay homage to happiness. It was precisely this light spirit that made Jorge Ben an exceptional musician. In 1993 he changed his name to Jorge Ben Jor but never stopped his search for new experiences that could enrich the message of his songs. Four years earlier he had adopted the Jorge Benjor moniker to avoid being confused with George Benson, who once had some money deposited is his checking account for payment of a Jorge Ben's European tour. Despite all the rumors Ben Jor denies that the name changes have anything to do with numerology.

Jorge was born in a slum of Madureira, a working class district in Rio, and was raised in a section of the north side of the city. All of this has contributed to his long time passion for the samba school Salgueiro, which is in Tijuca, a neighborhood in the north zone of Rio. More recently, however, he has also been close to Mangueira, another samba school.

"I'm a musical reporter," he says.

"To write my songs I read a lot of newspapers including those from Italy, England and France." His lyrics are chock-full of popular expressions and terms used in the working class-suburbs of Rio. He has begun his singing career at the famous "Beco das Garrafas" (Bottles' Cul-de-Sac), a small deadend in Copacabana where bossa nova bloomed. The name derives from the fact that the area residents annoyed with the noise would throw bottles at the young musicians who in the early sixties promoted jam sessions in the neighborhood.

Some of the stories involving Ben Jor are almost hilarious. No one would image, for example, that "Mas Que Nada" was written and recorded for the first time during his military service. The song was an homage to Rosinha, a friend who lived in Copacabana and who had the habit of using this expression all the time. For some time, young Jorge wanted at all costs to become a soccer player. He even started, as a junior, a career at Flamengo, Rio's most popular soccer BRAZZIL - NOVEMBER 1996

team. Fortunately, music was the winning choice. His lyrics would exalt, however, his life-long passion for Flamengo.

The fact that Ben Jor's parents were friends of Ataulfo Alves, one of the most important Brazilian composers of all times, helped the youngster make his mind. His father composed some Carnaval tunes, but he wanted his son to be a lawyer and his mother dreamed for him a career as a pediatrician. At 18, Ben Jor, the youngest of the household was given his first guitar and he learned the first chords by himself. By then he had already spent apart of his young life as an altar boy and singing in churches. It comes from this period his admiration for angels. In his song "Charles Anjo 45," which was censored by the military regime, the inspiration was Robin Hood.

Many came to define his music as something Black and Latin. This kind of sound could be heard, for example, in the sound track of Xica da Silva, a film directed by Caca Diegues almost twenty years ago. Ben Jor has become an internationally acclaimed musician. He had 14 records released in France, 10 in Japan, four in Germany and four in Italy. He made a song for Marilyn Monroe in the 80s entitled "Norma Jean" when he was in Los Angeles at the Paramount Record Studios. He even brought a suit — and won it — against English rock singer-songwriter Rod Stewart whom he accused of plagiarism Recently the Ben Jor surprised Brazil's new generation with songs about social awareness. In 1993, the tune "W Brazil," inspired by one of Rio's slums, and a tribute to adman Washington Olivetti, came as an opening statement. It was a national hit which indicted in a festive rhythm the corruption of impeached president Fernando Collor de Mello.

Through radio stations but also through cult parties in the suburbs Ben Jor has won over the heart of the urban adolescents as he had done with their parents in the 60s. In his most recent album, Homosapiens, the musician talks about life, other worlds and man's evolution. He is happy with this latest venture. "I talk about evolution of man, something I always wanted to talk about, that is, our evolution from Australopithecus to Homo Sapiens." He even sings in Spanish in "Maria Luiza." Americans will have a taste of his talent first hand. He will be in San Francisco and Los Angeles this month. Ben Jor will be wearing his trade mark glasses and cap and will be playing with Banda do Ze Pretinho.

Chove Chuva

It rains rain

Chove chuva Chove sem parar

It rains rain It doesn't stop raining

Pois eu you fazer uma prece Pra Deus Nosso Senhor Pra chuva parar De molhar o meu divino amor Que é muito lindo E mais que o infinito puro e belo Inocente como a for

So I'm going to say a prayer To God Our Lord For the rain to stop Wetting my divine love Who is so pretty It's more than infinite It's pure and beautiful Innocent as a flower

Por favor. chuva ruim Nao molhe mais o meu amor assim (bis)

Please, bad rain Stop wetting my love like that

Chove chuva Chove sem parar (bis)

It rains rain It doesn't stop raining

Sacundim, Sacundem ImborO. Conga Dombim, dombem Agoue e OW.

Sacundim, Sacundem Imboro. Conga Dombim, Dombem Agoue and Oba

DISCOGRAPHY Samba Esdnema Novo (Philips. 1963) - It includes "Mas Que Nada" and "Chove Chuva" Sacundim Ben Samba (Philips, 1964) Ben E SanibuTioni (Philips, 1964) Big Ben (Philips, 1965) Bid,, (Artistas Un idos/Rozenbl it. 1967) Ben (Philips. 1969) - It includes "Pais Tropical", "Cadi: Tereza", "Charles Anjo 4.5","Que Pena", Forca Brma ( Ph i ips. 1970) Negro E Lind() (Phi lips, 1971) Ben (live) (Philips, 1972) - It includes "Taj Mahal-. and "Ho Maravilha".

De: limos Depoi.s. (Philips, 1973) Tiihua de Esmeralda (Philips, 1974) - It includes "Os Alquimistas EstAo Cheizando Os Alquimistas" Gil Jorge (Philips, 1-975) Jorge Ben i L'Olvmpia (Philips, 1975) So/td a Parilo (Philips. 1975) Africa-Brasil (Philips, 1976) Tropical (Philips. 1977) - It includes "Chove Chuva" A Banda do Ze.; Proinho (Som Livre. 1978) Salve Simpalia (Som Livre. 1979) ,4/6, Como l'ai? (Som Livre, 1980) Ben- I imula 111 de (Som Livre, 1981) DOdiva (Som Livre. 1983) - Includes "Rio Babilon la".

Sonsuai (Som Livre, 1984) Ben Brasil (Som Livre, 1986) BoUor ( Warner. 1989) Ben/or an l'ivo (Warner, 1991) 23 (Warner, 1993) World Dance (Warner, 1995) Homosupiens (Sony, 1995)

Nativa Ppd_4.c.t-ions proudly presents: the unforgetaffe

G41i

Berl Jar

°toe E a banda do Ze Pretinho

November i6th, Saturday 8:oo PM

Tickets Available at City Box Office Bass Ticket Outlet 415- 392 4400 $25 general 35 seats

Special guest: BRAZZIL - NOVEMBER 1996

Maritime Hall 450 Harrison St. San Francisco

Sue (do Soares 41

N

"Invocac`ao" (Invocation) and "Onde Esta o Meu Amor" ot very long ago, the foremost singers (Where Is My Love). Zizi Possi recorded the toada of MPB (Mtlisica Popular Brasileira "Beradero" for her latest release Mais Simples (More Brazilian Popular Music) had a habit of Simple) and has nothing but praise for the musician, recording well-known material rather saying that Chico's poetry is consistent, absurdly conthan risking a new song by an unknown temporary, and has all the elements of romanticism composer. They recycled a familiar repertoire to insure contained within it. Elba Ramalho also recorded the success of their latest releases. You could have "Beradero" on her most recent recording Ledo do asked 10 different people to list their personal MPB Norte (The Lion of the North) but with a completely "top ten" and chances are that many of the same tunes different interpretation. She says that Chico came on would have popped up. Now however, with the recent the scene unarmed, but that he will worry many who arrival of a new wave of MPB composers, these same are going to see him as a threat. Ramalho goes on to say prominent singers have started to veer away from the that Chico Cesar has a modern vision and is one of the established repertoire and compete with one another to greatest revelations of MPB in recent times. She and record the latest works of a musician who was virtually Daniela Mercury actually had a falling-out stemming unknown a year ago. from a quarrel over which one of them was going to be Following the lead. established by Elis Regina (a , the first to record "A Primeira Vista" (On First Sight). performer who always looked for fresh material to add The tune appears on to her repertoire and who introMercury's latest offerduced the world to, among other ing. talents, Joao Bosco and Aldir Mercury, an adamant Blanc), Daniela Mercury, Elba Chico fan, listened to Ramalho, and Zizi Possi have been over 40 songs by the busy recording and quibbling singer/composer before about the compositions of one she chose the one for her particular writer, a sensation who latest release. The elecis conquering the stars of MPB tric Baiana asserts that with a breathtaking writing style. she wants to continue This new meteor of MPB is a 32 being the voice that preyear old Paraibano named Chico sents great new talents Cesar. like Chico Cesar and that Last year Chico Cesar released she prefers taking risks his 15 track CD Aos Vivos. The because she is also "new project had been recorded live in generation." She consid1994 at his own expense and was ers Chico an inspiration later sold to the Velas label (owned and says that he does not

by Ivan Ling and Vitor Martins). have to look up to anyRadio play of tunes from Aos Vibody, that he is not only vos, made Cesar the most rea composer of great quested artist of MPB. Conspicudepth, but an extraordious sales and the musician's obFans say that Chico nary artist, an entity vious potential prompted Velas to Cesar is the greatest complete in and of itpress an additional 10,000 cop- because he has style self. Her habitually aeroies. This additional pressing disand because his bic repertoire was returbed many singers who were lyrics are not worked to include the planning to record covers of tunes shallow. Brazilian beautiful "A Primeira from the disc like "Tambores" and pop music has not Vista." The tune has be"Benazir," works that hadn't alwitnessed this sort come the theme for ready been grabbed up by MPB's of vigorous Brazil's most popular prima donnas. Some tracks like creativeness for a prime time TV soap op"Mulher Eu Sei" (Woman I Know) long time. Chico era 0 Rei do Gado (The and "Mama Africa" had already Cesar is now King of the Herd). Now become MPB hits. Another one, seducing the leading. everyone in Brazil is "Templo" (Temple) was quickly Brazilian singers hearing this pop anthem, grabbed up by Daniela Mercury's who have been a tune that was known sister Vania Abreu for her first disputing his tunes. before only to listeners release. This year Aos Vivos was of sao Paulo FM radio BRUCE GILMAN awarded the Premio Sharp award ' and the regular crowd at for best regional discovery. the Blen Blen Club in Just two years ago, Cesar had sao Paulo, where Chico been in a position where he was had established a large forced to solicit top notch singers following early in his to record his compositions. Now career. it's just the opposite. These same singers are literally Cesar comes from Catole do Rocha, Paraiba, a city making a pilgrimage to his door, looking for ammuniof 12,000 inhabitants and the cradle of the traditional tion for their latest projects and making sure that they Northeastern family. It's an area where existence is are the ones who secure his work before someone else hard and life expectancy is short. Hundreds of people does. With more than 300 finished compositions that go hungry. From every 100 boys that are born in Catole were written over the last 12 years, but which have do Rocha, maybe 20 will survive their first month. never been performed or recorded, he can offer singers From these 20, maybe 5 will enter school, and one the an extensive variety of tunes without having to take university. The stark reality of this area has consisrequests or commissions. tently given its musicians a rare vision that is maniMaria Bethania recorded two of his 42

BRAZZIL - NOVEMBER 1996

fested in their lyrics.

Words are extremely important in the Northeast of Brazil. One's word, many times, is worth more than a document. In fact, the literature and folklore of the area still exists primarily as an oral tradition.

Repentistas (troubadours) sing improvised stanzas as they tell stories or perform in desafios (improvised poetic duels). The stories told are told well and are genuine inspirations. These stories have created a link between repentistas and popular poets. As a boy Chico coexisted with this richness and its wisdom.

The 7th son of a poor, uneducated farm worker and a washer woman, Cesar's harsh early life was made softer by the kindness of an unmarried aunt who helped him get a scholarship to a school run by German nuns. The nuns had escaped from Germany during World War II and established a boarding school with a demanding curriculum in Paraiba. Originally it was only for the daughters of the wealthy but had eventually opened its doors to boys.

At three years old, Cesar learned to read. By twelve, without knowing a single musical note, he composed his first song "Quando Chega o Carnaval" (When Carnaval Comes). He just kept repeating the melody until it was memorized and only later composed the lyrics, a technique that to this day remains his singular method of composition. Cesar claims that his melodies bloom in every situation and that they have a lot to do with musically producing certain images. It's not his habit to have a deluge of ideas, but rather one idea that takes him.

That way, the music really becomes a part of him.

When asked what comes first, music or lyrics, Cesar echoed the words of the internationally acclaimed Mineiro, Joao Guimaraes Rosa, author of the Grande Sertao: Veredas (The Great Interior: Trails/ Man's Quest for the Meaning of His Existence). "The word already has sound, and the sound already has meaning." Cesar says that it is difficult to write the lyrics first, then the music, but that doing the opposite is like taking sweets from a baby. When the writing is a partnership, Cesar prefers that his collaborator give him the lyrics first. Then he adds the melody, harmony, and rhythm that the lyrics demand. In this way, he works with the sound of the word, the sound that was already given to him.

Like Joao Guimaraes Rosa, Cesar has always been impassioned by words and recognizes that one BRAZZIL - NOVEMBER 1996

language does not always have all the words necessary to express our inner most feelings.

Words just seem to come to him, and he can't resist putting them together. His lyrics demonstrate an intimacy with wordsâ&#x20AC;&#x201D;many of them invented. At times the words sound a* if they are from another language because alley serve solely to enhance a particular sonority.

For example, during his live performances, a choir of feminine voices sings one strophe of the beautiful "A Primeira Vista" that s4ys absolutely nothing:

6 amarrara dzaia sole dzaia dzaia Si iiiinga durnei.

In the tune "Saharienne" he manipula :es words to create a poetic-musical dialect: Sarava sarah vaughan quem te escravisaurou o que fez a beirute fez ao rio a teia de aranha midi me cid' conforto e arrepio.

Sarah Vaughan that may be a slave that made Beirut, that made Rio, at the spider's web, gives me comfort and shivers.

Seen in this light, the lyric work of Ch co Cesar can be summarized as free associati n, as an imaginative freedom with words, as poetry. Overall, his lyrics are introspect ve and preoccupied more with immediate p rsonal concerns than with political issu s.

"When I hear people talk about the lyrics of Northeastern musicians not being understood, I believe it is because there still exists a strong prejudice."

The Northeastern accent has always been the subject of extraordinary bias due to the high illiteracy rate in the region. However, Cesar disagrees with people who say that Northeastern music is the music of the uneducated, impoverished people. He believes that FM radio stations that refuse to play Northeastern music are the backward ones.

Writing comes easier for Cesar than or most. He holds a degree in journalism aind worked in Sao Paulo as a reporter, a pr of reader, and a music critic. He wrote ab ut everything from a 007 soundtrack to revie s of Edson Cordeiro. Composing his ownnusic, however, instead of writing about other peoples', was what he really wanted. And a tour of Germany promoted by the Brazilian German Cultural Society convinced him to focus his journalistic talents on music.

Rave reviews in the Sudwest Press spotlighted his stage presence and his talent for engaging an audience. After returning to Brazil, he quit journalism and started to seriouily cultivate his career as a musician. By participating in more festivals, by placing well, and

by winning a prize for best lyricist, Chico Cesar started to become well known.

Donning military boots and African style clothing, Cesar, at 5'2" and 150 pounds, delivers a show that is far from conventional. Concerts are attended by hordes of adolescent girls who become unglued and pierce the air with cries of ecstasy, bringing back memories of the Beatles. These fans say that Chico Cesar is the greatest because he has style and because his lyrics are not shallow. MPB has not witnessed this sort of vigorous creativeness for a long time.

With his head shaved except on top, where thick hair projects wild and curly, reminding one of the mushroom cloud from a nuclear explosion, this newest sensation of MPB has dragged an ardent following to every performance venue for over three years. They sing along with his music, and his music becomes more symbolic for them with each passionate performance.

It is his punctuated, often sinuous melodic lines, the intimacy of his lyrics, the reggae, Caribbean, and the Bahian rhythmic mixes of his songs, that distances Cesar from other MPB artists. Another reason that Chico has become so successful stems from his ability to develop these elements. It's not that Cesar has reinvented the wheel, it is just that he is more in sync with those things that the new generation wants to hear without loosing the traditional view of MPB. Cesar is a natural. His artistic sensitivity provokes peoples' emotions and hooks them.

One of the best tests Chico's music has had recently was during a presentation with the Orquestra Jazz Sinfonica. The ensemble had been presenting a series of works by developing composers. On this particular occasion Dorisa Teixeira de Castro, a 63 year old violinist who for thirty years has been dedicated to performing classical music with the Teatro Municipal de Sao Paulo, called public attention to her opinion of Chico Cesar's music when in her elegant, black concert attire she started to wave her head of white hair from side to side in time with the chocalho (shaker) on the tune "Mama Africa."

The violinist says that playing popular music is exhilarating. "It takes me to another world. For me, it is more interesting what the artist gives to the public, not the type of music that he creates. I've played with many of the greatest musicians of classical music who were not emotionally connected people. And suddenly I saw a singer creating a 43

Templo Chico Cesar Se voce olha pra mim Se me dá atenetio Eu me derreto suave Neve no vulcao Se voce toca em mint Alande emocao Eu me desmancho suave Nuvem no aviao Himalaia hirneneu Esse homem nu sou en Olhos de contemplaeao Inca mata pigmeu Minha tribe me perdeu Quando entrei no tempi.° da paixao

A Primeira Vis Chico Cesar Quando nao tinita nttda en quis Quando tudo era ausencia esperet Quando tive coragem frio trenttlignel Quando tive Quando chegou cart abr.( Quando ouvi prince (Salif '<cite) dancei Quando o 01110 brilbou en di Quando criei asas voei Quando me chamou eu vtin Quando dei pot tnimutv,e, Quando the achei me perdt Quando vi v°ee me aPaixnne'

Mama Africa Chico Cesar Mama Africa (a minha mae solteira E tern de fazer niamadeir dia Alem de trabillhar corn cotadeira Mama Africa tern tanto fazer Alem de cuidar nenem Alem de fazer denguim Filhinho tern que entender.

Mama Africa vai e vem Mas nao se afasta de vote Quando mama sal de case Seus filhos se olodunzarn Rola o maior jazz Mama tern cabo nos pes Mama precisa de paz Mama nao quer brincar mais Filhinho dá urn tempo E' tanto contratempo ritmo de vida de mama 44

very funny choreography and everybody singing. I am happy watching people creating new styles." Maestro Nelson Ayres, the ensemble's conductor referred to Chico as "a musician among musicians."

With so many of today's leading singers attempting to record his work, Cesar had become the center of a dispute between several record companies that were vying for his contract. Finally, producer Marco Mazzola (difector of the Brazilian night at the Montreux Jazz Festival) got Cesar to sign a contract. It was Mazzola who took the material taped

by Chico for his latest release to Polygram. And as a result, the company decided to become the disc's distributor.

Chico's contract with MZA includes plans for career development and two releases in addition to (the almost impossible to find) Cuscuz Following in the fiery wake of Aos Vivos, Cesar's new release, Cuscuz Cid, has been painstakingly ptoduced -as would any project by a first-line artist with a nlajor label.

The disc demonstrates clearly the virtues of the singer/ composer. It affirms his dexterity as a lyricist and his ingenuity in working with words. It also reveals his unparalleled talent for writing alluring melodic linesnnd a talent for embracing the irrepressible traditional rhythms of the Northeast.

Some listeners have compared Chico's vocal timbre with that of Caetano Veloso's. Others have said that his vocal acrobatics are more akin to Gilberto Gil' s'. Those who are familiar with the music of the Northeast say that his guitar technique and vocal phrasing 4 reminiscent of Geraldo Azevedo's. "When we played "A Primeira Vista" there was a riot," recalls FM radio producer Adriana Cynthia Souza. "Some people called and wanted to know what song

by Caetano Veloso had just been aired that was so beautiful." But Souza went on to say that after the initial listening, people pick up on Chico's unique style which has a captive place in their programming.

The confusion makes sense. Chico, like the artists he is often compared with, is from the same part of the country.

And it is from there that Cesar brings the same peculiar regional accent with its distinctive vowel pronunciation— more open and elongated—as well as its nasal quality. In addition, Cesar was strongly influenced by Tropicalismo.

Who can deny the influence Caetano and Gil exerted on everyone who came after them? So when critics say that Chico sounds like Caetano, they are failing to confront the new values that are coming up in his music. They are discounting the importance of his work, but at the same time they are conferring upon him one of the most important references of Brazilian music.

It was originally through his neighbors blaring the music of Luiz Gonzaga, Trio Nordestino, and Jackson do Pandeiro that Francisco (Chico) Cesar Goncalves received his initial contact with music. When he was a teen he worked at a record store where everything from sertaneja to Tropicana was being played constantly. It was inevitable that Chico digested and assimilated the music of those who came before him.

Nonetheless, it is marvelous that so many established artists have received Chico's music with open arms and that his musical exchange will continue to develop. Chico maintains that for him the past two years have been a rite of passage, that he did not come to change anything, but came merely to participate as a brother. One explanation for the musical opulence of the Northeast in contrast to its poverty stricken setting is that everyone who comes from the Northeast—Caymmi, Gonzaga, Caetano, Gil, Carlinhos Brown, Chico Cesar—everyone that survives, has a great commitment to life. And for them, life translates in the form of music.

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. You can reach him through his E-mail: cuica@interworld.net

Temple If you look at me If you give me attention I melt agreeably Like snow on a volcano If you touch me I get emotional I come apart lightly Like a cloud parted by a plane Himalaya wedlock I am that naked man Eyes of contemplation Inca Maya Pigmy My tribe lost me When I entered the temple of passion.

O.n.Fir!'t Sighi ,When / did

.not have ay fhi g :4:, : wanted.

When everything was absent. d I W.11,.51 nI 1y .. .aa "s egicl shivered

When the letter arrived, I , opened t When .1 heard (sallf , 4 prinedance° ileit#2,' When the nyw- shined, I When I create understood d my wings, ,I , flew When she called, I cam' When.! realized where I, was.„ wasbere hen I found you, When I saw you, I fall in ..1.o.vc

Mother Africa Mother Africa (my moth Is a single Moth She has to prepare the nursing bottle everyday Besides working as ap acker In the stores of Bahia Mother Africa has so much to do Besides taking care of a child Besides playing with the baby ,My children have to understand Mother Africa comes and goes But she won't let you go far from her When Mother Africa leaves the house Iler children hold her essence with compelling drums Creating the greatest ja77 Mother has calluses on her feet Mother needs peace I' he errhdyethem s nooftwant Mama'spllay anymore Li :ttle boy give me some time There are so many setbacks the BRAZZIL - NOVEMBER 1996

Short Takes JORGE DA SILVA

Welcome to Short Takes, your quick source review column of the best Brazilian music currently available. We hope you'll turn to our column for the latest advice on what's hot and what's not. Let's begin! Now that everyone is back to school, we though it fitting to review the progress of MPB's hottest stars and where they stand in the MPB Class of '96. With all of the generational changes continuing with Brazil's current "old guard," will these up and coming artists turn out to contenders or just pretenders? And because music, like life, isn't just "pass or fail," you may be surprised to see how your favorites did.

Leila Pinheiro - A+ - Continuing her long string of successful releases, the newly released Catavento e Girassol is a fine collection of songs from Aldir Blanc and Guinga. Her consistent drive for excellence has led to many great musical moments from the hands of Brazil's top producers. Cesar Camargo Mariano brought us Coisas do Brasil, closely followed by Joao Augusto's memorable Isso E Bossa Nova. The fact that other artists also use these same producers with lesser results is proof that Pinheiro's star shines brightest. For a real treat, check out her work on Sadao Watanabe's In Tempo CD (Verve), where she makes her English debut with four other vocals. And that rumor about Leila Pinheiro being the next Elis Regina? It's no longer a rumor. Its a fact.

Emilio Santiago - A+ - His career probably qualifies as the most astonishing rebound in Brazilian musical history, and Santiago shows no sign of letting up. After selling more than 3 million copies of his seven Aquarelas Brasileiras albums, his Perdido de Amor is a sensational tribute to Brazil's Bossa past and specifically, Dick Farney. The title track samples the opening arrangement and sets the tone for a collection worthy of special mention. Others, like "Nick Bar" are crafted in the best tradition of Rio in the 60s and "Voce" is revitalized by Santiago's strong sensual voice. And don't pass up the new Aquarelas collection from Som Livre.

The 3 CD box set: 14 on his best romantic ballads, his 14 greatest hits and an even dozen of his best sambas. Brazil needed Emilio Santiago, so went to find him. Joao Gilberto has more magic, it's true, but talented heir apparent Santiago delivers the warmth and beauty without the headlines.

Marina Lima - D - Marina Lima's Abrigo marked a turning point for her recording career which seemed poised for a major success. Earlier albums like the US release of A Tug On The Line BRAZZIL - NOVEMBER 1996

and her multilingual self-titled CD provided isteners and fans with a fresh perspective on Br ilian pop: Lima's stylish voice and carefully c osen material from musicians such as Tere cc Trent D'Arby and Jorge Dalto gave us someth ng to cheer about. Less cheerful however, is Abr o and its fascination with the unusual. Framed by an elegance in both picture and word, Lima pai ts a canvas best described as subtly flamboy. t.

Songs like "Admito Que Perdi" and "Rap da Diferenca" are experimental and even the Irv'ng Berlin classic Blue Skies" receives a charism lc twist. Others including Jobim 's "Samba do Avi o" and "0 Que Tinha de Ser" are covered wit a detached sense of style. Lima's great ability to take the usual and make it unusual succeeds h re (once again under the direction of Liminha), i ut in this case, the unusual is too much to take.

Flavio Venturini - B - His presence a songwriter and hit maker on the rise, Ventur continues to deliver solid, sometime inspired w in the studio as a headliner. 94's Noites corn ol provided an intriguing platform for produ er Torcuato Mariano with remakes of songs H e "Sobre o Mar," Bruce Hornsby's "Across ii e River" and the outstanding "Nuvens." Venturin 's new Beija Flor makes room for compositi ns from Lo Borges ("Para Lennon and McCartne ") and co-writer Ronaldo Bastos on the title tra k.

Leo Gandelman (see below) adds his instrum ntal flair on "Nes Dois Aqui" to make the albu a keeper.

Segio Mendes - A+ - Although it's been o er 4 years since his last album Brasileiro, Mend s' new release Oceano was worth the wait. Menses is being called the "Quincy Jones of Brazili n Music" because of his ability to draw out t e wealth of international talent lined up for t is project. Oceano includes Caetano Veloso, Gilbe o Gil, Simone, Hermeto Pascoal, Zucchero and even Emmanuel in a stunning collection of Brazilian pop with world wide appeal. No other Brazilian, not even Jobim could target one song (Djavan's "Oceano" or "Puzzle of Hearts") as n international hit in three languages. With a sig ature sound as identifiable as that of Familia Job m or the New Band, Mendes is our best bet to take the place of our dearly departed Tom. Don't loOk for Brasileiro's Grammy to be repeated here, but don't pass by this ***** album.

Joyce - C - After making a great debut in tie US with Music Inside and the follow-up La guage and Love, Joyce has chosen to concentr te her talent on the Brazilian and Japanese marke s, with only limited success in clearing new groun A good live CD found its way here, but left s wondering what was new with one of Brazil's most enduring female composers. Now corn s Ilha Brasil, which finds Joyce in the unusual role of fronting a big band for several of the albums 4 tracks. "Samba da Zona" leads off the albu setting the tone for a menagerie of musical sty e and experimentation. "Havana-me" is a brief r flection of traditional Cuba and a wonderful ce terpiece for the album. Other tracks, however! ft us wanting more of what we've come to love fro Joyce, and less rap and pseudo-funk that dots th's album's musical landscape. No doubt slow Br zilian sales will have the same effect on Joyce th t they have on most top performers. Look for solid polished album from Joyce next year.

Leo Gandleman -A - "Wait! He's a s player, not MPB!" you might say, but no oth r Brazilian instrumental performer comes close o Leo Gandelman's innate sense of pop musicia ship. As musical boundaries expand, so does L Gandelman, voted seven years running as the be Brazil has to offer. His new Perolas Negr (Black Pearls) is a star studded collection

compositions by Afro-Brazilian songwriters including Moacyr Santos ("Nana"), Jorge Ben ("Mai s Que Nada"), Cartola ("As Rosas Nao Falam") and Milton Nascimento ("Clube da Esquina No. 2"). Special guest Zizi Possi appears for "Faltando urn Pedaco," as does Paulinho da Viola on his own "Choro Negro." The track that has all of Rio talking is "Me Deixa em Paz" with vocalist Luis Melodia.

It's achieved a level of recognition that few instrumental artists currently receive in Brazil: strong radio play. Our advice? Buy the CD and turn the radio off.

Jane Duboc - B - Although Jane Duboc isn't yet ranked among the top of MPB performers, its only a matter of time before she becomes the household word that her talent deserves. Possessing a warm, sensitive voice that runs the gamut of emotion, Duboc can deliver softly Sensual ballads or highly powered pop songs. Her US presence is limited to a few forgettable Movieplay albums and her sensational recording with the late Gerry Mulligan, Paraiso with many of the songs written especially for the album. A new Movieplay disc, From Brazil to Japan, is a collection of songs recently included in her tours through Japan and features a bevy of true Brazilian rhythms. The marcharancho beat is found in "As Pastorinhas," the chorinho in "Curare and the baido in "Pisa na Fulo." But while Movieplay has been a solid platform for Duboc, it may not be the label that she needs to step up with MPB's best performers.

Joao Bosco- B - Although some retailers will tell you that Bosco's Na Onda Que Balanca is his latest album, pass it up and look for Dรก Licenca Meu Senhor, a real gem and far superior to anything he's recorded since his self titled Columbia CD a few years back.

Bosco's avant garde, scatting approach to Bossa and MPB has taken him to some unusual places over the past few years, resulting in often uneven recordings. But the spark of brilliance always remains and Dรก Licenca, Meu Senhor is a solid recording that places Bosco's feet firmly on the ground. Credit his own production as a key to his current success. Gone are the embellished arrangements of Ronnie Foster, to be replaced by Bosco's rhythmic guitar and tonal play. Never one to avoid a fork in the road, Bosco remains unique and his style holds credit to no one. Favorites include "Se Voce Jurar," a pleasant Bossa, and "Desafinado," a tribute to Jobim and just as authentic as the original, albeit completely different in its scaled down approach to the song.

That's it for this month. Next time we'll review our picks for best Bossa albums, along with some surprises that will really turn your head.

And don't forget to call for your free subscription to the Brazilian Music Review by dialing (847) 292-4545 24 hours a day.

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Movies Rio 0 Burgues Ridiculo (Ridiculous Bourgeois) — Adapted from a Moliere's comedy. Directed by Guel Arraes and Jodo Falcao with Marco Nanini and Betty Gofman.

Comecaria Tudo Outra Vez (I Would Start All Over Again) — The life story of singer and composer Gonzaguinha. Written and directed by Dacio Malta.

With Gaspar Filho and musicians.

As Criadas (The Maids) —Jean Genet's classic play directed

by Ricardo Torres. The power struggle between a homemaker and her two maids. With Leonardo Vieira, Deo Garcez and Marco Rocha.

Francisco de Assis (Francis of Assisi) — Created and directed

by Ciro Barcelos, who also stars with Camila Amado. Based on the life and writings of Saint Francis of Assisi.

Futuro do Preterit° (Future Perfect) — Romantic comedy about the 20-year evolution in a group of friends. With Lilia Cabral and Dalton Vigh. Written by Regiana Antonini and directed by Marcelo Saback.

Sao Paulo Dracula e Outros Vampiros (Dracula and Other Vampires) — A collection of comic and thrilling characters. Created and directed by Antunes Filho with the ensemble Grupo de Teatro Macunaima Cenas de um Casamento (Scenes of a Marriage) — This is the classic text by Ingmar Bergman about a seemingly happy marriage. Vivian Buckup directs. Maria Adelaide Amaral translated. Tony Ramos and Regina Braga star.

A Comedia (The Comedy) — Complicated and funny lovetriangle. Mauricio Lencasttre wrote and directs. Viviane Dias, Ludh Raposo and Gabriela Nen star.

Intensa Magia (Intense Magic) — Contemporary drama written by Maria Adelaide Amaral.

Silnei Siqueira directs Mauro Mendonca, Rosam aria Murtinho and Nina de Padua 46

American films just released: Emma (Emma), The Craft (Jovens Bruxas), The Island of Doctor Moreau (A Ilha do Dr. Moreau), Welcome to the Dollhouse (BernVindo a Casa de Bonecas), Carried Away (Atos de Amor), Fear (Medo), Angel Baby (Angel Baby), Escape from Los Angeles (Fuga de Los Angeles), A Time to Kill (Tempo de Matar), If Lucy Fell (Lado a Lado coin o Amor), Chain Reaction (Reaceio em Cadeia), If Unforgettable (Inesquecivel), Phenomenon (Fenomeno), Striptease (Striptease) Doces Poderes (Sweet Powers) — Brazil — 1995 — A TV drama during an electoral campaign. Directed by Lucia Murat. With Marisa Orth, Antonio Fagundes and Otavio Augusto.

Fica Comigo (Stay With Me) — Brazil — 1996 — The difficult relationship between parents and teenagers. Directed by Tizuka Yamasaki. Starring Antonio Fagundes, Luciana Rigueira, Vitor Hugo and Lncia Alves.

Guantanamera (Guantanamera) — Spain/ Cuba — 1995 — How to transport the dead during a fuel crisis in Cuba. Directed by Tomas Gutierrez Alea and Juan Carlos Tabia with Carlos Cruz, Mirtha Ibbara and Salvador Wood.

Mina Tannenbaum (Duas Amigas) — France/Belgium/Holland — 1993 — Two female friends come of age in the '70s in Paris. By Martine Dogowson with Romane Bohringer and Elsa Zylberstein.

0 Mange e a Filha do Carrasco (The Monk and the Hangman's Daughter) — Brazil/ EUA — 1994 — Directed by Walter Lima Jr., starring Murilo Benicio, Karina Barun, Patricia Pillar and Paul Dillon. A young Franciscan monk deals with faith and desires in 18th century Germany.

Stealing Beauty (Beleza Roubada) — Italy/ England/France —1996—Teenager awakes middle-age passion. By Bernardo Bertolucci with Liv Tyler, Jeremy Irons, Stefania Sandrelli.

Suite 16 (Aconteceu na Suite 16) —Holland/ England/France — 1995 — Two men in a hotel room disputing for power. Directed by Dominique Deruddere. Starring Pete Postlehwaite.

Tieta do Agreste (Tieta from the Northeast 1996— Almost 30 Backlands) — Brazil years after being expelled from home by the father, Antonieta (Tieta) goes back to her hometown. Carlos Diegues directs. Sonia Braga, Marilia Pera and Chico Anisio star.

Fiction 1. 0 Monte Cinco Paulo Coelho 2. Operacao Cavalo de TrOia 5 J. J. Benitez 3. A Profecia Celestina James Redfield 4. Novas Comedias da Vida Privada Luis Fernando Verissimo 5. Mas Sera o Benedito?

Mario Prata 6. A Decima Profecia James Redfield 7. 0 Xango de Baker Street Jo Soares 8. 0 Mundo de Sofia Jostein Gaarder 9. Uma Pulga na Camisola Max Nunes 10. 0 Homem que Calculava Malba Tahan

Nonfiction 1. Inteligencia Emocional Daniel Goleman 2. Almas Gemeas Monica Buonfislio 3.Só o Amor E Real Brian L. Weiss 4. As Sete Leis Espirituais do Sucesso Deepak Chopra 5. Zico Conta Sua Historia Zico 6. A Remincia de Janio Carlos Castello Branco 7. Guia New York —Compras Katia Zero 8. Minutos de Sabedoria Torres Pastorino 9. Anjos Cab alisticos Monica Buonfiglio 10. Frases Paulo Coelho According to weekly newsmagazine Veja BRA7_ZIL - NOVEMBER 1996

PLANET

BRAZIL IMMERSION With more than 20 events, including music, dance, film and visual art, Tigertail Productions is bringing to Miami version number two of its New Vision Florida/Brazil: A Festival and Exchange. The events will take place over a two-week period this November. It all starts November 8 at the Cosford Theater (University of Miami) with the world premiere of "The Demons' Meeting," a feature film by A.S. Cecilio Neto, who will be in attendance.

The story about the dreams of three children of the 60s will be rerun on the 9th and the 10th. The art exhibition opens November 9 at the Ground Level Gallery and will continue through the 21" of December. There will be concerts on November 15 and 16. For more detailed information you can call (305) 324-4337.

SPREADING THE SOUNDS Bossa Magazine, a Boston-based publication dealing with Brazilian Music, is being distributed now by Tower Records in all of its outlets throughout de US. Bossa should be available at the World Music CD section. The monthly magazine claims to have a readership of 20,000 in the US and fifteen other countries. The Tower deal will give the publication an exposure boost.

According to its publisher Marlon Cato, "Opening up this important retail channel will ensure that Bossa reaches an even more varied audience throughout the world." If you want to subscribe to the English-language publication you can write to MBC Productions, 130 Dartmouth Street, Suite 1207, Boston, MA 02116, USA, or call (617) 262-9997.

Culture Planet has just opened its doors. The store's intention is to bring to the US a wide selection of Brazilian and international folk art, clothing, masks and Amazonian tribal artifacts.

Among other treasures there is a collection of headdresses and masks from several tribes in the Amazon, ceramic figurines from Camaril (state of Pernambuco), and handmade musical instruments.

Several Brazil and Amazon-related exhibits are planned for the coming months. Culture Planet is the brainchild of Monica Ferreira, a Carioca (from Rio).

The store is located in West Los Angeles. Want to know more? Call (310) 441-9808.

13E-yury SEARCH Several states are still choosing their candidates for the '96 Miss Brazil-USA. The final competition will be November 16 in Miami with prizes worth more than S50.000. In California. three contestants representing Los Angeles, San Francisco and San Diego will be selected on November 10 at the new Coconut Grove.

The competition party being sponsored by Rio Roma Travel will have live entertainment and dancing. For more information call (415) 921-3353

Learn Another Language on Your Own! Learn to speak a foreign language fluently on your own and atyour own pace with what are considered the finest in-depth courses available. Many were developed by the Foreign Service Institute of the U.S. Department of State for diplomatic personnel who must learn a language quickly and thoroughly. Emphasis is on learning to speak and to understand the spoken language. A typical course (equivalent to a college semester) includes an album of 10 to 12 audio cassettes (10 to 18 hours), recorded by native-born speakers, plus a 250-page textbook. Some of our Courses: El Arabic, Saudi $185 0 German I $185 0 Latin $160 0 Serbo-Croatian $195 0 Egyptian $185 0 German II $155 0 Latvian $185 0 Slovak $185 El Bulgarian $245 0 Greek $185 0 Lithuanian $135 0 Spanish I $185 0 Cantonese $185 0 Haitian Creole $225 D Mandarin $185 El Spanish II $165 0 Catalan $185 0 Hebrew $255 0 Norwegian $125 El Swedish $185 0 Czech $125 0 Hungarian $195 0 Persian $185 0 Swahili $225 0 Danish $185 0 Italian $185 D Polish $185 El Tagalog $295 0 Dutch $125 0 Japanese $185 0 Portuguese $215 El Thai $195 0 Estonian $295 0 Khmer $225 (Brazilian) 0 Turkish $195 0 French I $185 0 Korean $195 0 Romanian $115 0 Ukrainian $195 0 French II $215 0 Lakota $185 D Russian $225 o Urdu $185 ID Vietnamese You can order now with a full 3-week money-bark guarantee. $225 1 1. Call (203) 453-9794, fax (203) 453-9774, e-mail: 74537.550@compuserve.com

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FEIRA LIVRE OPEN MARKET CLASSES

Learn Portuguese now! Group

or private lessons. (213) 4692204 Silene [131] Looking for a very fast, efficient, and pleasant way to learn Brazilian Portuguese? (415) 9913476 [141] COLLECTIBLES

Capoeira Masters Trading Cards! Complete sets available

for $11.65. Californians add 8.25% sales tax. Donald Coley 969 62nd Street Oakland, CA 94608-1360 [127] COOKING

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by Eng Tie Ang, two for one sale $14.95, plus $5 shipping and handling. Over 130 authentic, quick and easy recipes. P.O. Box 30818 - Seattle, WA 98103 Phone and Fax (206) 789-3693.

[142] HEALTH & FITNESS

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Recebemos jornaisdiariosetodas as principals revistas, incluindo masculinas e femininas. Tel. (800) 589-5884.

PERSONAL WOMAN SEEKS MAN

Attractive, sophisticated eco-

nomically independent Brazilian lady seeks nice Americano 4560 for serious commitment. Write to Claudice, SQN-308 Bloco "H" Apt. 605 - Brasilia DF 70000 Brazil [124] Sophisticated, attractive lady

with Scandinavian art degree seeks professional, attractive 4758 man — non-American, non smoker— for love eventual marriage. (213) 851-2767 [125] Americana coin coracao brasileiro, bem educada, que adora a

masica, o samba, a cultura, a linguae o povo brasileiros, queria conhecer urn brasileiro solteiro de 40 anos ou mais, em boa forma, morando em New York City ou pertinho.Ellen2125@aol.com [130] PERSONAL MAN SEEKS WOMAN

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ternationally 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. Americano, 31, professional,

physically fit, happy and outgoing seeks Brazilian Lady 20-30 who is loving, happy, attractive and willing to relocate do the USA. Thomas Graff, 6705 Horsepen Road, Richmond, Virginia, 23228. tgraff@erols.com [130] Americano, 38 anos, alto,

delgado, branco, olhos azuis, professor de Ingles, procura brasileira 18-30 anos. (310) 2895719 William - Ou: 1223 Broadway #143, Santa Monica, CA 90404 [124]

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Marina Del Rey, 4 aliforni a, seeks a sharing, can g, sensual relationship with ape ite, ethnic, Brasileira — Barrett 310)3902586 [124] Brazilian Gaticho,3 5'4" tall, 118, 'protestant, educat d, roman-

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_

calendar - november 96 - u.s a.

TV & RADIO COAST TO COAST 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 Coragao Brasileiro - Every Monday, 8:00 PM - 10.30 PM with Dennis Miller 88.1 FM - WMBR Brazilian Style of Music Every Friday, 11- 00 am 2.00 pm, 91.5 FM, WMFO with Marlon Catao

CHICAGO 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 Mo-

reno LOS ANGELES TV

Brazil TV - Continental, Channel 38 (Fri - 9:30 pm), Buena Vision, Channels 6 & 56 (Mon. - 8:30 pm), CVILBCTV, Channel 65 or 57 (Wed. - 6:30 pm / Sat. - 8:00 pm) RADIO

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, 8:00 pm- 10:00 pm with Gina Martelli - 93.9 - Love 94

50

HOLLYWOOD, FLOR. 9:00 PM - Clauduarte SA at Brazil Samba Café LOS ANGELES 8:00 PM - Sergio Mendes & Brazil 96 at Pepperdine University- Smothers Theater - Ticketmaster 9:30 PM - MILA Samba School at Cafe Danssa ANAHEIM, CAL. 7:00 PM - S6rgio 2000 at Ginga Brazil Ill i 971WV111111 NEW YORK 8:00 PM - Vanessa Falabella with Afro-Brazilian grooves at SOB ANAHEIM, CAL. 7:00 PM-Sergio with guest at Ginga Brazil LOS ANGELES 9:30 PM - ULA at Zabumba 9:30 PM - Constellation Band at Café Danssa LONG BEACH, CAL. 7:30 PM - SambaLa's re-grand opening at Tony's Restaurant agaerannill NEW YORK 9:30 PM - Vanessa Falabella & Friends at Café Wha 111111MWLIETAL=11 LOS ANGELES 9:00 PM - Axe at Zabumba MIAMI 8:00 PM & 10:00 PM - World première, The Demons' Meeting directed by A.S. Cecilio Neto at Cosford Theater, Univ. of Miami (305) 324-4337 HOLLYWOOD, FLOR. 9:00 PM - Clauduarte SA at Brazil Samba Café LOS ANGELES 9:00 PM - Khana at Zabumba 9:30 PM - MILA Samba School at Cafe Danssa ANAHEIM, CAL. 7:00 PM - Lois sings Brazil at Ginga Brazil 111.111./Altli BE011111.11 NEW YORK 8:00 PM - Samba Novo at SOB MIAMI 8:00 PM & 10:00 PM - World premiere, The Demons' Meeting directed by A.S. Cecilio Neto at Cosford Theater, Univ. of Miami (305) 324-4337

10:00 PM - Miss East Florida at Las Vegas III - (954) 428-9572 SAN FRANCISCO 9:00 PM - Celia Malheiros & Copacabana Rio Band at Coconut Grove ANAHEIM, CAL. 7:00 PM - Lois & Zelao at Ginga Brazil LOS ANGELES 9:30 PM - ULA at Zabumba 9:00 PM & 11:00 PM - Ana Gazzola at CAVA (213) 658-6600 9:30 PM - Constellation Band at Café Danssa LONG BEACH, CAL. 7:30 PM - SambaLa at Tony's Restaurant MIAMI 4, 6 & 8 PM - World premiere, The Demons' Meeting directed by A.S. Cecilio Neto at Cosford Theater, Univ. of Miami (305) 324-4337 SAN FRANCISCO 8:00 PM - Miss Brasil-USA 96 at Coconut Grove (415) 921-3353 NEW YORK 9:30 PM - Vanessa Falabella & Friends at Cafe Wha BERKELEY, CAL. 9:00 PM - Adriana & Carlos Oliveira at Nino's 11111.11.1111aLIEMUMM MIAMI BEACH 10:00 PM- Paralamas do Sucesso at Club Nu - 245 22nd Ave - T icketrnaster HOLLYWOOD, FLOR. 9:00 PM - Clauduarte Sá at Brazil Samba Café LOS ANGELES 9:00 PM - Velly Bahia & Paranaue at Zabumba 9:30 PM - MILA Samba School at Cafe Danssa ANAHEIM, CAL. 7:00 PM - Sergio 2000 at Ginga Brasil III1N& NEW YORK 8:00 PM - Paralamas do Sucesso at Irving Plaza, 17 Irving Plaza (212) 539-4574 8:00 PM - Juliana Aquino at SOB MIAMI 10:00 PM - Miss Brasil-USA at Scala Miami SAN FRANCISCO 8:00 PM - Jorge Ben Jar & Banda do Ze Pretinho at Maritime Hall - 450 Harrison St - (415) 392-4400 SACRAMENTO, CAL. 8:00 PM - Lisa Silva & Voz do Brasil at Red

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,-,11)\ /EMBER 1996

Lyons Inn

9:30 PM - ULA at Zabumba

ANAHEIM, CAL. LOS ANGELES 9:30 PM - ULA at Zabumba 9:00 PM & 11:00 PM - Ana Gazzola at CAVA (213) 658-6600 9:30 PM - Constellation Band at Café Dan ssa

LONG BEACH, CAL. 7:30 PM - Samba La at Tony's Restaurant simmaisizm i visiammi LOS ANGELES 9:00 PM - Jorge Ben Jor at House of Blues

LONG BEACH, CAL.

TV & RADIO

7:30 PM - SambaLa at Tony's Restaurant

TV

7:00 PM - Lois & Zeta° at Ginga Brazil 9:30 PM - Constellation Band at Café Danssa

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PASADENA, CAL. 11:00 AM - Cheremoya Escola de Samba at Doo Dah Parade B1Avit411111.

(213) 848-5100

NEW YORK 9:30 PM - Vanessa Falabella & Friends at Cafe Wha

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NEW YORK 9:30 PM - Vanessa Falabella & Friends at Café Wha

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ANAHEIM, CAL.

7:00 PM - Sergio with guest at Ginga Brazil

BTN (Brazilian TV Network) 11:00 pm - 1:00 am, DC1 ch.

40, S South ch 51, Adelphia ch 52, Gold Coast ch 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

LOS ANGELES

8:30 PM & 10:30 PM: Banda do Gil at Brazil Brazil (305) 5618200

9:00 PM - Axe at Zabumba

11111MIIII1']E11114ifrid BERKELEY, CAL.

HOLLYWOOD, PLOR.

9:00 PM - Adriana & Carlos Oliveira at

9:00 PM - Clauduarte SA at Brazil Samba Cafe

Nino's

LOS ANGELES HOLLYWOOD, FLOR. 9:00 PM - Clauduarte SA at Brazil Samba Café

MIAMI 8:30 PM & 10:30 PM: Banda do Gil at Brazil Brazil (305) 561-8200 LOS ANGELES 9:30 PM MILA Escola de Samba at Café Danssa

ANAHEIM, CAL. 7:00 PM - Lois sings Brazil at Ginga Brasil 1W .3111.

11i1i1NleM1111111M1

BETHESDA, MD 10:00 PM - Baile da Saudade at 5607 Massachussetts Ave. - (301) 365-9152

LOS ANGELES 10:00 PM - Katia Moraes at Luna Park 665 N. Robertson Blvd.

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

BERKELEY Ashkenaz - 1317 San Pablo Ave. (510) 525-5054 Nino's - 1916 Martin L. King Jr. (510) 845-9303

LOS ANGELES 14 Below - 1348 14th St., Santa Monica -(310) 451-5040 Cafe Danssa - 11533 W. Pico BI. West L.A.- (310) 478-7866 Tony's -70! Long Beach Blvd.

BRA7_ZIL - NOVEMBER 1996

9:00 PM - Velly Bahia & Paranaue at Zabumba 9:30 PM - MILA Escola de Samba at Café Danssa ANAHEIM, CAL. 7:00 PM - Sergio 2000 at Ginga Brasil

1111:t.tuINiElvali= ANAHEIM, CAL. 7:00 PM - Sergio with guest at Ginga Brazil

LOS ANGELES 9:00 PM & 11:00 PM - Ana Gazzola at CAVA (213) 658-6600 9:30 PM - ULA at Zabumba 9:30 PM- Constellation Band at Café Danssa LONG BEACH, CAL. 7:30 PM - SambaLA at Tony's Restaurant

(310) 628-9789 La Ve Lee - 12514 Ventura BI. - Studio City - (818) 980-8158 Zabumba -10717 Venice Blvd Culver City - (310) 841-6525

MIAMI Brazil Samba Café - Hollywood (954) 920-4426 Scala Miami - (305)371-5604

SOB- 200 Varick St. (212) 3077171 Supper Club - 240 W. 47 St. (212) 921-1940 Scala Brazil - 35-50 31st St. Astoria (718) 937-0352

OAKLAND, CAL. Yoshi's - 6030 Claremont Ave. (510) 652-9200

NEW YORK

S. FRANCISCO

Blue Note - 131 West 3rd St. (212) 475-8592 Café Wha - 115 MacDougal St. -(212) 254-3706

Bahia Cabana -(415) 861-4202 Chambord - 152 Kearney St. (415)434-3688 Coconut Grove-(415)776-1616

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 - VVKCR Radio Amazonia - Every day, 630 PM on short wave - 6.185 MHZ TV Brazil Update - Every Saturday, 3:30 PM - Channel 69 Brazilians in America-TV Every Sunday, 5:30 PM -Channel 16 Media Flux: Brasil - Every Saturday, 4:00 PM - Ch 16 S. FRANCISCO Brasileirinho - Every Wednesday, 9:30 PM, KZSC, 88.1 FM with Renato Frota Brasil Musical - Every Sunday, 1.00 PM - 5:00 PM, Radio Bilingue, 91.5 FM via satellite, with Ricardo and Amarina Pugh - Fresno Canta, Brasil - Every Sunday, 600 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, 11:00 PM - 12:00 AM, KKSF, 103.7 with Dick Conte So DA Brasil - Every Friday, 8 00 PM - 9:00 PM, KUSF, 90.3 with Jorge Lima & Simone Odom

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calendar - november 96 - u.s.a.

WASHINGTON, DC Waves of Patropi - Every Saturday, 6.00 PM - 9:00 PM, VVDCU, 90 FM with Andre Lacerda

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 & Products Aqui Brazil (617) 787-0758 Brasil Brasil (617) 561-6094 Instruction Approach Student Ctr (617) 787-5401 Jerry's Cachaca (617) 666-5410 Instruction Braz. & Amer. Lg. Inst.

(617) 787-7716 Music Brazil CDs (617) 666-3747 Publications The Brazilian Monthly (617) 566-3651 Boss*: Braz. Jazz Guide (617) 262-9997 Restaurants Café Brazil (617) 789-5980 Ipanema (508) 460-6144 Tropicilia (617) 567-4422 Pampas Churrascaria (617) 661-6613

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

Los Angeles Accountant Sheila Shanker (310) 836-3436 Airlines Varig (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 Churches Comunid. Evang. Bras.

(310) 793-8745

.1111101 52

Ministerios Renascer (888) RENACER Clothes Samba (310) 628-9789 Summer Brazil (310) 455-1772 Clubs & Associations Brazil-Cal. Chbr of Com. (213) 975-9237 Centro Cultural Gaiicho (213) 256-6548 MILA - Samba School (310) 391-6098 SambaLi -Esc. de Samba (310) 628-9789 Consulate Brazilian Consulate (213) 651-2664 Dentists Gilberto Henriques (213) 464-0524 Events Promotion Brasil 'N You Promotions (310) 928-1770 Brazilian Nites Prod.

(818) 566-1111 Pegasus - Parties & Ent. (818) 549-0383 Food & Products Brazilian Market (310) 827-9139 Health & Fitness Herbs from Brazil (213) 851-7016 Westside Acupuncture (310) 914-1624 ImportJExport N & R International (909) 626-3656 Instruction Brasil Brasil CUR. Ctr (310) 397-3667 Modern Lang. Center (310) 839-8427 Legal Services Meiojas & Ferraz (310) 360-0901 Music Braz. Jazz /All Occasions (310) 839-3788 Jazz - Richard Samuels (818) 798-5424 Physician Paulo Coharte (310) 285-9670 Decio 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 Si (818) 592-0402 Publications Brazzil (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 Bossa Nova (310) 657-5070 Brazilian Tropical (714) 720-1522

By Brazil (310) 787-7520

1111111.

1.1.1

Café Brasil (310) 837-8957 Ginga Brasil (714) 778-0266 Lulu's Alibi (310) 479-6007 Yolie's Brazilian Steak (714) 251-0722 Zabumba (310) 841-6525 Translation/Interp.

Brazilian Int. Affairs (310) 854-5881 Tocantins Communic.

(818) 248-3667 Travel/Tours Around the World Trl. (800) 471-6333 Brazil Air (800) 441-8515 Brazil Tours (818) 767-1200 Cheviot Hills Travel (310) 202-6264

Miami Airlines Transbrasil (800) 872-3153 Varig (800) 468-2744 Vasp (800) 732-8277 Banks 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 Cam. 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 Physicians Dr. Jorge Macedo (305)271-731!

Dr. Mario Sanches (305) 541-7819 Dr. Neri Franzon (305) 776-1412 Publications Florida Review (305) 374-5235 Restaurants Brazilian Tropicana (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 Tours (800) 524-3666

Euroamerica (305) 358-3003 International Tours (800) 822-1318 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 & Associations Brazilian Ch. of Corn.

(212) 575-9030 Brazilian Corn. Bureau (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) 382-1630 Brazilian Voice (201) 955-1137 OCA Magazine (516) 596-1853 Portugal-Brasil News (212) 228-2958 Samba Newsletter (718) 937-0574 Restaurants 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 Tapajds River (201) 491-9196 Travel Agencies Barb Tour Service (201) 313-0996 Odyssea Travel Service (212) 826-3019

San Diego Attorney Ivan Porto (800) 314-4826 Clubs & Associations Clube Bras. San Diego (619) 295-0842 Sunday Night Cl. Brazil (619) 233-5979 Import/Export Brazil Imports (619) 234-3401 Money Remittance Vigo-California (619) 479-VIGO

San Francisco Area Airlines Varig (415) 986-5737 Vasp (800) 732-VASP Attorney Ralph Baker (510) 444-8100 Auto Nelson Auto Body (415) 255-6717 Malls Auto Body (415) 565-3560 Beauty Salon Bibbo (415) 421-BIBO Carmen's International (415) 433-9441 Neyde's (415) 681-5355 Clubs B.A.S.O. (415) 661-2788 Bay Area Brasilian Club (415) 334-0106 Brazilian Cut. Movem.

(415) 437-6991 Computer Micronet (415) 665-1994 Consulate Brazilian Consulate (415) 981-8170 Dance Instruction Aquarela (510) 548-1310 Brazil Culture & Arts (510) 215-8202 Ginga Brasil (510) 428-0698 Escola Nova de Samba (415) 661-4798 Samba do Coracao (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)947-85!!

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 Viva Brazil (415) 342-8508

Voz do Brazil (415) 586-2276 Musical Instruments Tamborim & Samba (415) 871-2201 Physician Dr. Guilherme Salgado (415) 832-6219 Printing M. C. Printing (510) 268-8967 Publications Brazil Today (510) 526-1115 Brazzil (415) 587-4990 Restaur./Night Clubs Bahia Cabana (415) 861-4202 Balboa Braz. Rest.

(415) 387-1118 Café do Brasil (415) 626-6432 Café Mardi Gras (415) 864-6788 Canto do Brasil (415) 626-8727 Colusa Restaurant (415) 526-1500 Joao's Restaurant (408) 244-1299 Little Rio (415) 441-3344 Michelangelo Café (415) 986-4058 Mozzarela Di-Bufala (415) 346-9888 Nino's (510) 845-9303 Stelladoro (415) 928-2662 Taqueria Goyaz (415) 821-4600 Translation Port. Lang. Services (415) 587-4990 Travel Agencies 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 BRAZZIL - NOVEMBER 1996

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53

Were those people who left the United States and went to Brazil after the Civil War "exiles" or "immigrants"? Were they "selfimposed exiles," or were they "American pioneers"? Considering that a number of them had only recently arrived in the United States should they even be called American?

JOHN C. DAWSEY

At the time that Judith MacKnight Jones was writing Soldado descansa! (Soldier rest!) in the 1960s, designs of the Confederate flag could be found on ceramic pieces produced by Indians on the Island of Maraj6 in the Amazon basin, a discovery that suggested a twentieth-century vestige of Confederate exiles in the Hastings colony. Marajoara Indians are not the only people who preserved Confederate symbols in Brazil. William Griggs mentioned Harold Barnsley Holland, a respected manufacturer in Jacarei, who kept a set of instructions for making a Confederate battle flag in an old family trunk. More intriguing might be the sight of 200 or more people gathering at an old cemetery in the interior of the state of Sao Paulo, Brazil, where three flags are raised â&#x20AC;&#x201D;the Southern Cross, the Stars and Stripes, and the Confederate battle flag.

Toward the end of the Civil War various efforts were made, with encouragement of the Brazilian emperor, to organize Confederate colonies in Brazil. As a result, nine different settlements were established. The settlement in Santa Barbara, in the state of sao Paulo, survived, even prospered, then largely dispersed during the early twentieth century. Until this day, descendants meet four times a year on the church grounds next to the Campo cemetery.

Identity Construction Much of the literature relating to the persistence of the Confederate or American heritage in Brazil seems to be based on the notion of passivity, of a cultural tradition adapting to new sociophysical environments and perpetuating itself as best it can in the face of the new obstacles which are encountered. As time goes by, the old culture proves to be increasingly irrelevant. Things such as raising the Rebel flag, making biscuits, dressing in Confederate uniforms, parading in Gone with the Wind dresses, and meeting at the old cemetery serve no real purpose. They constitute cultural "survivals" which should not really have survived. Even in the United States, the sight of a few hundred people appearing to relive the Confederacy might lead some to raise doubts concerning the mental health of the group. Don't they realize that the Civil War ended more than a century ago?

The preservation of American symbols also raises questions. If they want to be American, why don't they pack up and move to the States? Isn't that what many of their Brazilian neighbors are doing? This group of descendants would make things easier to explain, according to some, if, during their reunions and celebrations, they used only American symbols. After all, doesn't everybody want to be American? Maybe not, for, to complicate the matter, some descendants are likely to make emphatic statements such as, "I'm a Southerner, I'm Brazilian, I'm not American!"

The temptation is to say that these people have an identity problem. Why do they go to so much effort to preserve relics of Confederate or American culture? They obviously have not adapted to their Brazilian environment.

They are living in the past.

There is another aspect to this. Not only is one tempted to question the validity of holding on to relics, but one is enticed by the idea that all of this is just pretense. Many of the descendants are Catholic, many have Italian or Syrian names, and many no longer speak English.

Recently the Fraternidade Descendencia Americana (Fraternity of American Descendancy) promoted a celebration at Santa Barbara in which young couples danced according to Old South styles. The couples seemed to be relieved when the presentation was over and the lambada (contemporary Brazilian dance) music got under way. Indeed, the Old South dances had not even been taught to the youth by their parents. Researchers from Campinas had assisted the group.

Likewise, the Gone with the Wind outfits worn once a year were not handed down from one generation to the next, nor were the patterns for making them. Researchers assisted.

An outside observer has the impression that much, if not all, has to do with theater.

"Under Erasure" In trying to deal with the identity of these descendants, one gets the feeling of walking on slippery ground. Are they "Confederate" descendants or "American" descendants? Do they descend from an American or from a Confederate colony? Did their ancestors, or did they themselves, attend

BRAZZIL - NOVEMBER 1996

Confederate or American schools in Brazil? Even those who emphasize that they are Southern and Brazilian, but not American, are oftentimes stalwart members of the Fraternidade Descendencia Americana.

Other terms have an unclear meaning. Were those people who left the United States and went to Brazil after the Civil War "exiles" or "immigrants"? Were they "self-imposed exiles," or were they "American pioneers"? Given the heterogeneity of the group, in what sense could they be called Confederate or Southern?

Considering that a number of them had only recently arrived in the United States from Europe, before leaving for Brazil, should they even be called American?

The first problem one must deal with, then, is what to call these descendants and their ancestors. As a way of approaching problems pertaining to the instability of language, Derrida developed the idea of sous rature. Sarup described Derrida's use of the phrase by stating that sous rature is: "a term usually translated as 'under erasure'. To put a term 'sous rature' is to write a word, cross it out, and then print both word and deletion. The idea is this: since the word is inaccurate, or rather, inadequate, it is crossed out.

Since it is necessary it remains legible.

This strategically important device which Derrida uses derives from Martin Heidegger, who often crossed out the word Being (like this: Being) and let both deletion and word stand because the word was inadequate yet necessary. Sarup elaborated: 'In other words, Derrida argues that meaning is not immediately present in a sign. Since the meaning of a sign is a matter of what the sign is not, this meaning is always in some sense absent from it too. Meaning is scattered or dispersed along the whole chain of signifiers; it cannot be easily nailed down, it is never fully present in any one sign alone, but is rather a kind of constant flickering of presence and absence together."

Likewise, the identity of the people whom I have chosen to write about is difficult to nail down. Instead of speaking simply of Confederate or American descendants, I will occasionally make use of Derrida's and Heidegger's device and cross out the words. In these cases, I will let both words and deletions stand because these words are inadequate yet necessary (like this: Confederate, Ameni can).

This might suggest that indeed these descendants have an identity problem.

However, I believe that the problem itself is an illusion. We are the ones who, having entered into the business of dealing with categories, have a problem regarding how to view the construction of identities. Putting it simply, just like being Italian during a Columbus Day parade in the United States is a way of being American, so also being American or Confederate at the Campo cemetery in Brazil is a way of being Brazilian.

Old Trunks Research conducted by Carneiro da Cunha concerning the Brazilian community of Lagos, Nigeria, gives us another

BRAZZIL - NOVEMBER 1996

perspective regarding construction of ethnic identity. This community was formed during the nineteenth century by Yoruba descendants who, having been freed fr m slavery, returned to the African horn land. What is particularly interesti about this group is that, once in Afri a, instead of returning to the ancestral are and adopting home-grown religions, th stayed in Lagos, converted or strengt ened their ties to Roman Catholicis and made efforts to maintain the Port guese language and other Brazilian cu tural traits. Why? Developing some of the presuppositions worked out by Abner Cohen, Carneiro da Cunha argued that Brazilian (and Catholic) traits were used as di critical signs, that is, as signs which di ferentiated the group from others in Lago and in Nigeria. This in turn was tied to th group's effort to control trade betwee Lagos and Brazil.

According to this line of though ethnic groups are viewed as forms o organization adapted to their immediat environment. They share an identity; the also share economic and political inter ests. They organize themselves into larger groups and vie for resources with other rival groups.

Following these presuppositions, a cultural tradition is not to be viewed as something which determines behaviors so much as a reservoir of traits which can be used selectively according to context.

It is like Harold Barnsley Holland's old trunk, where one might go to find cultural elements. The trunk may include instructions for making a Confederate battle flag, which can then function mainly as diacritical symbols of ethnic identification.

When viewed in this way, the original culture of the group will tend to acquire a certain rigidity, reducing itself to a number of traits which will mainly be used to differentiate the group from other groups Objectives I intend to indicate in this essay, on the basis of secondary sources, some of the ways in which this line of reasoning might be applied to the confederados.

Regarding the sources, two books are of particular interest, both written by descendants. Each author, writing in a different context, has chosen to remember different aspects and periods of the group's history. Most interesting is how each has viewed the identity of the group.

Judith MacKnight Jones published her book, entitled Soldado Descansal Uma Epopeia Norte Americana Sob os Celts do Brasil (Soldier rest! A North American saga beneath the skies of Brazil) in 1967. Most of her material relates to the years preceding World War I. It is the story of Southern Americans who over the years also became Brazilian.

Eugene C. Harter published his book, The Lost Colony of the Confederacy: The North-American Immigration to Brazil Following the War of Secession, in 1985.

He drew extensively on family memories and other sources relating to the late 1920s and early 1930s. His story is about how an early generation of Americans was

followed by a second generation of Confederate Brazilians, or confederados.

Relying on materials from these and other sources, I will sketch two ways of the many possibilities by which the descendants have constructed their identity, particularly during the periods mentioned above.

American Farmers Most of the people who left the South and other areas of the United States to go to Brazil were farmers. In encouraging the emigration, the Brazilian Empire was interested in accomplishing two things: "purifying the Brazilian race" and introducing "progressive agricultural techniques," particularly for cotton production. The continued presence of slavery in Brazil may have also attracted Southern farmers more than other professions.

Indeed, in keeping with expectations of the Brazilian government, the Americans who settled the Santa Barbara and Americana area achieved early successes as farmers, mainly because of the moldboard plow which they carried with them.

The agricultural implements and techniques used by these settlers gave them distinction. According to Goldman: "There is no doubt that, given the heterogeneity of the group which came to Brazil, there would be isolated professions and occupations. However, what united the North-Americans and gave them status (at a time when this was still possible in agriculture), providing them also with the opportunity to contribute to the progress of their new land with their knowledge and techniques, undoubtedly, was agriculture." By the end of the century, members of the group would distinguish themselves not only as farmers but also as schoolteachers, engineers, doctors, and dentists.

They became identified as Americans. According to Harter, representatives of the Southern Colonization Society who came to Brazil in 1865, under the leadership of General Wood, were enthusiastically greeted by cheers, "Long live the Confederados!" However, by the end of the century, those who settled in the Santa Barbara area would be called, not Confederates or confederados, but Americans.

The moldboard plow, the basic technological implement of the Southerners, became known as the American plow (arado am ericano). Various schools which were associated with this group became officially called American schools. Those who became dentists were known as American dentists. The railroad station, which was of vital interest to the farmers, grew into a town, and in 1900 this town was officially baptized "Americana."

In many respects, this development is surprising because the group called themselves Southern and Confederate. Harter pointed out the close ties between Col. William Hutchinson Norris, the first setler and leader of the community, and en. William Lowndes Yancey, "the voice f secession." Two of Yancey's sons were embers of the group, and speeches of heir father were recited by memory on commemorative occasions. Jones wrote

that Colonel Norris's son Robert, who fought under Stonewall Jackson, refused to swear allegiance to the American flag after the Civil War, saying "I'll give my allegiance only to the flag ofthe South!'

DeMuzio presented a similar version regarding the colonel himself: "At the close of the [Civil] War, Colonel Norris was ordered to take the oath of loyalty to the Yankee government. He replied in the strongest possible terms, telling the Yankees what to do with their oath and their flag. It was shortly after this, and mainly because of this, that the Colonel and his companions decided to leave for Brazil." Many children were given names of Confederate generals, particularly those of Robert E. Lee and Wade Hampton. The name Yancey was also very popular. Much of the press in the United States criticized those who went to Brazil for being unpatriotic and un-American. Even General Lee counseled Southerners to remain in the United States.

During the 1890s, abruptly getting up from the dinner table, Dr. Robert Norris is said to have told a Yankee, "I'm not an American anymore!"

It might be argued that the "American" identity, rather than being constructed by the group itself, was conferred on the group by outsiders. Indeed, Jones asserted that "they were called Americans." Harter pointed out that the people who began referring to the town that developed around the station by the name of Americana were not the settlers themselves but were their neighbors. Up to the twentieth century, the settlers themselves continued to call the place simply the Station. Nonetheless, Harter also noted that, although Brazilian authorities arbitrarily baptized the city Americana, the confederados (Harter's term) did not oppose this choice.

Yet, some of the evidence appears to be contradictory. Tellingly, Harter claimed that "first-generation Confederates like Colonel Norris continued to consider themselves Americans. They were from the C.S.A. not the U.S.A.; but still they were Americans, linked firmly to George Washington, Thomas Jefferson, James Madison, and the colonial heritage. The Fourth of July holiday was the major event of the year." The Masonic lodge which Colonel Norris and other settlers founded was named after a generalâ&#x20AC;&#x201D;not Robert E. Lee or Wade Hampton, but George Washington.

These accounts and others suggest that the settlers were engaged in a process of manipulating, or selectively using, elements of their heritage. Were they de-emphasizing Confederate traits and emphasizing American ones, at least in their relations with outsiders? If so, for what reason?

Republicans

The emigration of Protestant Southerners from America had been sponsored by the Brazilian emperor himself, Dom Pedro II, the Roman Catholic grandson of a Portuguese king. Although the Brazilian Empire maintained official neutrality during the American Civil

56

War, sentiment in Brazil was mainly proSouth. Like the Old South, Brazil was an agricultural economy founded on slave labor. If many Confederat e hoped to be able to maintain Southern lifestyles in Brazil, Dom Pedro II hoped that Br azil could take over the international role of the Old South as the major cotton supplier to Britain. Early reports by members of colonizing societies

stressed similarities between Brazilian and Southern ways, building a Brazilian identity consisting of such values as generosity, grace, and honor.

However, political conditions were changing. The Republican party was formed in the 1870s, and the abolitionist faction was growing. Both movements were intent on distinguishing themselves from the old Brazil.

The Roman Catholic church, guardian of the official religion of the Brazilian Empire, controlled schools and cemeteries. Many of the important leaders of the Republican party, such as Prudente de Moraes Barros, his brother Manoel, and Luiz de Queiroz, lived in the city of Piracicaba, thirty miles from Santa Barbara. In order to emphasize their opposition to state religion, the Republicans of Piracicaba had also founded a Masonic lodge.

The Santa Barbara settlers ran into difficulties with the Roman Catholic church. Cemeteries were Catholic, and so were the schools. The settlers had trouble finding ways to bury their dead and educate their children. The Republican party of Piracicaba took up their cause. Why? Sign Warfare The Republicans communicated their opposition to the power structure in key

ways. They were involved in sign warfare. North American culture served as a source of key cultural elements. The Brazilian Empire itself had encouraged the emigration of Americans. America was identified with "progress." The Republicans used the American identity for their

own purpose, to mark their opposition.

The Brazilian Empire fostered Roman Catholic schools; Republicans promoted Protestant schools. The empire was based on the technology of the hoe or of the old-fashioned plow; Republicans promoted the "American plow." The Brazilian Empire was Roman Catholic; Republicans defended separation between church and state and supported Protestant interests The empire was governed by the grandson of a Portuguese monarch; Republicans defended principles of the American Constitution. Republicans were opposed to the Brazilian Empire; Americans had successfully confronted the British Empire.

By supporting Santa Barbara settlers who were being harassed by the Roman Catholic church, the Republicans dramatized their support of "progress." They

showed how the Roman Catholic Brazilian Empire was impeding development of new forces of progress. The Fazenda Modelo, owned by the Republican leader Luiz de Queiroz and administered by Lee Ferguson, one of the Americans, was meant to be a model, as its name points

out, for farmers throughout the state. It served purposes of political drama.

Santa Barbara settlers and leaders of the Republican party in Piracicaba became allies. The symbolic efficacy of this alliance, however, depended on one important condition: that these settlers be seen, not as Old South supporters of slavery and Yancey-style opponents of industry, but as progressive Americans.

Prudente de Moraes Barros, his brother Manoel, and other Republicans allied themselves with Santa Barbara settlers and helped establish American schools.

One of the first students Of the Methodist school in Piracicaba, the Colegio Piracicabano, was Pedro de Moraes Barros, son of Manoel and nephew of Prudente. Years later, during school commemorations, Pedro honored the memory of Martha Watts, the Methodist missionary from Kentucky who helped found the school.

He said: "[She] came from the land of Jefferson, the philosopher of American democracy, from the land of freedom of worship, of separation between church and state, of secularization of cemeteries, from a nation where, more than sixteen years before, slavery had been abolished.

She came to the only existing monarchy in the three Americas... where his Majesty Pedro II was protector of and protected by the Catholic religion, which was the religion of the State." The Colegio Piracicabano, which Harter calls a Confederate School, was being publicly identified not with the Confederate South, which had fought to preserve slavery, but with America, which, in contrast to the Brazilian Empire, had abolished slavery.

Abolition

In his analysis of the so-called failure of the Hastings colony near Santarem, in Amazonia, Vianna Moog suggested that the colonists would have succeeded had they been Yankees rather than Southerners. Darcy Ribeiro, a Brazilian anthropologist, once stated that Brazil is what the United States would have become had the South won the Civil War. In the battle of signs, the inverse of Brazil was not the South but America and the Yankee.

An alliance between progressive Republicans and Confederate settlers may certainly point to the need to explicate what is being meant by "progressive" in Brazil. Indeed, the term may have served Republicans primarily as a diacritical sign of their own. In any case, one would expect some crossed signals. According to Harter, when a pro-abolitionist senator was killed in 1888, Santa Barbara settlers were the first suspects. Nonetheless, they were allies of Republicans, some of whom were proponents of abolition. According to Jones, Abolition Day in Brazil (May 13, 1888) went by almost unnoticed by Santa Barbara settlers. Siqueira Costa wrote: "Paradoxically, they preserved a mythic project involving privileges such as those associated with Southern plantations, therefore attributing high value to institutions of slavery. At the same time, compelled by real necessities presented by the new environment, they acted through their institutions in such manner as to perpetuate liberty, individuality and democracy, forthrightly supporting the

BRAZZIL - NOVEMBER 1996

Republic when it was proclaimed." They the Via Anhangtiera. had good reasons to support the RepubDuring the Republican period, spelic. cial incentives were given to American Rewards schools. The Colegio Piracicabano pracUpon arrival in the Santa Barbara tically started in the dining room of Rearea, the first settlers called attention to publican leader Manoel de Moraes Barros. themselves by their successful use of the In 1883, with Republican support, work moldboard plow. Skillfully applying the began on the two-story school building, tool, these farmers distinguished them- which was constructed according to prinselves from other groups in Brazilian ciples of North American architecture. society. The "American plow" was com- The first student, Maria Escobar, was the pared advantageously to the "Brazilian daughter of the liberal journalist Antonio plow," as well as to the "heavier Euro- Gomes de Escobar, whose newspapers pean plow," such as the one brought over maintained an ongoing battle with the

by Lithuanians. Not only did the mold- Roman Catholic church. "These schools board plow give these settlers an advan- provided employment opportunities for tage of increased production, it opened descendants. In 1898, after a vacation up other opportunities for income. period in the United States, Martha Watts The first American plows in the Santa returned with orders to start the school in Barbara area were made by John Domm, Petropolis, and Leonora Smith, daughter a Dutchman who had lived in Texas. of T. D. Smith, assumed the direction of Companies for importing plows from the the Colegio Piracicabano. The following United States were started by people who year, Miss Smith was sent to Ribeirao belonged to or were closely associated Preto to start another school, the Colegio with the Confederate Americans.

Metodista." According to Jones, teachColonel Norris supplemented his in- ing became a "board of salvation" for come by giving plowing lessons to other many women among descendants. farmers in the state of Sao Paulo. Santa "Southern Aristocracy" Barbara settlers acquired a reputation as If it made sense to ally themselves agricultural experts, and many were hired with Republicans and emphasize their as farm administrators on large Brazilian American heritage, then why did the defazendas. As in the case of Lee Ferguson, scendants hold on to elements of Confedwho was hired by Luiz de Queiroz to erate and Southern culture? Traits linked administer the Fazenda Modelo, support to such notions as Southern hospitality, given by Brazilian Republican elites had generosity, and honor may certainly have much to do with the job opportunities been adaptive in Brazil. The question one that became available for the Americans. raises, however, is Why did they conDr. Carlos Botelho, secretary of agri- tinue to identify this honor and hospitalculture under a Republican administra- ity as particularly Southern or Confedertion, gave incentives for farmers to use ate? Why did they still display the Conthe American plow. Botelho "required federate flag on occasion and recite the farmers to come to Americana to learn speeches of Senator Yancey, "the voice the new methods of working the land, of secession"? Goldman wrote: "It is bewhich involved, of course, using plows lieved that the immigrants constituted a which were made there. He arranged for Southern 'aristocracy.'... [But] evidences sons of Americans to give demonstra- demonstrate an extremely heterogeneous tions for using plows in various areas of group.... There were many northerners, the State [of Sao Paulo].... The reputation as well as foreign residents in the United of the plows and methods employed by Sates and naturalized Americans." AcAmericans was so widespread that many cording to Bellona Smith Ferguson, the important people visiting the state went first trolleys in Brazil were made by a to Vila Americana to see firsthand."

Yankee by the name of Sampson. Griggs In 1915 one of the American settlers, mentioned "fellow Texan" John Domm, Cicero Jones, wrote: "[The Americans] who made many of the early plows used introduced the plow for the first time in in Santa Barbara. Domm was in fact a Brazil . . . which enabled them to buy Dutchman who came to Brazil with the lands and reclaim them that were lost to Southerners, and Niels Nielsen, who bethe Brazilian except for grazing purposes. came a part of the American community At present the [Republican] Federal Gov- and also made plows, was Danish. Franz ernment has twenty of our American boys Muller, sometimes called Miller, was a teaching plowing, one in each state."

German who became the owner of the During the period known as the First Carioba textile mill near Americana and Republic (1890- 1929), the federal gov- was often identified as an American. ernment hired American descendants to Horace Manley Lane was considered direct topographical research and other by some to have been a Southerner from operations related to the Works Against Louisiana. Lane, who had arrived in 1858, Droughts (Obras Contra as Secas) pro- later started a business importing plows, gram in the northeast of Brazil. Accord- apparently through his close ties with the ing to Jones, many of the American de- Santa Barbara group. In 1894 he became scendants became involved with this pro- director of Mackenzie College, formerly gram. Apparently, the descendants were called the American School in Sao Paulo. able to control key positions. When Wil- He was said to have been a close friend liam Lane died, Robert Miller took his and frequent guest at Retiro, one of the place as director of the topographic re- Santa Barbara settlements. Despite other search. David McKnight was also hired reports, Lane was from Readfield, Maine, by the state of Sao Paulo as topographer, not Louisiana. and he developed what would become The picture is complex. This is a hetone of the main state highway projects, erogeneous group which is being identi-

QAZZIL - NOVEMBER 1996

fied as American as well as being a "Southern aristocracy." As already seen, they had good reasons to present themselves as Americans. Were there advantages to presenting themselves as a "Southern aristocracy" as well? Perhaps.

Confederate symbols were used to constitute an exclusive group in Brazil. The question I am posing is not whether they were descendants from a decadent or progressive aristocracy in the United States South. More interesting is the question of whether and why they were forming a "Southern aristocracy" in Brazil.

For the most part, the Santa Barbara settlers worked with their families on their own land or worked for others until able to purchase their own land, like the yeomen in the United States. Properties of the American immigrants (exiles) averaged between 17 and 18 hectares. In contrast, large cotton plantations were considered to average around 95 to 121 hectares. Whatever the nature of the "aristocracy" that the group was forming in Santa Barbara, it appears to have been an aristocracy of yeomen. Their greatest status symbol was the moldboard plow and, as Jones noted, their ability to train mules.

Although "they were called Americans," it was apparent that during the late nineteenth century and early twentieth century, at least, this was a close-knit group. Referring to the 1890s, at a time when they had switched from cotton to watermelon production, Jones quoted a contemporary observer: "The planters and sellers of watermelons of Villa Americana... form a layer apart from other planters of the neighboring district." In 1899 they formed the Farmers' Club (Clube da Lavoura) in Santa Barbara, the first in that city. All of the officials had "American" names.

Perhaps the desire to control the limits of the group also explains some of their religious behavior. The chapel which was built next to the Campo cemetery served to unite them. "The church belonged to all: Methodist, Baptist or Presbyterian." That is, it belonged to all who belonged to the group. According to one source, preachers of this period were accustomed to saying that the second coming of Christ would occur when all of Catholic Brazil became Protestant. This was another way of saying that if there were any Brazilians or other immigrants thinking of becoming members of the group, most would have to wait for the second coming. Indeed, as Jones wrote: "They were neither bent toward religious proselytizing, nor to the imposition of their customs."

There is evidence that, besides setting itself apart from Brazilians and other immigrants, the group was also trying to differentiate itself from other Americans.

Jones delighted in collecting anecdotes about Santa Barbara Americans who got into conflict with "Yankees." She also portrayed in great detail the anguish and suffering inflicted by Yankees on Southerners during the Civil War. Although she entitled her book Soldier, Rest, she was not eager to lay down her defenses against the Yankees. Nor did the Santa Barbara Americans of the nineteenth cen-

tury whom she portrayed seem eager to lay down theirs.

The apparent paradox is that they were representing themselves and being represented in public as Americans while defining the conditions for belonging as Southerners or Confederates. In order to be classified as American in Brazil, with the connections controlled by the Santa Barbara group, being Confederate made things easier. Being Confederate was a way of controlling those connections and membership in the group. It was a way of defining, at least in certain areas, who could be an American. The Confederate flag was their exclusive sign. It marked boundaries in ways which an American flag could not.

One does not get rid of old clothes until being pretty sure that one will not be wanting to use them again someday. Indeed, as we will now see, descendants would find new reasons to wear their old clothes (or new Confederate outfits) well into the twentieth century.

Nationalism and Soil Depletion Harter's book provides us with insight into the ways in which descendants constructed their identity during the late 1920s and early 1930s. This was a critical moment in Brazilian history. In 1929 international markets crashed; coffee prices tumbled. The Old Republic (now "old"), based on coffee exports, also collapsed. In 1930 Getalio Vargas from Rio Grande do Sul took control of the government in Rio de Janeiro. Nationalist sentiment, accompanied by increasing criticism of the United States, had increased since World War I, and during the 1930s, with government incentive, this nationalism surged.

The American descendants were being affected by changing conditions.

Massive influx of Italian and other European immigrants, soon after the arrival of the Americans during the later part of the nineteenth century, altered the structure of rival groups in ways which threatened the ability of the Americans to maintain control. "In the beginning of this century, the production of plows and agricultural implements was transferred to the Nardini family. Already in 1908, Nardini agricultural machines dominated the field." Political control was wrested from Americans and passed to the Italians. In Americana, it would later pass to the Syrians. During the 1920s, as soil depletion hampered the 4ni-ef-i-eans farmers, another Italian would build an industry: The planters of Santa Barbara, after almost fifty years planting cotton, found that their land was not producing the abundant harvests like before. They decided to strengthen their land with fertilizer.... In Vila Americana, Achilles Zanaga, who had comp from Italy at the end of the previous century, started an industry for making buttons from bones.

In 1919, influenced by Americans who were using fertilizer, and by their neighbors who were seeing its advantages, Achilles started to grind the leftovers from his button factory. Slowly he began to add elements to enrich the fertilizer....

His largest consumer was John Cullen.

In an article published in 1928 in the

58

Geographical Review, Mark Jefferson described the Americans descendants as overburdened with debt, disheartened, and hating their Italian neighbors. The descendants started leaving the land and the region of Santa Barbara and Americana, and they moved to the big cities.

American Businesses Many descendants worked as interpreters and executives in United States and English companies. Harter wrote: "Confederados were often employed by US banks and industrial firms with offices in Brazil.... It felt as though the English language was the key to success." Jones illustrated this point: "The career of Richard [Pyres] was brilliant, for he became head of the entire electrical department of Light [and Power].... English-speaking companies absorbed many American descendants....

Sao Paulo Light and Power kept American names on its pay sheets for many years. They were employed in jobs which required knowledge of both languages, something which came naturally to descendants. Other new companies which were installed in Brazil needed this type of help and countless people offered their services. There were many opportunities for bilingual secretaries."

Some, like Eugene Harter himself,

who became a US consul in Sao Paulo, worked in the diplomatic services. Mary Miller, the granddaughter of Mary Thomas Norris, was heard regularly throughout Brazil as she reported from New York on the Voice of America radio network.

Ben and Dalton Yancey, whose father had defied the industrial interests of the North during the Civil War, became connected to American business interests in Rio de Janeiro.

Jones characterized the second generation of Americans, those born in Brazil, in the following way: "[They] came to live in two worlds at the same time, serving as a binding element between them." Descendants were carving out an economic niche for themselves as interpreters and intermediaries hired by US and other English-speaking businesses.

According to Harter, "[These] last Confederates, who once again challenged the frontiers, were culturally Latinized over time, and became 'as Confederados.'

If they were being hired by American companies, many of which would have been from the North, why would descendants still call themselves confederados?

In order to explore some of the meanings

which the term confederado held for the descendants, it is necessary to investigate some of the term's opposites. Who were those who called themselves confederados differentiating themselves from? Two moments in Harter's recollections provide insight.

Diplomats In a discussion concerning the Hastings colony, Harter took issue with the view that this settlement failed. He suggested that the fact that Southerners (sulistas) blended into the Brazilian population demonstrated, rather than disproved, the success of confederado migration. Harter wrote: "Such assimilation is difficult to achieve. In sixteen years m the foreign service [the author is writing from the United States], I have seen hundreds of American diplomats try to transplant themselves for a mere two-year stay in a foreign land. Many of them have barely made it through their tours. Even though these diplomats—unlike the Confederados—were expensively housed, some in baronial surroundings, they seemed lost, unable to adapt. Few ofthem learned the language, and almost none understood the culture of the country they were living in."

Notice the distinction which Harter made between "American diplomats" and confederados (or confederado diplomats, such as the author himself had been). By way of contrast, confederados are seen as those who understand local culture, speak the language, and know how to adapt.

Also, confederados do not live in expensive residences or elite districts. (...)

Now, perhaps, it may not seem so strange to see the interest with which some descendants still talk about the Civil War. Nor will it seem strange to know that a descendant such as Harold Barnsley Holland would hold on to an old family trunk containing instructions for making a Confederate battle flag. Indeed, as Griggs pointed out, "A relic of the Old South may be more significant in Brazil than in the United States."

The Fraternidade Descendencia Americana was formed on December 4, 1954. The statutes define members as "the descendants of the old American colony." At the center of the fraternity symbol, there are two hands shaking.

According to Harter, the handshake symbolizes the union of two cultures, Brazilian and American. Nonetheless, the handshake is encompassed by the design of the bottom triangle of a Confederate flag.

The descendants seem to have done like Derrida and put their American and Brazilian identities "under erasure." The fraternity might call itself American Descendancy and the two hands might symbolize Brazilian and American cultures, but the crossed bars which help form the angles of the triangle are definitely Confederate.

This article was excerpted from The Confederados — Old South Immigrants in Brazil— Edited by Cyrus B. Dawsey and James M. Dawsey. The University of Alabama Press, 273 pp., 1995, Tuscaloosa and London.

BRAZZIL - NOVEMBER 1996

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