Brazzil - Year 9 - Number 138 - June 1997

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Fayela is not the sweetest word in the dictionary. Au contraire, it conjures up scenes of shooting, drug dealing, stray bullets, children coming down from the hills with pieces of glass to terrorize drivers and rob them on the stop sign. At least, this is the most common image from those shantytowns encircling Rio as a reminder of how close the Fourth World is to the First World of Copacabana, Ipanema, and Leblon.

Not to transcend this first im-

11 Cover

pression, however, is very unfair to a place where 20% of Rio's population calls home, i. e., more than one million people, enough souls to populate some countries. It would also mean losint sight of all the cultural richness coming from the hills. Because despite its sometimes abject poverty, the favela has contributed to the arts, politics, and to ,a great extent to music, including samba.

And why are we talking about favelas? They are celebrating their 100th anniversary this, year. Maybe there is little cause for celebration there, but come November, the favelados will be commemorating 100 years that Morro da Favela was taken

hftp://www.brazzil.com by a group of sOldiers who were promised a place to live by the city, but were left on the docks of Rio to fend for themselves.

There was a time in which the only good favela was the razed favela.

This concept has changed since the dream of giving a decent house to everyone has proved impossible. On our cover story we talk about favela's history, pain, and promise, about a piece of Brazil.

R.M.

CONTENTS

100 years of favela

35 Travel

Mata Atlantica, caatingas, cerrados, pantanal

18 Economy

39

Sale of Vale brings protests and lawsuits

20 Ecology

The Body Shop tell its own story

22 Justice

The Body Shop loses in court

29 Short story

Adelaide B. Davis's "Os Alegres Rapazes da Banda"

Music Cover by Aylan Mello

Uakti - You can't describe their sound

DEPARTMENTS 6 Rapid inhas 16 Letters 46 The Cultural Puts 47 Por ai 49 Classifieds'' 50 U.S.A. Calendar 52 That's Brazilian

44 Profile

Caetano Veloso, a professional provocateur ,

54 Special

The life and passion of Carolina Maria de Jesus TIME TO RENEW?

Send mail to: P.O. Box 42536 - Los Angeles, CA 90050-0536 Ads/Editorial: (213) 255-8062 - Subscrip.: (213) 255-4953 Fax: (213) 257-3487 - WEB page: http://www.brazzil.com E-mail: brazzil@brazzil.com

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Publisher and Edi or: Rodney Mello / Entertainment Editors: Sam & Harriet Robbinl/ Book Review: Bondo Wyszpolski / Music Editor: Bruce Gilman / Representatives: MIAMI : Nosso Guia (305) 374-0o 96 Valeria Mendes (Calendar) / BRAZIL: Celso Sawaia (011) 885-9288 E- mail: csawaia@brhomeshopping.com.br BRAZZIL (ISSN 1091-868X) is published monthly by Brazzil - 2039 N. Ave. 52, Los Angeles, CA, 90042-1024. Periodicals Postage rate paid at Los Angeles, CA. Single copy sold for $2. One year subscription for 12 issues is $3 (three dollars) in the U.S., $15 in Canada and Mexico, and $18 (surface mail) in all other countries. No back issues sold. Allow 5 to 7 weeks to receive your first issue. You may quote from or reprint any of the contents with proper copyright credit. Editorial submissions are welcome. Include a SASE (self addressed and stamped envelope) if you want your material mailed back. Brazzil assumes no responsibility for any claims made by its advertisers.

POST MASTER : Please, send address changes to: BRAZZIL - P.O. Box 42536 - Los Angeles, CA - 90050-0536 BRAZZIL - JUNE 1997

5

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Still No Answer The Alagoas police had closed the case. The death one year ago of Paulo Cesar Farias, also known as PC, the man involved in a series of money rackets and with ties to impeached President Fernando Collor de Mello, was a case of a love affair gone awry.

According to this official version, Suzana Marcolino, PC's girlfriend, who was found dead at his side in bed, had killed the lover and then pointed the gun at herself. The conclusion was made just a few hours after the tragedy.

The Faria family was satisfied with the report, and a renowned coroner from Unicamp (University of Campinas in sao Paulo), Fortunato Badan Palhares, invited to study the case concurred with this conclusion.

Prosecutor Failde Mendonca, however, believes that she now has enough evidence pointing to a double murder. "We are going to investigate everything," she declared. And if possible, we will indict a criminal.

The police report presents a series of details that were not studied and that need to be explained."

The decision to reopen the case came after a panel of experts concluded that there was no way for them to prove scientifically that Suzana killed herself and that PC was murdered in the same room his body was found.

Congressman Augusto Ferias, PC's brother,

6

Mommy Blue Several advertisers intent on paying homage to mother in May, and hoping that in return they would get some customers for their clients, had the same non-original idea: putting mom together with her baby. All of these ad professionals also decided to add a twist to the trite motherinfant solution: they had the baby hungrily sucking the mother's breast.

Melitta, a manufacturer of coffee-making products took out a spread in the weekly newsmagazine Veja (1.2 million circulation), showing its sucking baby and the clever question, "Letnbra do seu primeiro cafe da manhcl?" (Do you remember your first breakfast?). In Portuguese, the word coffee (cafĂŠ) is part of the morning first meal. "A kiss to all mothers," concluded the ad copy created by Ammirati Puns Lintas.

Address, a health management firm, placed between the baby's hungry mouth and a visibly erect nipple this message in red (and in English): Happy Hour.

"Healthy Children. Every mother adores getting this present," was the clincher signed by ad agency Eco Mkt & Corn. The gorgeous tiny girl used by Rio's Fashion Mall seems sound asleep while she sucks away.

Next to the source of her meal there is the message: "Do you remember when you had everything you wanted in just one place?

You still have it." The piece was designed

by V&S. Johnson & Johnson used Mother's Day to push its tampons. Once again, Ammirati Puns Lintas was in charge of creation.

Topping a totally uncovered belly shown in profile, the ad copy says, "Homage to all the women who for sometime stopped wearing our product." The product is o.b. (the name comes from "ohne Binde," without a pad, in German).

Another Carioca (from Rio) mall used a woman's perfect, guitar-shaped naked body in profile to celebrate motherhood.

Rio Sul conveyed its message (by ad agency Salles/DMB&B) by building a growing stomach with parallel semi-ellipses of text.

The first reads: "One month. It happened with the first nausea and a little belly that only she noticed." The fourth and last line, simulating a big belly, says: "Nine months.

The appearance is like someone who ate a watermelon. A big one." It makes the filial devotion flow.

BRAZZIL - JUNE 1997

o ales

Going, Going, Gone The scandals' mud tide that is taking over Brazil is getting closer to the presidency, until now presumed to be above any suspicion. So close, in fact, that after the latest episode of politicians buying and being bought, president Fernando Henrique Cardoso sent his closest adviser, communications minister Sergio Motta, to Paris for some fresher air.

There has been nothing proven against the tough, shoot-from-the-hips Serjao, but the simple mention of his name on a secretly taped conversation between two congressmen about the loot they received for siding with the government on a vote, was enough to turn on all the red lights and alarm bells in the Palacio do Planalto, Brasilia's White House.

The damage to the President's image was severe. In less than two weeks, his popularity index fell seven points, according to a Datafolha poll, showing that his Teflon coating has been wearing off. While on May 5 Cardoso received from 41 percent of those polled excellent and good marks for his job in the presidency, this number decreased to 34% in a poll taken on May 16.

There was also a tumble in the stock market for Telebras, responsible for 60 percent of the Sao Paulo stock market movement. It forced the index down by 3.42 percent in Sao Paulo, the biggest loss since February, and by 2.87 percent on the Rio stock market. Even in New York, the Telebras papers had a 4 percent decline.

The latest of a series of scams came to light after Brazil's largest daily, Folha de sao Paulo, began publishing on May 13 transcripts oftwo House representatives from Acre state revealing that they had sold their votes to support a constitutional amendment that would allow Cardoso to be a candidate for reelection, something now forbidden by the Constitution. The taping monitored by Folha was carried out for five months by a character whom the paper calls Mister X. Ronivon Santiago and Joao Maia, both from Acre state and both from the PFL (Partido da Frente Liberal—Liberal Front Party), confided on tape that each had received $200,000 for the vote and implied that the money had come from Motta through Amazonas state governor Amazonino Mendes. Motta, who is famous for putting his foot in his mouth, has assumed a leading position in the Lower House battle to assure the government's victory in the reelection war.

The PFL was swift in applying its summary justice. "Does anyone here doubt the authenticity of the Folha de Selo Paulo report?" asked the leader of the party, Luis BRAZZIL - JUNE 1997

Eduardo Magalhaes, in a meeting to discuss the matter. There was a c ndemnatory silence in the room before agalhaes announced his decision to eject from the PFL both congressmen.

The administration's reaction lso came fast. Worried about losing more ground to the opposition, the government gave two ministries to two PMDB (Partido do Movimento Democratico Brasileiro— Party of the Brazilian Democratic Movement) congressmen. Eliseu Padi ha, from Rio Grande do Sul, was awarded the ministry of Transportation and se ator Iris Resende from Goias got the Justi e ministry. Not bad at all for someone ho a few weeks earlier had led a defeat d revolt against Cardoso's reelection.

Commenting on the shaky moral grounds of Cardoso, Veja wrote: "When President Fernando Henrique decided to make the reelection its number one priority, he placed his government in the same shady world in which a predecessor, Jose Sarney went, battling for a five-year mandate, and another, Fernando Collor, tried to avoid impeachment. Sarney used radio and TV concessions to win. Collor utilized money and loans from Banco do Brasil and he lost. Fernando Henr que has placed Serjao in the reelection's ba le forefront, and the government has e tered a new considerably less bright pha e."

Congress has been a frequent counter for exchanging influence for money in the last few years. There was the PSD (Partido Social Democratico—Social Democratic Party) campaign to increase its ranks when house representatives were offered 30,000 a head for those willing to join th t party.

Paul Then there was the bingo lobby thLtzalleg's conedly paid $300,000 to sao gressman Marquinhos Chedid.

Representative Pedrinho Ab k) had the spotlight on him after trying t get a 4 percent commission on a $42 million project for which he helped to get c ngressional approval. And there was o course the infamous budget's midgets sc ndal in which a whole gang of legislato s were getting their cut on federal moni s they helped to secure.

didn't appreciate the reopening of the case.

"They are using this for a personal dispute among experts," he said. "The best solution would be to invite foreign experts for a definitive probe."

A Matter of Honor In a 14-hour rampage, former army soldier Genildo Ferreira de Franca, 27, terrorized So Goncalo do Amarante, a little town in the interior of Rio Grande do Norte, in a methodical, personal revenge mission that left 15 people dead.

Surrounded by police, he released Valdenice Ribeiro da Silva, 16, and his own five-year-old daughter whom he was using as hostages, and then killed himself.

FranCa had a list of 20 people who he believed had in some way offended him and who deserved to die, among them a driver who killed his little son two years ago, and his second wife with whom he lived.

He accused her of starting a nimor that he was homosexual. After killing his wife, he made Valdenice write: "I dare anyone to prove that I was homosexual. I wasn't and I will not be. All this tragedy was caused by such a commentary."

He also asked forgiveness for not having vindicated the son's death.

The massacre started around 7 PM on May 21 when Franca took a taxi, shot and killed its driver, and then used the car to put his plan in action.

Some people he killed

7

after drinking with them, a policeman who tried to stop him was also shot dead. Before killing Edilson Nascimento, he screamed, "Now I want you to see you saying that you screwed me."

Jail Break Brazil is experiencing a spate of prison rebellions this year. By mid-May, there were 56 in the state of Sao Paulo alone. On May 19, for example, there were four mutinies going on at the same time in different parts of the country. The main complaint is always the same: overcrowding.

In Taubate, Sao Paulo, 312 inmates took over a jail with room for only 80 prisoners. In FlorianOpolis, Santa Catarina state, the 57hour mutiny undertaken by 160 prisoners only ended when authorities agreed on transferring 134 inmates to other jails.

The state of Sao Paulo is in need of 25,000 new vacancies and several new prisons are being built right now.

But the state will never catch up with the demand, says Joao Benedito de Azevedo Marques, Sao Paulo's state secretary in charge of the prison system. "It makes no sense placing someone condemned for the first time with hardened criminals," Azevedo Marques said.

Jaw Breaker The always-creative soccer crowd in Brazil has invented a new cry to animate the stadiums.

After months of success, the immensely popular "Uh Terere" has given way to the "Ah, eu to

8

agam More than ABC As if they were answering to an imaginary roll call, people present at the wake for Paulo Freire started to scream in unison when the 75-yearold educator's body was leaving Sao Paulo's Catholic University Theater (TUCA): "Professor Paulo Freire, present now and for ever." Just a little earlier, first lady Ruth Cardoso, representing President Fernando Henrique Cardoso, tears rolling down her face, was barely able to give her farewell to a dear friend. "I am here to remember the good friend and great educator," was all she managed to say. "He got more respect in the United States and in Europe than in Brazil," remarked Luiz Inacio Lula da Silva bitterly, leader of PT (Partido dos Trabalhadores—Workers' Party), a party Freire helped found.

The educator died in sao Paulo of a heart attack at age 75. Born in Recife, state of Pernambuco, Freire was just starting to make his impression on Brazilian education when he was jailed and then forced into exile in 1964 by the military dictatorship, which took over the country in April of that year. He was then President Joao Goulart's director of the National Education Plan, a project with the lofty goal of teaching reading and writing basics to 16 million adults in just four years.

Essentially a monoglot, in the ensuing 16 years of banishment he would become an international authority on pedagogy, teaching classes at Harvard and Geneva (Switzerland) University.

His works were translated into more than 20 languages. A tribute to his worldwide influence, the 766-page tome Paulo Freire: uma Biobibliografia (Paulo Freire: a Biobibliography) published in Brazil in April 1996, contains essays by 150 authors who cite close to 3,000 of his admirers in every corner of the world.

The Paulo Freire method—there was never a Paulo Freire school of education as with Swiss child psychologist Jean Piaget and Italian educator Maria Montessori—was tested for the first time in 1963 with 300 illiterate adult farm workers from Angicos, in the interior of Rio Grande do Norte state. They all learned to read and write in 45 days.

The basic idea behind the method is to teach students utilizing the keywords from their daily life. Highly politically charged, the Freire method maintains that people so taught are also being prepared to take charge and change the world if needed.

maluco" (Ah, I feel crazy) refrain. As with the prior motto, the new one came from the funk balls of the Rio's.favelas (shantytowns). Its creator, Jorge Silva da Rocha, 22, earns $250 a month selling shoes on the streets of Madureira, a Rio suburb. He says that the craze started after a January bet with friends during a ball at Portela's samba school. He won 50 bucks by stepping on the stage and screaming, eu to maluco."

The phrase was used by rappers and it soon became all the rage. But it might also soon be forbidden by dental associations all over the world. Fat Boy, one of the rappers who adopted the chant, uses to invite male members from the audience to prove that they are also "malucos."

The test consists of submitting their faces to the blows the maluquetes, a group of dancers, deliver with their prominent derrieres.

Some of the happy-golucky volunteers have lost dentures and teeth in the adventure. The public, as expected, always asks for more.

Castro Helpers No other country sent more brigaderos to Cuba this year than Brazil.

The Associacao Cultural Jose Marti alone sent 105 of them. They came from Bahia, Mato Grosso, Minas Gerais, Rio de Janeiro, Rio Grande do Sul, and sao Paulo to join the so-called international brigades of solidarity.

Most of these volunteers were teenagers who used their summer vacation time (from January to March) and had to pay BRAZZIL - JUNE 1997

$850 for the privilege of working for two weeks in an orange plantation in Caimito, an area 45 minutes by bus from Havana. Despite the military-like schedule that included waking up at six in the morning and sweating the shirt in the fields, the youngsters seemed to love the experience.

"That's better than Disneyland," said 16year-old Eduardo Pessoa de Andrade in an interview with Rio's daily 0 Glob°. The Carioca (from Rio) upper-middle-class student, who wants to be an architect, should know. He made a trip to "the happiest place on earth" when he was ten.

Case Closed After Guilherme de Padua it was his former wife Paula Thomaz's turn to be condemned for the December 1992 murder of TV star Daniella Perez. On May 16, a split jury (4 votes against 3) considered her guilty and judge Jose Geraldo Antonio condemned her to 18.5 years in prison, just six months less than the exhusband. Incredibly, the law allows for Guilherme and Paula to be free on parole starting next year. After all the mutual accusations, there is actually talk of a reconciliation between them.

The five upper-middleclass youngsters from Brasilia who doused an Indian sleeping at a bus stop with gasoline and then set him on fire—and 4, later justified their murder with a "we- thought-he-was-just-abeggar" argument—will be judged by a court of law. The Patax6 Ha-hahae Indian, Galdino BRAZZIL - JUNE 1997

Politics

Tough Talk "I have been tolerant and patient because this is the way I am and because this is the duty of someone w o has the people's mandate to govern the country. The I it of patience and tolerance is democracy."

It was a harsh speech that was delivered by Fernando Henrique Cardoso on May 22.

The President had never before seemed so upset since being inaugurated on January 1995. He went on to condemn the invasion of private and public properties by protesters opposing his government.

The opposition saw Cardoso's blasting oratory as the desperate reaction of an authoritarian regime losing the total control of the nation it enjoyed until now. "The government has to learn to be humbler and change direction if it wants to establish a serious and constructive relationship with the opposition," said Workers Party (PT) representative Jose Geno,ino. "The government has completely controlled the game and ended up throwing out many balls and now is complaining about lost time," Genoino concluded.

In the span of less than one week in May there were at least four large protest demonstrations. On May 10, a group of homeless shouted slogans against Cardoso in front of the President's residence in HigienOpolis a neighborhood in So Paulo. The homeless crowd along with some 2,0 0 people then invaded City Hall four days later demanding that 20 perce t of the budget for building new ouses be given to the protesters for self-help programs.

That same day in Bras'lia, farm workers from the Gritcr da Terra (Land's Yell) movement invaded Agriculture minister Antonio kandies cabinet with a goat, a pig, and aperu (turkey), which in Portuguese is also synonymous for penis. The group emptied the cabinet's refrigerator and made several longdistance telephone calls, even some to foreign countries.

And in Belo Horizonte, capital of Minas Gerais, where Cardoso went for a meeting of commerce ministers of the Americas, protesters with their heads covered by hoods and T-shirts and armed with stones and Molotov cocktails attacked police, leaving five policemen hurt. Ironically, they also burned U.S. flags while the President was condemning American economic policy towards Brazil.

In an editorial, conservative daily 0 Estado de S. Paulo demanded a tougher stand from the governmeit: "It is necessary that police discourage these violent demonstrations, using adequate energy, and more than that, do not allow that the ruffians' leaders stay free and unpunished."

Jesus dos Santos, 44, was burned alive on April 20 by Tomaz Oliveira de Almeida, 18; his younger brother G.A. (Brazilian law forbids the publication of names or photos of minors involved in crimes); and Max Rogerio Alves, Eron Chaves de Oliveira and Antonio Novely Cardoso de Vilanova, all 19 years old.

Since Novely is the son of a federal judge, the PataxOs applauded the decision of taking the youngsters to the ordinary jurisdiction and not the federal one, and they are hoping they will receive at least a minimum of impartiality.

What they didn't understand was the line of reasoning used by prosecutor Marcia Domitia who wanted them to be tried in federal court. "The Indians are a species in extinction," she said, adding: "Santos's murder was a grave crime against our fauna."

A Place on Space A Brazilian astronaut is not a far-fetched idea anymore. If everything works as planned, in 2004 the first Brazilian in space will be wearing that funny suit and teaching the world some Portuguese. To have this privilege, Brazil will have to accept NASA's invitation to be part of a 14-country group that will build an international space station.

Brazil will be the only participant from Latin " America and will have to dish out $100 million.

Peanuts, when you consider that the project—which involves nine European countries, Japan, Russia, Canada, and the United States— will cost a total of $42 billion.

9

istory

Gays in Uniform In Brazil, a country in which military service for men is compulsory, homosexuality in the Army is a crime punished with up to one year in jail. This fact hasn't intimidated or prevented Flavio Alves, 27, former Navy corporal and outof-the-closet gay, from starting a national campaign encouraging gays to enlist in the Army. Yellow billboards with red and black characters being displayed in Sdo Paulo, Rio and Belo Horizonte, capital of Minas Gerais state, say, "Gays from all of Brazil, on your 18th birthday enlist yourselves. Military service everyone's right."

Black Eye Just before the start of a May rodeo festival in Pirajui, in the interior of Sao Paulo, a bag was opened and from it jumped a confused and naked eight-year-old little black kid. While people screamed and laughed, the boy didn't know where to run. The scene was shown on national TV. Pirajuf s mayor, Jose Ortega, can't believe the flack he is getting from some quarters. "What's all this fuss about?" he asked.

"We do this all the time."

No Butts Tired of answering in the negative to the question, "I-fave you insured it?", Carla Perez, 19, the blonde owner of the most famous buttocks in Brazil has finally insured her most precious asset—for $12.6- million! A pool of national and foreign companies, led by midsized Nobre, is guaranteeing the integrity of the national treasure. The insurers ran into a serious problem when it came time to write the policy: How to say bumbum, the equivalent to butt in Portuguese, in a soserious document? The gray-suited businessmen opted for a body part very close to the one insured: the quadris (hips).

10

Name That Tune It has been so long since their songs had been banned that some composers did not even remember that they had written the lyrics. A recent opening of the Federal Police's Public Entertainment Censorship Division's (the infamous SCDP) archives is giving a glimpse of the criteria (or lack of) that the military dictatorship used to suppress information and protect the public from the deleterious effects of rebellion or sensuality.

When the censors didn't have a clue of what the words were saying, they would veto them anyway, just to be safe. This happened, for example, with the late Raul Seixas, who in "Rinoceronte III" (Rhinoceros III) created neologisms such as "Ahpate, ahpatetado/ Gosgordo/gosgordura/ Urrantes, Urrantejoulas..." The song was forbidden without any explanation for the veto.

For 24 years, from 1964 to 1988 when it was finally closed, the SCDP examined more than 60,000 music titles. Even romantic ballad composer Roberto Carlos had lyrics banned for erotic and political reasons. The SCDP vetoed lyrics from composers as diverse as Gonzaguinha, Tim Maia, Luis Melodia, Ze Rodrix, and Geraldo Vandre.

For some people, their names alone on a composition were enough to guarantee a ban. Composer Julinho da Adelaide had several compositions approved before the censors noticed that the royalties of his songs were being paid to Chico Buarque de Hdllanda. Naturally, Julinho was Chico's nom de plume. Aldir Blanc and Cesar Costa Filhos's never-recorded "Antes e Depois" (Before and After), vetoed for indecent assault, exudes innocence: Pedias suplicante You asked supplicant Que eu nao fosse sO amante That I be not only lover E te amasse como a derradeira vez And loved you as though it were the last time E fizesse do meu ser o teu And made of my being, yours Depois de amar After making love Adormecias qual menina You slept as a little girl Desmaiada e pequenina Fainted and very little Que mentiu que era mulher Who lied that she was a woman

Auto da Fe Navalha na Carne (Razor in the Skin), Plinio Marcos's classic play about prostitute Neusa Sueli written in the '60s has finally made it to the big screen.

Directed by Neville de Almeida, the film was shot in the red light district of downtown Rio, giving Cariocas a glimpse of movie making.

Former Miss Brazil and TV and movie star Vera Fisher, 45, is the star. In

one day alone in April, La Fisher gave a show of interpretation, playing an angelic bride in the morning and then a crucified whore at night. "It's a wrap," screamed Neville when the crucifixion scene set on a hill close to the Santa Tereza neighborhood ended. The shooting ofNavalha na Came was concluded. "It was tough, but worthwhile. I am already missing Neusa Sueli," said Vera Fisher, after her tour-de-force.

BRAZZIL - JUNE 1997

A

Historians dispute when favelas started in Rio. The city, however, is commemorating the centennial of its creation. Nothing to celebrate there?

You might be surprised. Focus of poverty and crimes, Rio's shantytowns have also been the cradle of samba and many other achievements of the human mind.

They also have been the inspiration for movies, plays, literature and all kinds of art.

RODOLFO ESPINOZA

BRAZZIL - JUNE 1997

s far as anniversaries go, although this one is a centenary, Carlo cas (Rio's residents) would gladly skip it.

This year Rio is celebrating 100 years of a way of life that around the world has become synonymous with bad and squalid living: the favela.

Although there is no consensus about the precise time the first favela appeared it is generally agreed upon that 1897 was the year the first large one was started. It was in November of that year that 20,000 Northeastern federal troops, who had fought and won the Canudos's war against Antonio Conselheiro in Bahia, were brought to Rio and left on the docks without a place to live. Tired of waiting for the government's bureaucracy, which couldn't find them a house after having promised them one, they just took over the closest hill in a neighborhood known as Gamboa, to build their improvised shacks.

The military men called the place Morro da Favela inspired by the name of the hill where they had camped before launching their offensive against Conselheiros's jaguncos. Both hills had in common an abundance of a nettle-like shrub that burns the skin when touched and whose name is favela. Not everybody, however, believes that such a plant was present in the hill. Historian S6nia Zylberberg, author of Morro da Providencia: Mernorias da Favella (Providence Hill: Memories of Favella), considers this version very unlikely. Zylberberg points out the big difference between the soil of Bahia's arid backlands and Rio's fertile land. The historian says that the name of favela might have - been given to the place by the semislave women brought by the soldiers.

Still another version forthe name's origin—one that is told among the older residents—is that the troops planted in the area favela 's shoots brought from Bahia. They didn't grow in the new habitat, however.

Zylberberg also disputes the notion that Morro da Favela was Rio's first . favela. According to her, there was already at least another important shantytown—since then razed-- at Monte Castelo.

A few years later, the area had its name changed to Providencia, but the namefavela had acquired a new meaning. Started inside a jungle, the Favela da Providencia, as every other shantytown today, is a maze of dingy little buildings, one crowded next to the other, and whose walls many times don't let you know where one house ends and the next one starts. Favela da Provide'ncia stands as a ghost in the heart of Rio with a privileged view of downtown's high-rises and as a too11

close-for-comfort reminder of the Fourth World living side by side with the First World. Although the namefavela originated in the settlement started by the Canudos soldiers, other Carioca (from Rio) families had already occupied the hills around town as a way of living affordably and close to downtown.

GOING UPHILL

1989, eight people allegedly part of a drug gang were killed by the police there. In 1991, the most famous drug lord of Providencia, Ednaldo da Silva, the Naldo, and his gang tortured and killed detective Regina Coeli da Cunha. Naldo was murdered a few months later.

But Providencia was also theme for escolas de samba's (samba schools') enredos (plots) and the set for director Humberto Mauro's 1935 film Favela dos Mezis Amores (Favela of My Loves), which was lost to a fire in the '40s.

Mem de SĂĄ, in 1557, after expelling the French who had created Antarctic France, moved Rio's headquarters to Morro do Castelo. The move to a hill wasn't only strategically sane, due to foreign invadA CERTAIN PRIDE ers who would eventually come back, but also a health imperative since the flatlands were littered In the year of its centennial, residents from the with swamps containing a fertile soil for epidemics. former Morro da Favela have the same complaints as As Sonia Zilberberg, author of Morro da people from other hundreds offavelas in town. They Providencia: Memorias da Fare//a (Hill of Proviwant their trash picked up, their sewer connected to dence: Memoirs of Favella) tells us, the Catholic the city's sewer system, their potholes fixed, and the Church continued this hill-bound trend by building frequent shooting wars stopped. But nobody wants to their churches and convents on the hills. In the 18th admit that they have a problem with drugs, at least not and 19th centuries the hilly area around Rio had also inside the fare/a, where the shack's walls seem to become the most sought after refuge for runway have ears. slaves, who established their quilombos (for-blacksThe city's administration has promised several only independent towns) there. With the abolition of improvements for 1998, but Providencia's residents slavery in 1888 more blacks joined in, but the migrawould like them to coincide with their 100th annivertion to the hills by rich people also increased. Despite sary. Among the improvements that are part of the the high cost of building on the hills and the difficult project Rio Cidade are street paving and removal of access, the wealthy established ranches to flee from a 200 houses that are in the path of mudslides. downtown that had become too noisy, too busy, and "Despite everything, we are very proud of being too filthy for their tastes. One of the favorite places the first fare/a," Aurora Conceicao Parreira, presifor the well-to-do was Sao Cristovao. dent of Providencia's Residents Association declared In 1893, the hills' population got a big boost after recently. Curiously, in its bylaws, the group created in the city decided to demolish an infamous cortico the '60s, refers to their neighborhood as Morro da (slum) known as Cabeca de Porco (Pig's Head), a Favela. complex inhabited by 4,000 people. Some 20,000 Music, literature, and art are not alien to the houses were evacuated around the same time by Rio's favela. Much of the samba that has been composed for mayor Pereira Passos. generations is from these inspiring hills. More reHistorian Milton Teixeira places the start of Rio's cently,favelas were also the inspiration for books like favelization in the years following the 1888 law liberCidade Partida (Divided City) from journalist Zuenir ating the slaves. Few people living on Morro da Ventura.

Providencia today know about the history of their hill Director Nelson Pereira dos Santos made his 1955 and there is very little neo-realist Rio 40 Graleft from those pious (Rio 104° F) inside neer years. On the top Rio's fare/as. Orfeu Some comp arisons of the hill there is a Negro (Black Orpheus), wooden cross that is the 1959 Oscar winner between city a nd fa vela illuminated at night masterpiece by French and a dilapidated director Marcel Camus, City Favela chapel which has was inspired by and Average monthly salary $701 $205 been declared a nafilmed in a favela. The Number of residents per house 3.5 3.98 tional monument film was based on the Number of rooms in the house 4.8 4.06 since 1986 by the book Orfeu da ConceiHead of house making more than $1200 0.61 15.1 Patrim6nio Historiciio by Vinicius de Head of house making less than $240 35.5% 72.3% co. An image of Moraes and Antonio Head of house with 15 years of school 1.07% 16.7% Christ, which acCarlos Jobim. It was Illiterate people 6.1% 15.36% cording to legend also in the '50s that Inadequate sewage 8.9% 36.74% was brought by the Antonio Cal lado wrote Inadequate water 3.9% 15.41% soldiers, has disapits fave/a-inspired Inadequate trash collection 4.3% 21.23% peared. But the place novel Pedro Mico. In still has an old cross the '60s, five directors from those times. combined their talents At the beginning of the century, there were close to produce Cinco Vezes Favela (Five Times Favela) a to 100 shacks on Morro da Providencia. By the '20s five-episode film on the travails of a shantytown. this number had increased to more than 800, and in The favela continues to inspire a new generation 1933 they were already 1,500. According to the 1991 of filmmakers. Murilo Sales's just-released Como census, Favela da Providencia has 2,895 residents Nascem as Anjos (How Do Angels Are Born), howliving in 727 shacks. ever, tell of a place from which romanticism and The place has had its share of fame mainly through bohemia have long gone. A favela portrait nowadays headlines on the newspapers' police pages. In 1968, necessarily includes drugs, shooting wars, plenty of 50 people died after a landslide caused by rain. In blood and abject misery.

BRAZZIL - JUNE 1997

CITY INSIDE A CITY If favelas have been in the news lately as the cradle of samba, sanctuary of funk, or the sKfoi, Michael Jackson's, Spike Lee directed vae68Ip They Don't Care About Us, more often than not they have been the set for natural tragedies such as mudslides or police massacres as the one in Vigario Geral in 1993.

Today, 17% of Rio's population lives in favelas. There are at least 600 of them with populations varying from a few dozen people to 50,000 or more. And though nowadays they are accepted as an integral part of the city, these shantytowns have always been prime candidates for demolition. Only recently has this policy changed.

According to historian Milton Teixeira, all urban planning for Rio until 1977 contemplated a day in which every single shantytown and slum—considered urban cancers—would be destroyed, with their residents being removed to residential complexes outside the urban area.

Only in 1968, with the urbanization of Favela de Bras de Pina, the town's administrators found out that improving living conditions in already established communities was a more effective and practical way of eliminating or at least abating the blight. The eradication offavelas had become a very traumatic experience for those having to move: people who would be displaced far away from their jobs, children taken away from their schools and friends they were used to. Some people have been living for decades in what it is called a slum, but they call it home. Despite all of this, between 1960 and 1975, Rio's authorities removed 137,774 people from more than 80 favelas. For the most part, they were eyesores too close to the best neighborhoods in town.

According to Rio's Iplan (Empresa Municipal de Informatica e Planejamento—Data Processing and Planning Municipal Company), the number offavelas increased from 134 with 337,412 residents in 1960 to 372 and 717,066 inhabitants in 1980. The latest IBGE's (Institut° Brasileiro de Geografia e Estatistica—Brazilian Institute of Geography and Statistics) census, in 1991, revealed that the population of favelas had increased to 962,793 residents spread over 573 shantytowns.

As Iplan's architect Ricardo Ferraz noted alarmingly, in an interview with Rio's daily Jornal do Brasil, "From 1980 to 1991 there was an 8% increase in the population of the city as a whole while among favelados this increase was 34.5%."

In Brazil as a whole, there is a lack of 5 million residences. Around 25% of this deficit is in the southeastern part of the country, which is also the nation's richest region and where 17.9% of the population lives in less than inhabitable quarters.

WELCOME TO ROCINHA Since the end of April, the residents of Rocinha, often presented as the largest Latin Americanfavela, with an area of 722,480 m2 and 42.892 residents, according to Iplan/Rio (the population data is from the 1991 Census), are cable-ready, joining a revolution that had been reserved in Brazil up to now for some privileged individuals from the upper middle

class. Initially, hrough TV Roc, they will be able to see 33 different channels paying as $64 for installation and $32 a onth. Before the end of the year they will have their own community channel. For the same service, other neighborhoods the price is $180 for install tion and a monthly fee of $53.

The Argentinean group responsible for the venture has invested $3 million. Their goal is to have 10,000 houses cabled in five years. Initially, the service will be offered to around 2,000 buildings on the foothill, where commerce is concentrated.

Sales people and cabling technicians were recruited among Rocinha's favelados themselves.

Rocinha started in the '40s, after a group of squatters took over the land. As with many favelados, Roci ha's residents don't have a deed for the lot and the ouse they live in. The area was a ranch that belo ged to Frenchman Don Castro Guidon. Portugues and French immigrant bought lots when the proper y was subdivided in the 1920s. The company respo sible for the sale of the land, however, went bank upt and the irregular occupation of the area then st rted.

Their popul tion boom occurred in the '70s with the construction fever in Barra da Tijuca, a neighboring high-class rea. More recently, people from northern slums ave moved there so they could be closer to their j .bs. Since the beginning, the growth offavelas has p ralleled that of job opportunities.

According ti the Associacdo de Moradores da Rocinha (Roci ha's Residents Association) their favela has 200,100 residents. Much more conservative, the latest I GE's census, from 1991, puts this number at a lit le less than 43,000. Census data farther reveals t at Rocinha has 11,900 residences with an average of 3.7 rooms per house. The residents' average age is very low: 67% ofthe families have a head oft e household making less than $250 a month. Howe Cr, it's common that more than one person contribu e to the family's budget. More than 94% of the resi ents have running water and trash collection is ma se in 91% of the houses. Only 57% of the buildings however, are linked to the public sewer system.

Thanks to t e effort of the residents, who have organized them elves into associations and clubs, Rocinha today .njoys a better living standard than most other fav las. Among other amenities, the shantytown has five schools, a modeling agency, two free health linics, 25 butcher shops, 12 video rental stores, a 1M radio station, a samba school, a soccer team, a t xi stop, a hotel, a bank, two post offices, a telephone center, a small claims center and two police statibns. Maybe that's why rental of a one-bedroom hbuse might cost as much as $250 a month uphill and $500 when closer to the foothill.

There are also several community-oriented services such as nurseries and clubs financed by NGOs (NonGovernmental Organizations) and religious organizations. The Centro de Formagdo Profissional 13

BRAZZIL - JUNE 1997

(Professional Education Center) for example has been a success. It has 80 students learning computer skills at night courses with the help of six computers and three instructors. Funded with a grant from a Swiss NGO, the computer center is proud today of being self-sufficient thanks to the $25 to $35 monthly fee it charges from its students.

"Rocinha's residents love to have everything," says Jorge Luis Nascimento da Silva, who has lived there since 1970, and is the administrator of the 27th Administrative Region in which Rocinha is included. "It would be difficult to find a house without a videocassette recorder and 70% of the residents have a credit card," he adds.

Rocinha still hasn't benefited from Rio's Favela-Bairro program, which is re-urbanizing several favelas. The effort had been limited up to now to medium-size favelas with no more than 10,000 residents. This started to change in May when Rio's mayor Luiz Paulo Conde and Caixa Economica Federal's (the federal government savings bank) president Sergio Cutolo signed a contract to re-urbanize Jacarezinho favela, a shantytown with 48,000 dwellers. Caixa is contributing $12.3 million to the $17-million project.

Work should start next year and it will include building, repairing and enlarging houses, besides the paving of streets, sewer services, and electricity. The Favela-Bairro program today attends to 73 communities. Next in line for the same improvements are the favelas Rio das Pedras, Vila Vintem, Complexo da Penha, and Complexo do Alemdo.

MISERY BELT While living conditions have been improving for favelas south and north of downtown Rio, the city still has thousands of people living in much more abject sets mainly in the west zone and hidden from the population behind the rich neighborhoods of Barra da Tijuca and Jacarepagua.

Many Cariocas have never heard about some of these places that came to the papers' front pages recently after March's torrential rains, which left 39 people dead in the area. This is where Cidade de Deus is located—on the news recently after an indiscreet camera showed policemen beating and extorting money from peaceful passersby—a complex of eightfavelas including one that goes by the suggestive name or Ratolandia, land of rats.

Blasted by mudslides, Ratolandia's residents noted not without irony that they were transferred to that area after the killing floods of 1966. At that time, they were told by authorities that the transference was a provisory one. Community leaders believe that there are from 40 to 50,000 residents in Cidade de Deus alone. When the subject is favela statistics, official numbers and reality always seem unreconcilable.

According to Iplan/Rio, Jacarepagua has 67 favelas with a population of 54,019 people. Leaders in the area, however, talk about 400,000 people, which seems exaggerated. After the rains, this year, reporters of Jornal do Brasil visited the region and in one week discovered 15 communities that were not catalogued by Iplan/Rio. This flagrant omission lead us to doubt other Iplan data such as the number of shacks in the area connected to sewer service (65%) or that only 20% of residences use the so-called gato (cat), clandestine connection to the electricity poles. In some places like Rio das Pedras the police rarely appear. To maintain a semblance of order, merchants get together and pay for their own police. These armed 14

Id id kirie, kirie, ia Id id kirie, kiriê, id id a, a Id id kirie, kirie, id id a, a Iá iã kirie, kirie, iá id a, A refavela revela aquela ue desce o morro, e vem transar atribiente efervescente uma cidade a cintilar A refavela revela o salto tie preto pobre tenta dar Quando se arranca Do seu buraco Pr'um bloco do BNFj refavela, a refavela, oh!

Como 6 to bela, como 6 tdo bela, oh! refavela revela a escola De samba paradoxal Brasileirinho pelo sotaque Mas de lingua internacional A refavela revela o passo Corn que caminha a geracdo Do black jovem, do black Rio fDa nova danca no saldo

d id kirie, kirie, id iã a, a Id id kirie, kirie, id id a, a Id ia kirie, kirie, iá id a, a I. ia kirie, kirie, iáa, a The refavela reveals that one Who goes down the hill and comes to enjoy The sizzling mood Of a scintillating town The refavela reveals the jump that the poor black man tries to make When he gets out Of his hole Into a BNH (How block The refavel How pretty i it is, oh!

The refavela Samba school Brazilian by its ace But talking an international language The refavela reveal'th a step With which walk the generation e Of the black am black Rio Yawl Of new dance in the hall

Id id kirie, kiriem id id a, a Id id kirie, kiriem id id a, a la id kirie, kiriem id id a, a Id id kirie, kiriem id id a,

Id id kirie, kiriem Ida kiri :, k iriern ia Iia d id , kiriem lri611 iá ja a, a' a

A refavela revela o choque Entre a favela-inferno e o ceu Baby blue rock Sobre a cabeca e urn povo chocolate e mel refavela revela o sonho De minha alma, meu coracdo De minha gente, minha

The refavela reveals the shock Between the hell-favela and heaven Baby blue rock Over the head Of a chocolate and honey people Thee refavela i•l eveals the dream Of my soui° f my heart Of m$1,folks, only

Maria J oss°6,mJell odtoe A refavela, a refavela, oh! corm:kJ:4o beta, como 6 tdo bela oh!

A refavela Alegoria, elegia, alegria e dor Rico brinquedo de sambaenredli Sabre medo, segredo e A refavela, batuque pu De samba duro d marf Marfini da costae de

isdp

reta, Maria Jose, Joao The refavela, the refavela, ohi how pretty it is, how pretty it is, oh!

The refavela Allegory, elegy, joy and pain Rich tetY Of a samba plot About fear, secrecy and love The refavela, pure drumming Of samba hard as ivory Ivory from the coast of Nigeria Misery, satin clothes BRAZZIL - JUNE 1997

men are often vigilantes acting as a death squad that delivers summary justice.

MAKING THE BEST OF IT Many people in Rio have given up their hope that they can solve the shantytowns' problems or that they will be able to hide the favelados, and decided not only to live with it but also, sometimes, to make a profit out of it.

Many middle-class youngsters go up the hill every weekend for the animated funk balls of thefavelas.

For years now, tourists and locals alike have joined the escolas de samba in their quadras for rehearsals.

Nothing new, however, in this rapprochement between the shantytown and the town proper. "To discover the favela is the latest rage," Carioca writer Annibal Bonfim noted in 1927. Fifty years later, another writer is trying to prove that this still holds true. Andre Fernandes, a twenty-six-year-old former missionary, has used his first-hand experience inside favelas to write the soon-to-be-published Guia Rio Favelas, a different tourist guide with numbers and stories of Rio's 50 largest slums.

For this work he also used the statistics from the IBGE and Iplan/Rio and articles published in newspapers during the last few years. The book will tell not only about what buses to take, and what clubs and commerce there are in a given favela, but also the names of past and present drug lords and where to catch the most lively weekend funk ball.

In an interview with the daily Folha de sao Paulo, the author talked about the danger of people trying to get in favelas dominated by drug dealers, in which a sentinel lets only known people in. "You need to adopt a secure way to visit a favela," he advises. "I would like to see people not behaving as if they were in a zoo, but willing to experience something different, a place where there is fear, but also interesting things to do." He suggests that people try to contact the community associations before entering the favelas.

Riotur, Rio's tourism auThe Tree thority, has already included a sanitized official tour of the in the Root favelas in its city guide. The of All so-called Favela Tur goes through two shantytowns in San Jatropha phyllaConrado, on the south side of cantha is another name town: Rocinha and Vila Canoas. for favela, a plant that Some people have gone so is also known asfaveleiro and mandioca-brava' far as to move to the favela to feel more secure. Probably the (wild manioc). The most illustrious favela resident plant grows mostly in is senator Benedita da Silva who arid, sandy soils. The lives in a shantytown with her favela is a shrub from husband, city council Antonio the spurge (EuphorPitanga and her stepdaughter, biaceae) family that can model and TV star Camila reach 50 feet. It has Pitanga. They live at the Chapeu white flowers and its Mangueirafavela, in Leme, in seed is edible. In the the south zone. "At first I was Northeast, the favela's afraid," said Camila in an interdry leaves are fed to view with Jornal do Brasil, "I cattle. When green, the wasn't sure I would be secure leaves can cause hives. here." After some time in the The burning sensation neighborhood, she said she was brought by contact with feeling more secure than in the

favela was described by writer Euclides da Cunha on his masterpiece Os Sertoes (The Backlands) from 1902.

BRAZZIL - JUNE 1997

down town.

Lawyer Ilton Candid° Fonseca, 35, is an another example of someone preferring to have a house inside a favela. Fonseca left a two-bedroom apartment

middle-class in Humaita, neighborhood for an address Gauging at the Mangu irinhafavela in Botafogo, in the south zone or Poverty Rio. Two years ago, he paid A study done by $4,500 for a lot in the area and lplan-Rio's Information then spend more than $30,000 Nucleus and Residento build a thr e-story house. tial Studies using data "Here there is no noise and I 'from the 1991 Census am close to verything," he shows a big economitells those wh doubt the wiscal gap between the dom of his ch ice. and the formal favela For sociol gist Herbert de city and also among the Souza, better nown as Betishantytowns themnho, an activi t for the poor, selves. From Rio's the distance be ween the popu5,480,780 inhabitants, lation of the hills and the 941,704 live infavelas. flatland is a ecent phenomThere are 566 shantyenon: "Before, the rich and the towns, with the 15 largmiddle-class people were est—with more than proud of havin friends on the 10,000 residents— hills and takin part on rodas making up for 26% of de samba (sa ba parties),- he the favelado populasays.

In some ar as, the rivalry tion. The 362 favelas between thefa ,ela and the city with populations below is very acute. ome residents 1,000 people represent of apartments i the south zone only 15% of all favelaof town fear ontinually for dos. While Rio's avertheir lives ev n when inside age population density their buildings. On Nascimento is 4.366 people per Silva street, in panema, a resisquare km, this number dential compl x right next to rises to 36.076 per the Cantagalo avela installed square km inside the bullet-proof g ass in its winfavelas. There is a didows. minutive percentage of Psychologi t Mary Ladeifavelados (0.61%) makra, a resident t ere, complains ing more than $1200 a about the dev luation of her month, while the imapartment. "I have worked hard majority mense to be able to buy a three-bed(72.33%) earns less room apartment, but if I sell than $240 a month. my property today I can't afford even a one-bedroom apartment with the money I would get."

The building manager is also very distressed with the situation and has started a movement to create an association for those who live in the foothills of the favelas. She wants to see favelados and non-favelados getting together to improve their way of living." Both sides have been abandoned by the authorities," sse complains.

Sometimes i the reality of the fbvela is so overwhelming that You cannot take it and still live to talk about it. Last year, for example, the IBGE abandoned the twoi buildings it owns in the heart of Mangueira, the neighborhood that gives its name to the favela and the world-renowned escola de samba (samba club).

While IBGE's workers are brave enough to go up the steep hill to interview in loco Mangueira's residents for the In titute's annual census, they couldn't take anymore the nerve-racking shooting battles between local tival drug rings.

Working in the last floor, the 13th, didn't bring any extra security. IBGE's management knew it was time to move when the national technical coordinator's room, on the 13th floor, was hit by a stray bullet.

Without takers to rent the place, the two IBGE buildings stand silent and bullet-riddled as a testimony of a town that still has much to do to fairly wear its sobriquet ofcidade maravilhosa (marvelous • city).

15

with Rozemary Sabin°, who had her letter published in the latest issue of Brazzil opposing the cheap, distasteful notes and photos of Brazilian women. Because of the stereotypes of Brazilian women in the "Rapidinhas" column, I feel embarrassed to introduce Brazzil to any of my NorthAmerican friends. Why do you not publish these pictures in a teenager magazine?

TWO CENTS WORTH Pr. Alex Busch an you or your magazine. I Just rea Newton, Massachusetts the article about homosexuality in Brazil ' RELAX, IT'S JUST SEX which I enjoyed very much. However, it seems from the wording of a few sections e isn t it too bal you it a raw that either the author was not gay or some nerve in the American society? I'll be old things in English were foreign. and-gray and will never understand this Therefore, with all due respect for th obsession the American public has for difficulty of writing in another language, 1 nudity. They despise it and at the same would like to make the following comments: time revere it. So what if you show a few in the article it said that gay tourists spend nude pictures in this magazine? From what $160/day in Rio, compared with $130/day I've seen so far most of these pictures were for an American tourist. Where is the oppo- taken in public places or are widely.availsition? I am gay and American...but not able to the Brazilian public. straight. It would be clearer to write "straight Have any of you seen one of Brazilian American tourist" if that is your meaning soap operas lately? What they show in Next, the information about Paris was a prime time TV would not be shown in the little funny, to describe the Hotel etc. as US before midnight and yet the Brazilian "pleasures". Pleasures is a strange woitot iii public feels OK with that. So, what is the this case. The last thing I would note is the big dea199999 Maybe if people accepted sentence that "Brazil, like the US and othe sex as a normal part of their lives there countries, has difficulty suppressing its ho wouldn't be so many perverts out there. mosexual population. Not every country i Marcos Coimbra trying to suppress its homosexual popula West Hollywood, California tion, which is what this sentence makes i LIVELY LAND sound like. ave received your magazine or a All of the New England states, for ex few months now and want to thank you for ample have passed strict antidiscnminatio putting together an informative and enterlaws. I don t want to criticize anyone's ef taining magazine. My three visits to Brafort—surely I could not write as well i zil were each enjoyable in a different way Portuguese even after years of trying, but it i (SAo Paulo, Brasilia and Conceicao do important to work on tone. I appreciate your Almeida). I love the culture and the people. magazine greatly and have learned muc In all ofmy travels, I found Brazil to be the from its articles and short stories. Muit country that is most alive and vibrant. lam obri gado. studying the Portuguese language by way John Thiels of tapes and phrase books in my spare Cambridge, Massachusetts time. (Not the best way to learn a lanAND THE OTHER VOICES? guage.) Are there any good workbooks ave enioye rea•ing e in ormative out there for learning basic grammar? article "Gay Power Gives Show of Strength" Again, thanks for publ ishinga truly enjoy(Brazzil, May 1997). But the author writes as able and informative magazine. if the Church, i. e., the Roman Catholic Steven Wilkerson church, is the only. Chrigian denomination US Department of Commerce or religious group in Brazil. If the informaWashington, DC tion of how other religious groups are dealing with the homosexual community was not available, the author could have at least menCan't you find Brazzil at your tioned it. I am not anti-Catholic, yet I stand Brazilian consulate? up for a truly democratic society, in which Don't ask us why, the voices of the minorities are not suppressed' by the majority. , ask the consulate.

I would like also to add my agreement and told rne: This is t e best publication; about Brazilians in the United States." Con-"" gratulations. I would like to contribute with information about our region. Feel free to call our live radio program (on Fridays, from 8 to 11 PM) So we can talk on the air. ' Francisco Moura Miami Beach, Florida

BRAZZIL IN THE TRASH e onsu ate regu ar y receives copies of different local- publications meant for the Brazilian community. We are glad to distribute them since they are important vehicles for divulging information about Brazil and the Brazilian culture. Newspapers, magazines, bulletins received by the Consulate are regularly put at the disposal of the public that visits the consulate.

Lamentably, however, I will not be extending this treatment to Brazzil magazine for the reasons explained below.

2. Although containing some articles with good journalistic quality, Brazzil includes a section with theme and pictures from the.yellow press. The approach, perfectly suitable for a pornographic publication, cannot find a .place in a magazine meant for distribution to a public ,with varied interests and ages, that is unaware and even deceived by a cover in disagreement with the tenor of certain pages of the magazine.

3. Along with the responsibility of the Consulate concerning material that it offers for reading. to its visiting public, I must note that it is with sorrow that I observe a situation in which a vehicle of wide distribution, that could greatly serve the interests ofthe Brazilian community in the United States, is detrimental to this same community it intends to reach, discrediting the country's image by implicitly linking -brazilianism" to the image of sexual-debauchery and gratuitous pornography.

4. This letter, then, adds itself completely with the arguments of several members of the Brazilian community who have already expressed themselves about the subject. Our goal is that the problem be evaluated in the light of the interests of the public to which the magazine in principle is meant for.

5. For now, .1 ask you to exclude the Consulate General in Houston from your mailing list, since, barring a revision of your editorial orientation, the destination for the copies gently mailed can only be the recycling bin.

Maria Dicia Santos Pompeu Brasil Consul General Houston, Texas BRAZZIL IN WASHINGTON ave a ong istory t e : razi Ian media in the US. More than 20 years. In 1985, I created the newspapers Florida Review (the first Brazilian newspaper in Florida, which I sold in 1992), the Brazil Review and the A merican Times (Orlando).

I also created the first radio program in Orlando (Alo Brasil), published the magazine karo and on May 5 I will be dropping anchor in Miami Beach to launch The Brazilian Sun newspaper.

I learned about Brazzilky the hands of the Press Attaché of the Brazilian Embassy in Washington, Pedro Bono, who showed me the publication on the Internet

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How Green Was My Vale The sale of state-owned Vale do Rio Doce to the private sector was celebrated with French champagne by the victorious bidders, but vehemently condemned in the streets by some sectors of the population. Opposition to privatization is nothing new. The novelty was the scope of those protesting this time: among others, the church, leaders from the right and the left, the Brazilian Press Association and two former presidents.

MARTA ALVIM Amid loud protests, a flood of lawsuits and court injunctions, the saga of stateowned Companhia Vale do Rio Doce (CVRD) finally came to an end on May 6, as the hammer went down on Latin America's largest privatization deal. The bid winner, Valepar, an international consortium led by Brazilian steel maker Companhia Siderargica Nacional (CSN), paid $3.3 billion for 43.73% of the mining giant's voting stock—a 19.99% agio over the minimum bidding price.

As the winning group celebrated the victory with liberal quantities of Moet & Chandon at a private office in So Paulo, the scene outside Rio de Janeiro's stock exchange, where the auction took place, resembled a battlefield. In the confrontation that followed between some 5,000 protesters and a force of 600 men from the military police, 33 people were wounded by the exchange of blows, stone throwing, and tear gas. Similar manifestations had been occurring in several Brazilian cities weeks before the auction took place.

In the meantime, another injunction, this time seeking to annul the auction's outcome and to block payment and share transfer to the consortium, was being filed.

Demonstrations of nationalistic and ideological natures are not unusual in the history of Brazil's privatization process. In 1991 and 1992, when steel makers Usiminas and Companhia Siderargica Nacional were privatized, the government decision was met with strikes, protests and even a bomb explosion during the sell-off of the latter. What makes the public outcry against Vale's deal distinct from other anti-privatization efforts is the scope of the sectors involved. The church. The Brazilian Lawyers Association. Former presidents Jose Sarney and Itamar Franco. The Brazilian Press Association. Right and left-wing politicians. Labor Unions. The scientific and academic communities. Civilians from all walks of life.

In anticipation of the strong reaction, the government spent $4.8 million in a massive institutional campaign that included radio and TV ads—the latter starring popular actor Raul Cortez; paid newspapers' articles, plus the public relations effort of Minister of Planning Antonio Kandir. In the government sponsored radio program, Voz do Brasil, Kandir regularly addressed the public's concerns about CVRD's deal by answering thousands of letters that poured in from all over the country.

While most Brazilians approve of less government influence over the economy, Vale's privatization has been questioned based on the company's lucrative performance over the years and the strategic importance of its mineral reserves for the country.

As a result of nationalistic pressures on President Getulio Vargas, CVRD was founded in 1942 when the control of the Itabira Iron Company, together with the Vitoria-Minas Railroad, was transferred from American and English ownership to the Brazilian government.

Sell your mother! Out FHC! The Vale is ours.

Fifty-five years later CVRD—the "crown jewel," as it is affectionately called by Brazilians—has become the world's largest pro18 BRAZZIL - JUNE 1997

anti-privatization faction. For one, the debt is so huge that $1.6 ducer of iron ore and Latin America's largest producer of gold. Its mineral reserves include bauxite, mangabillion is negligible in the big scheme of things. Secondly, the nese, copper, kaolin, potassium, nickel and zinc, with government's pat rnalistic role towards the private enterprise mining production guaranteed for the next 400 years. is contradictory nd inconsistent with its own privatization drive.

The company operates 1800 km of modern railroads, Last but not last, why sell a company that has few debts its own marine terminals, and the world's largest bulkan hasn't received any money from the govcarrier fleet. CVRD is also in the pulp em ment since 1991? CVRD doesn't contribute and paper fields, and it extracts 400 to he increase of the public deficit. Its annual thousand tons/year of raw material The Treasure re enue is around $5.5 billion, and last year from 580 thousand hectares of reVa e made profits of $596 million nearly 76% planted commercial forests.

Minerals Reserves hi her than in 1995.

The magnitude of Vale's opera(estimated tons) THE SUPPORTERS tions is impressive. The company The Union's lack of financial resources to employs approximately 15.5 thou41.5 billion Iron Ore invest in the company. Need of more entrepresand people, and is present in over 678.0 million Bauxite neurial freedom for Vale, which by being stated200 cities all over Brazil. The cities 72.0 million Manganese ow ed, is restricted to reinvesting only 40% of in turn receive 8% of yale's net profit Gold 563.0 its et profit in the expansion of its activities. in the form of social and economic 994.0 million Copper Lo financial return for the State. Those were improvements in areas such as public 67.0 million Kaolin the three major arguments given by Minister of health, sanitation, education, voca122.0 million Potash Pla ning, Antonio Kandir, in favor of CVRD's tional programs for young adults and 70.0 million Nickel pri atization. preservation of the historical patri9.0 million • Zinc President Fernando Henrique Cardoso mony. Translated into numbers, the 1.8 million Uranium C), at first opposed to Vale's sell-off, goes (F company has invested $169 million 1.0 million Titanium ev further and questions the alleged strategic in 237 Brazilian cities in the last 16 510.0 thousand Tungsten im ortance of CVRD. The newspaper Folha de years, $26 million last year alone.

60.0 thousand Niobium Sa • Paulo quotes the president as saying: "StraFurthermore, CVRD regularly invests teg cally, what does Vale do? It gets rocks relevant resources in the scientific fro , let's say, Carajas, puts them in the train, and technological fields. According takes them to the port, and sends them abroad. That's what the to the National Bank of Economic and Social Developexploration of in n ore is all about. There's no important ment (BNDES), which coordinated Vale's auction, the technology invol d." new owners will have to honor any social projects Others add th t, once rid of the government bureaucratic approved prior to the sell-off. structures, Vale c n be even more profitable and competitive, THE OPPOSITION and can generate more jobs. Besides, it would be better if Yet, BNDES's assurance was not enough to apCVRD paid mor taxes, like any other private company, pease the opponents of Vale's privatization. Apart instead of investi g 8% of its net profit in social projects. In from the usual nationalistic claims that the govern1995, for instance Vale spent $8 million on such projects in ment is surrendering the country's sovereignty to forthe state of Minas Gerais, but some private companies pay up eign interests, the whole deal has been under suspicion to $400 million in taxes annually. from the very start. A research commissioned to scienAs for CVRD's strategic potential to Brazil's development tists from Universidade Federal do Rio de Janeiro and sovereignty, the supporters of Vale's privatization believe (UFRJ) by Camara dos Deputados (Brazilian Lower that what's really important for the country in today's reality House) revealed that CVRD's patrimony was signifiis education, public health, justice and safety. Those should be cantly undervalued to begin with. the government's main concerns, while the management of After meticulous analysis of Vale's documentamammoths like Vale and other state-owned companies should tion and on-site inspections of its mineral reserves, the be left to private parties. group of 22 specialists detected major discrepancies in As the controlling stake in CVRD changed hands, no the numbers presented by the consortium of financial immediate major changes had been planned by the new ownconsultants hired by the government and led by US ers. Of all things, there is only one certainty, that it may take investment bank Merryl Lynch. The difference in a number of years o clear up all the legal challenges to Vale's price between the two evaluations reached $2.05 bilsale, although the utcome of the auction is very unlikely to be lion, which was not included in the minimum bidding reversed. price.

Besides CSN, he winning consortium also includes four To make matters worse, lawmakers claimed there local pension fun s, Banco Bradesco, US NationsBank and was a conflict of interest in Merry] Lynch's appointOpportunity Asset Management's offshore investment fund, ment as an official consultant to Vale's privatization. which has Citicor and megabusinessman George Soros as In November 1995, the American company bought investors. Directly or indirectly Valepar will control around South African brokerage Smith Borkham Hare, which 80% of Brazil's St el production. in turn acts as sponsoring broker in Johannesburg to Meanwhile F C celebrated victory while boosting his Anglo American Corp., one of the prospective bidders credibility among e international community. During a visit in CVRD's auction. Merryl Lynch denied the allegato the United State last year, President Clinton urged FHC to tions that it would have passed privileged information speed up the slow- aced privatization process. Vale's sell-off to Anglo American. showed the world he Brazilian president's commitment to a Another point of contention is how the govnew era of econom ic liberalization. ernment intends to spend the receipts brought in from Next in line are two power generation plants—Furnas and the auction. Half of the $3.3 billion will be used to help Electrosul—which are expected to be privatized later this reduce the federal debt, which is around $132.1 bilyear. Already in full motion is the privatization ofthe telecomlion. The other half will be used by BNDES to subsimunications industry and its cellular-phone markets. Eventudize loans to private businesses at lower interest rates ally the governme t will also sell telephone holding company than those offered by the National Treasury—a debatTelebras and the n tion's long-distance carrier, Embratel. • able decision and a waste of money in the eyes of the BRAZZIL - JUNE 1997

19

he Body Shop has never been just a manufacturer and retailer of cosmetics. The company, founded by Anita Roddick in Brighton, England in 1976, does much more than simply sell skin and hair care products. Anita Roddick's belief that trade with communities in need could provide her with the products she needed to do business— and support those communities through employment income, skill development and social initiatives—has led her to work with some of the poorest communities in the world.

Under Roddick's direction, The Body Shop has always dealt with really big issues—social justice, equality, poverty and the imbalance of power and money. "Our goal is to encourage the creation of working and living conditions, where people can fulfil their potential, where their human rights are respected... and where they can determine their own destiny," she says. Her attacks on the conventions of a greedy trading system have not gone unnoticed. Nor have her attempts to put principles into practice.

Twenty-one years later, The Body Shop celebrates trade with over 25 Community Trade suppliers in Africa, Asia and the Americas.

In financial terms, trading with communities in need for raw ingredients and accessories is worth over $ 3.3 million annually. These trading relationships are based on trust, respect and an understanding that The Body Shop buys good quality products at a fair price. That price includes production and fair wages, and enables communities to invest in their own future. It's also about more than the exchange of goods and dollars—it's about the quality of the relationships involved.

The Body Shop Community Trade program stems from the company's com-

T

20

Kayapo woman working with nuts

A Matter of Faith December of last year, Brazzil published two articles ("Broken Promises", by Saul Petean and "The Queen of Bubble Bath" by John Entine), both critical of the dealings of British company The Body Shop with the Kayapo Indians in the Brazilian rainforest.

The pieces criticized the cosmetics firm's way of doing business and suggested that Anita Roddick, The Body Shop's founder and main engine, had built an empire by lying to, exploiting, and taking advantage of the Amazon natives. Here The Body Shop responds to the accusations and states its case.

BLAIR PALESE

BRAZZIL - JUNE 1997

mitment to "dedicate [its] business to the pursuit of social and environmental change". These are lofty ideals, unusual for a company. And if your goals are high, the pitfalls on the way to achieving them are certainly going to be deep.

It has, over the years, been accused of exploiting its trading links with struggling communities and exaggerating their importance to the Company. Criticism—from many quarters, some with their own agendas—has not deterred this commitment. The Body Shop aimed at making changes— and it has. In just eight years, it has gone from trading with one or two suppliers to over 25 in more than a dozen countries. In raw material terms, this equates to over 100 tons a year for inclusion in globally retailed products for The Body Shop.

"We have established trading links for which there has been no template, no handbook, only a desire to provide tangible benefits for marginalized communities," says The Body Shop Fair Trade Development Manager, Elaine Jones. "The image of our relationships is out of sync with their historical development."

TAKING STOCK In 1995, The Body Shop undertook a groundbreaking social audit, which was a two-way independent analysis, both of The Body Shop business, and of its claims to social responsibility. The integrity of the process was judged by a panel of experts representing diverse stakeholders' interests, including those in the Fair Trade sector. Brought together by independent verifiers, The New Economics Foundation, these experts attested to the accuracy of company claims about its social effect and performance.

"Suppliers in India, Nepal and Mexico were clear there had been significant economic gains through employment income and skill development," stated The Body Shop Social Statement in 1995. But the benefits went much deeper. Out of the economic stability—and sometimes with extra funds provided by The Body Shop—a whole range of social and community initiatives were launched.

From the beginning, The Body Shop wanted its trade links to spread benefits throughout communities, to give people a hand up from the worst BRAZZIL - JUNE 1997

conditions of isolation and poverty. Through initiatives in countries as diverse as Ghana, Zambia, Nicaragua and Brazil, The Body Shop puts hard cash in the hands of those making the products, enabling them to make their own decisions and help their own communities.

But achieving these goals was no easy task. In its early ventures The Body Shop tested the feasibility of its ideals. Problems that were part of the company's development, were also part of its early Community Trade efforts.

ACTION IN THE AMAZON A group of Kayapo Indians from the Brazilian Amazon forest was one of the company's first Community Trade suppliers. Loggers and miners were manipulating the Indians out of their lands, then destroying them for quick profits. As one of only a few Amazonian warrior tribes clinging to tribal traditions, the Kayapo were desperately in need of international support.

In October 1990, Anita Roddick and her husband, Gordon Roddick, The Body Shop Chairman, visited the Amazonian village of A-Ukre.

From an initial invitation from the Kayapo, The Body Shop esta lished a trading relationship working toward self sustainability.

Understand bly, mistakes were made. Creating a business f om scratch in inhospitable conditions was diffi ult enough, but The Body Shop also tried to hel support the Kayapo's efforts to solve more far-reaching problems.

The Body S op agreed to buy Brazil nut oil from two Kay po villages for a new product, Brazil Nut Conditioner. It agreed-to pay a price, which would compensate for the costs of production, allow for investments in the communities, and provide personal income for the Indians. This price turned out to be three times the market value.

Pictures of the Kayapo Chiefs would help us tell the world about the Indians' plight and—hopefully—encourage international customers to buy the product and support the Kayapo.

Since it took the Kayapo 15 days by boat to get to the nearest tdwn, The Body Shop and its franchisees raised money for a second-hand Cessna aircraft to deliver goods back and forth. The Indians also asked for help to build a hospital in the jungle—a complicated and political issue. The Body Shop became embroiled in lengthy negotiations, balancing the needs of the business with those of the ind genous communities, the Brazilian Governmen , official Indian agencies, and the World Bank.

The Body S op appointed a non-indigenous consultant, Saul Petean, to help the communities get their oil business up and running and to liaise with the Compciiny in England. "We wanted to help the Kayap run things for themselves," says Elaine Jones, "bit The Body Shop discovered that 21

A Brazil to pay damage that he

The British cosmetics •law by a court in Brazil and was condemned to pay lj ean. in compensation for his unlawful dismissal. Judge do Araguaia, Para State, announced the sentence on Now, the company ml g the country's social security system With relatici ti might be fined another $30,000 if found guilty, Saul° Petean, Who has been was employed for six years to act as The Body Shop by the Kayapo Indians villages of Aulotend Nike= setting up of the export companies owned by both d the Pykany Trading Company, the first ever to be The Body Shop uses B ages to make its hair conditioner, "Brazil Nut Cond* e company in its 1,407 stores located in 45 countries. g to Petean, The Body Shop sold $28 million worth Accusations When the company fired hii ns of Brazil nut oil in 1995, which did not originate in tions, ruling that there was no proof for them and that According to Petean, the Pyl the Brazilian Labor Court proved that the 2,6 tons Otnut4i genous origin, were in fact produced and exported by the ii he oil was recorded in the Pykany Trading Company adc0 Petean points out that, in it actually falsely accused itself, by selling 180,000 liters made with raw material which were adulterated at their p e from the Indians, and it had deceived its customers with, es, "the world's purest Brazil nut oil, direct from the k The Body Shop also accused Pe om the Brazil nut oil exportations belonging to the Indians cot at "The Body Shop did not succeed in bringing concrete, irrefuta rating that Petean had been dismissed without just cause.

Petean declares that he disproved The Body Shop accusation by d Gordon Roddick, the executive director of The Body Shop, refused the Yndians request tore for his $30,679.97 loan to the indigenous businesses A-Ukre Trading CO)npany and Pykany ompany. The loan, made to the two businesses in 1995, served as start-up capital for the Brazil n ucbon enterprises.

A second trial The Body Shop is also been sued in the Conceicao do Araguaia abor Court in connection with the dismissal of the pilet Paulo Miranda, contracted for four yearsby to,fly the Cessna UF-206 in the Kayapo reserves. The planemas donated by The Body Shop to ge community. The decision in this lawsuit will be known on July 25, 1997.

22

BRAZZIL - JUNE 1997

the Kayapo had become dependent on Petean, and he was abusing his position of trust". Following a close review of the situation, The Body Shop decided to terminate its relationship with Petean, who has since waged war against The Body Shop.

The Body Shop had to bring in a structure to actively help the Kayapo Gain independence from The Body Shop.

This was one of the conclusions it reached following a number of independent reviews, which pointed specifically to the need to ensure that Community Trade suppliers maintain their independence.

The Fair Trade department set up measures to deter communities seeing The Body Shop as their sole market.

These included establishing channels to advise communities about how to find other markets, design new marketable products and get marketing advice in addition to putting suppliers in contact with other international buyers.

LEARNING AND IMPROVING In 1994, The Body Shop sharpened its system of choosing, assessing and developing trading links, and restructured its management team, bringing in the General Manager from Oxfam Trading Canada. The new team laid down strict guidelines for choosing communities to work with. One of these guidelines was that a pre-condition for future trade links is that the group, cooperative, women's association or tribal council should already exist, and have a product to sell.

"The Body Shop continues to be committed to its trading relationship with the Kayapo and will continue to purchase oil," says Jones. At the same time, oil production has become an integral part of the communities' cycle of harvesting and festivals.

Other Community Trade suppliers, based on established trading groups, had fewer development difficulties than the Kayapo. In Nepal, General Paper Industries (GPI), a paper making factory in the Katmandu Valley, has grown enormously since linking with The Body Shop.

Situated in one of the poorest countries in the world, it started with 20 employees and now has 130. GPI operates in the international market and supplies such prestigious businesses as the Conran Group. Since advice from The Body Shop, almost half of GPI's sales are now with other outlets, with a turnover in 1996 of $330,000. Women— who are generally paid less than men in Nepal—have benefited in particular from the trading link with The Body Shop, receiving the same wages as men for the same types of work.

CORR , The Jute Works in Bangladesh, was already an established trading organization when it started working with The Body Shop. In 1995, the Christmas order alone gave 2,500 women employment for around 90 days each— this, in a region where work is scarce and women are not encouraged to be bread winners. After expenses, the organization uses surplus money for the welfare of the organization and its female workers, education and other employment in the area.

In the Kayapo region too, benefits have been longlasting and have reached more people than just the two villages with which we trade. In 1992, The Body Shop learned from Kayapo chiefs of a crisis in the region.

Children were dying from diarrhea through poor hygiene and sanitation. Many of the Kayapo were suffering from sight deficiencies and cataracts. Even basic immunization was not being carried out regularly. The Kayapo chiefs BRAZZIL - JUNE 1997

turned to The ody Shop for help.

HEALTH FOR ALL When The Body Shop consultant on Amazonian affairs, Juneia Mallas, arrived in A-Ukre, there was neither a hospi al nor medical facilities available to the Kayapo in Re encao, the nearest town to the Kayapo reserves. The linics in Redencao were private and all medical assista ce had to be paid for. Thus the Indians' healthcare was completely dependent on the miners and loggers who w uld pay for any emergency healthcare required by the Indians and take 'repayment' in the form of gold and ti ber.

Through T e Body Shop Foundation—a registered charity establis ed in 1990—Mallas was able to channel funding to a he lthcare project and work with the Brazilian Federal Ind an Agency (FUNAI) to create a suitable structure.

The Body S op discovered that a World Bank loan had been grant .d to the Brazilian Ministry of Health for the control of m laria. "Within the loan was a component for indigenous health," says Mallas, "but there were no ' projects being carried out with it."

To date, the Health Project has received over $2.9 million, which has come from various sources: The Indian component from the World Bank loan, the Ministry of Health, FUNAI and The Body Shop Foundation. The Body Shop Foundation has provided over $700,000 for permanent equipment and training promoted by expert medical consultants, doctors and nurses.

A clinic for the Indians built in Redenc5o is available for 12 Kayapo villages. MedicnI staff who work in this clinic and with the villages nuMber two doctors, one dentist, and 24 nursing staff. The Health Project also helps another 2,100 Indians from other ethnic groups from the other side of the Xingu river, through another clinic set up in the town of Altamira.

Summing up the Healthcare Project, Juneia Mallas says: "The proj ct focused on sanitation and education, it did not rely o drugs. Lack of sanitation caused about half of all diseas s. Many people were anemic. Children were infected w th worms. To prevent re-infection, we had to offer muc more than treatment alone. We wanted to de-drug the I dians and focus on education. It was far more important o deliver help to a larger group and the Kayapo were h ppy to extend the healthcare work to other tribes.

"As a result, the non-Kayapo villages have strongly embraced sanita ion and education and have eliminated diarrhea. However, The Kayapo are warrior people and do not respond so fast to a change of habit.

"We have established a curative system in the Kayapo area of the project with a good emergency and immunization program where malaria is now better controlled.

For the others we have moved into preventative medicine, a stage we ope to achieve for the Kayapo in due course."

GROWTH AND PROGRESS Through its Community Trade experiences, The Body Shop has realiz d its limitations. In the future, says Elaine Jones, "in most cases, The Body Shop won't need to do much more than negotiate fair trade and help build trading skills."

Technical he p will continue to be vital to the communities. Overt e last several years, The Body Shop has sponsored works ops on quality control and other issues 23

communities needed to know in order to trade debate about alternative initiatives for sustainable internationally. use of the forest's resources.

In a commentary on the company's perfor"Of course it would be simpler to pull out," says mance, Guardian correspondent, Roger Cowe, and Elaine Jones. Instead, The Body Shop is "dealing investigative journalist and Brazzil magazine conwith outstanding problems and giving it the best tributor, Jon Entine, wrote, "The [Body Shop] possible chance to succeed." controversies have highlighted the difficulty of Why? "Because the alternative is that territomarrying an activist morality with commercial ries will be unregulated, and resources exploited. reality, especially where complex development The culture, which holds the Kayapo in the forest issues are concerned." Despite the difficulties, lands, will disintegrate, young people will leave for The Body Shop remains committed to the prinoutlying towns. ciples behind its community trading and plans to The Body Shop continues trading in the Amaexpand such trading. zon because our reason for being is to bring about Each of the 25-plus Community Trade supplisocial change. We remain committed to the priners represents a vast investment in money, time ciples that brought us here in the first place. And and effort by The Body Shop. It is by no means the because the very future of the people we're workcheapest way to do business and if profits were its ing with is in the balance." only interest, the program would simply not exist.

Nor is it an easy thing to do. Buying from very Blair Palese is head of PR poor developing countries, such as Bangladesh, of The Body Shop. can be difficult. The communities may not have a trading infrastructure in place, and there isn't always a high level of political stability in the countries where they live. But work by The Body Shop shows that it's possible— and other companies may follow suit.

Saulo Petean and others critical of The Body Shop accuse it of disrupting traditional cultures. Not so, says Elaine Jones. "Our TO ANY AIRPORT IN BRAZIL trading provides a level of income to meet basic needs.

Our trade with the Kayapo, for example, means they can earn an income that FULL CONTAINER OR LESS does not take them away TO ANY PORT IN BRAZIL from their reserves and (EXCELLENT CONTAINER RATES) which can be integrated with their traditional lives.

"This can only be done with responsible local authorities and wider development initiatives. What SHIPPER'S DOOR PICK-UP mn. AIR/OCEAN FREIGHT mm gives these trading relationships meaning is that they buy people time to secure a CUSTOMS CLEARANCE (INCL. ALL DUTIES) =0 hold on their own future," DOOR DELIVERY TO BUYER IN BRAZIL Jones says. "If in some way it gives them a grip on the process of change, we believe it's worth it."

Meanwhile The Kayapo project is entering a new phase of consolidation. The Body Shop is working to get the Brazil nut oil business on a more secure footing by giving advice on ways to operate more cost effectively, and to encourage the Kayapo to become independent of The Body Shop. It is also opening up

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Aline couldn't believe that Eugenio was saying all those things, asking for time, putting in question their relationship. They talked a lot and she asked if there was something happening that he didn't want to talk about. Nothing was happening, said Eugenio unable to tell the whole truth. All he needed was some time to think.

ADELAIDE BOUCHARDET DAVIS "Agora vejam voces mesmos, movam, levantem urn braco, dancem uma polca, compensem todos os anos que voces viveram cegamente coin seus pr6prios corpos, tentando apalpar um corpo no escuro—seus pr6prios corpos—como estranhos, e silenciosns, e distantes como todos os outros corpos que a voces no era permitido tocar."

AIMS

Carlos Fuentes

El Viejo Gringo "Tern urn recado ai na mesinha do telefone", falou a mae assim que ele entrou em casa. "A moca queria falar corn voce e eu disse que voce chegava depois das sete. Ela deixou o numero do telefone e o nome, e pediu que ligasse amanha." Eugenio pegou o papel, foi para a cozinha e beijou D. Ida no rosto. Tomou urn copo d'agua e comeu um dos pastels que estavam sendo fritos para o jantar. A mae perguntou se ele havia visto o papel; ele so mostrou a eta e o guardou no bolso da camisa. Eta continuou perguntando como tinha sido o dia e ele respondeu desanimado que tinha sido born. EIa serviu o jantar e ele comeu em silencio;

..01111.

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BRAZZIL - JUNE 1997

29

conversa naquela noite. D. Ida preocupada falou corn o filho: "Cruzes! Parece que voce esta no mundo da lua!"

Eugenio nao quis a sobremesa; levantou-se, disse que estava cansado e que ia para o quarto. Deu urn beijo de boa noite na mae e saiu da cozinha.

Entrou no quarto e acendeu a luz do abajur, tirou o casaco de couro e o jogou na cadeira. Abriu a janela e deixou que o ar fresco da noite entrasse—respirou fundo, fechando os olhos e sentindo urn certo prazer.

Depois desabotoou devagar a camisa e sentiu na pele o friozinho gostoso; afrouxou o cinto e liberou o corpo do "jeans" pesado.

Assentou-se na beirada da cama, tirou os sapatos, as meias, e ficou olhando o ceu la fora, ceu cheio de estrelas fazendo na escuridao desenhos de crianca.

Eugenio tirou o papel do bolso da camisa. Nele o nirmero de telefone que ele sabia de cor, e o nome da doutora Ana incomodavam, assustavam, faziam corn que os pensamentos se embaralhassem, atormentando-o. Lembrancas ainda tao recentes tinham gosto de saudade nao resolvida.

Tinha sido urn tempo divertido mas a brincadeira acabara. Apesar de tudo, ainda era born se lembrar de como as coisas aconteceram desde o comeco.

Foi em outubro de 1989; Aline e ele comemoravam tres anos de namoro.

Ele a levara para jantar no "Ii Trovatore", restaurante italiano elegante e corn uma corn ida muito especial.

Quando Eugenio entregou a namorada uma caixinha de mirsica, a moca ficou deslumbrada corn o presente. Depois de virar e revirar a pequena peca Aline beijou o namorado e entregou-lhe urn embrulho colorido. Ele abriu o pacote e ficou surpreso quando viu uma caixa que continha urn pequeno tabuleiro de xadrez corn pecas de encaixe.

Tomaram vinho branco e brindaram ao namoro. Jã haviam pedido o jantar quando quatro rapazes entraram no restaurante. Todos estavam muito bem vestidos, mas Eugenio notara o mais alto deles; vestia camisa branca elegante e calca preta de couro.

Entraram como se estivessem acostumados a freqUentar o lugar. 0 maitre veio atende-los sorrindo amigavel.

Foram conduzidos a uma mesa prOxima ado casal e se acomodaram. Conversavam animadamente e, a nao ser por urn 30

gesto ou outro mais descuidado, nao bebado ou louco para fazer uma coisa passavam de quatro companheiros que dessas!" pensou ele. Fora aquela a tinham said° para jantar. 0 garcom primeira vez que vira Vado.

Depois de deixar a namorada em veio logo atende-los, e lhes entregou a carta de vinhos. 0 casa, Eugenio foi caminhar um pouco. rapaz alto sorriu para ele e disse: Mao conseguia parar de pensar no que "0 mesmo de sempre, Atilio". acontecera no restaurante. Mas nao poOs outros concordaram e agrade- dia ficar a noite toda andando pela rua; ceram ao garcom que saiu para tinha de ir para casa. Morava corn a mae que ficara viüva quando ele estava encaminhar o pedido.

Aline descrevia o vestido de corn nove anos. Abriu a porta da sala casamerito de Vilma, a amiga de devagar para nao acorda-la, mas nao infancia que se casaria em adiantou muito. Quando estava tomandezembro. Eugenio tentava do dgua, D. Ida veio encontra-lo na prestar atencao ao que ela dizia, cozinha. Ele comentou que era tarde e mas nao conseguia. A vontade que ela deveria estar na cama. A mae era de olhar para aquele homem disse que ja tinha dormido urn pouco novamente. Nao queria que os mas acordara coin dor de cabeca. ocupantes da mesa ao lado Perguntou como havia sido o jantar. percebessem que estava olhando. •Eugenio respondeu que correra tudo Sentia-se perturbado corn aquela bem, mas ele estava corn sono e nao vontade esquisita—sensacao comple- queria chegar atrasado ao trabalho no tamente nova. Olhava para a namorada dia seguinte. Mostrou a ela o presente sem ouvir a voz dela. Levantou-se de que ganhara e antes de ir se deitar repente e pediu licenca para ir ao abracou a mae e disse que Aline lhe toalete. Quando voltava para a mesa mandara urn beijo. afastou-se e deixou passar o garcom No quarto, tirou a roupa e ficou de que trazia o balde de gelo corn o vinho cuecas. Foi ao banheiro, escovou os para a mesa vizinha. Acompanhou-o dentes e lavou o rosto—estava quente corn os olhos e Ode ver que o rapaz e aquele quarto precisava de um pouco alto sorria discret,amente para ele. de ar puro. Abriu a janela e ficou aui Assentou-se rapido e disse a Aline que por urn instante. Pensou novamente no escolhesse uma sobremesa. Ela pediu homem do restaurante, na sua camisa profiteroles; ele pediu urn café e urn branca, na calca de couro muito justa. licor. A atracao continuava e a moca Nao conseguia esquecer aquele sorriso! percebeu que o namorado estava Sentiu uma vontade imensa de ve-lo olhando demais para a outra mesa. novamente. A cabeca latejava forte.

Curiosa comentou se ele conhecia Puxa! 0 que estava acontecendo? Nao! algum dos rapazes. Ele disse que nao e Nao era possivel que ele estava ela completou: "Ainda bem! Parece pensando numa coisa daquelas! Lemque todos sac) gays!" Eugenio olhou brou-se de Aline comentando corn nojo para a namorada urn pouco irritado e o fato de dois homens dormirem junperguntou: "Por que voce esta dizendo tos. Sentiu raiva dela. Desejou que isto?" Sem perceber o torn irado corn aquele homem estivesse corn ele na que ele lhe fizera a pergunta, Aline cama. respondeu: "Porque posso perceber isto Foi se deitar preocupado e tenso; claramente, oras! Nao gosto deste tipo teve sonhos confusos. de gente. Pra falar a verdade, acho uma Acordou cedo no dia seguinte; coisa nojenta saber que urn homem sentia o corpo dordo. Tomou urn banho pode ir pra cama corn outro homem. apressado e bebeu rapid° o café que D. Acho esta coisa de homossexual uma Ida já -preparara. Disse que estava grande safadeza!" E como se aquilo atrasado, despediu-se dela e lembrounao fosse assunto para ser discutido, lhe que era dia de pagar o aluguel. voltou a falar sobre o casamento da Trabalhou muito o dia todo. Por volta amiga. das quatro e meia estava comendo urn Já era tarde e Eugenio pediu a conta sanduiche e se lembrou novamente do ao garcom. Depois de pagar, levantou- homem no restaurante. Puxa! Ele tinha se para ajudar a namorada a pegar a pirado de vez! Alguma coisa estava bolsa e a echarpe. Quando caminhavam muito errada! 0 Eugenio que conhecia para a saida do restaurante, olhou para era macho, gostava de mulher, gostava a mesa dos quatro rapazes. Sem que de ir para a cama corn elas, gostava de Aline percebesse, sorriu para aquele sentir o cheiro delas. Este de agora, homem fa° atraente, respondendo ao definitivamente, nao era ele! Tinha de gesto deste ultimo que levantarao copo acabar corn aquilo de uma vez por de vinho em sua direcao. "Devo estar todas. Ficar pensando em homem, ter BRAZZIL - JUNE 1997

prazer corn isto... Ah! Esta nao! Era comecar a falar sobre aquelas coisas fora de proposito! Voltou ao trabalho e corn Joao; na verdade ele nao era a pessoa mais indicada para ouvir—. tentou no pensar mais naquilo.

Em seu salao de beleza Vado aquele, sim, era urn macho cinclo conversava corn Catarina sobre o jantar estrelas!

Depois da noite no restaurante, as da noite anterior. Enquanto pintava os cabelos da cliente, ia contando corn coisas haviam mudado entre ele e a detalhes como era o rapaz que estava namorada; pelo menos ele nao era o na mesa ao lado da sua. "Ele era, nada mesmo. Resolveu falar com ela e acabor mais, nada menos do que maravilhoso! corn aquele namoro de uma vez. Depois So vendo para acreditar!" Catarina riu de pensar muito no que dizer, foi ate a e comentou: "Mas Vado, todos eles sat) casa da mop e falou que estava sempre maravilhosos! Ele estava querendo um tempo para pensar sozinho?" Corn urn ar decepcionado, o aquele relacionamento era o que ele cabeleireiro falou: "Nao, minha filha! queria realmente naquela fase de sua Estava la corn uma menininha muito vida. Aline nao podia acreditar qae apagadinha! Imagina, aquele charme Eugenio estava dizendo aquelas coisas, de homem corn uma mulher sem pedindo tempo, questionando a relacao nenhum sex-appee Um desperdicio!" deles. C on v e rs ar am muito e e A cliente perguntou: "Voce sabe o perguntou se estava acontecendo nome dele, pelo menos? Chegaram a alguma coisa que ele nao queria Ifie conversar?" Vado disse que a imica dizer. Sem poder ser franco corn la coisa que tinha acontecido era um flerte mop, Eugenio disse que nao estava rapido corn aquele homem de olhos acontecendo nada. Ele sO precisava lindissimos de sombrancelhas escuras; urn tempo para pensar.

Agora estava sozinho. Queria ver mas tinha certeza de que o outro havia sentido alguma coisa diferente porque aquele homem que nao saia de s a "no hora de sair ele olhou pra nossa cabeca confusa, de seu coracao che o mesa e sorriu quando eu levantei o de sensacOes novas que assustavam.

Dois meses depois, num sabado a copo". 0 cabelo estava pronto e Catarina fez o cheque. Entregou-o ao noite, teve finalmente coragem de amigo e disse sO para ele: "Ve se nao voltar ao restaurante italiano—"quern deixa mais urn infernizar a sua vida. sabe ele nao estara la!" Chegou por Acho que voce já passou por muita volta das nove horas. 0 maitre veto coisa ruim e nao merece ter gente pra recebe-lo e o levou a uma mesa pequena ficar explorando seus sentimentos e no fundo do restaurante, de onde ele seubolso.Nao daminhacontamas eu podia ver todas as pessoas qe tenho idade para ser sua mae e gosto entrassem ali. Pediu uma garrafa 4e demais de voce. E muito ruim quando vinho branco e queijo. 0 tempo passa a eu vejo que alguern esta fazendo voce devagar, mas o gosto do vinho the da a sofrer". Vado beijou-a corn carinho e prazer. Vado chegou acompanhado 4e falou: "Pode deixar minha bela; desta dois amigos e nao o viu. 0 coracao le vez you me cuidar. E afinal, nao Eugenio batia acelerado. Teve vontade precisamos nos preocupar corn isto de desaparecer, de sair daquele lugar porque tenho certeza de que nunca mais correndo, de ser invisivel. Sentiu culpa, eu verei aquela coisa linda novamente!" arrependimento, raiva de estar ali, e Catarina se foi e Vado já estava uma vontade imensa de olhar atendendo outra cliente. Ela pediu urn para o homem que, desta vez, corte que a fizesse mais nova; discu- usava uma roupa clara extretiram sobre o comprimento do cabelo— mamente elegante. De sua mesa quem sabe precisaria trocar aquela cor observava todos os movimenpor alguma coisa mais suave, que nao tos dos tres que acabavam de a deixasse corn um rosto tao pesado! chegar. Depois de pedirem as Lembrou-se do casal da noite passada— bebidas e escolherem o jantar aquela menina precisava de um born eles conversavam animados mas discretos. Eugenio chamou retoque naquela cabeleira sem graca.

Eugenio evitou encontrar-se corn o garcom para fazer o pedido— Aline durante a semana e arranjou estava nervoso e sentia a boca desculpas para o sabado e o domingo. seca. Uma masicatocava suave Saiu no final de semana corn Joao e ele tentou prestar atencao.

Ricardo, seu amigo de tantos anos; De repente, viu que o homem achou que poderia falar corn ele sobre tao desejado atravessava o o assunto, porque nao teria nunca pequeno espaco que separava coragem de se abrir corn a mae—eta as mesas. Chegou e se apresentou: "0!á, nao entenderia. Mas nao soube como como vai? Meu nome e Vado; ia

verdade, Osvaldo, mas todo mundo me chama pelo apelido; eu me acostumei tanto que as vezes ate me esqueco que e apenas urn apelido. Posso me sentar por urn momento?" Eug'enio se sentiu como em urn sonho, onde seus movimentos eram em camera lenta; sua voz saiu quase inaudivel quando disse: "Claro! Esteja a vontade." E se apresentou. Vado disse que já o vira ali antes e nao esperava encontra-lo novamente; ja havia voltado la varias vezes e nao tinha tido o prazer de ve-lo mais. A vontade era de se explicar, mas Eugenio nao disse nada; apenas olhava para o outro. E comecaram a conversar como velhos conhecidos. Vado era tao especial, falava de urn jeito tao envolvente que Eugenio se sentiu urn menino perto dele. As vezes se sentia zonzo, como se o vinho estivesse fazendo efeito, mas a sensacao era boa.

Vado pediu licenca e foi dizer aos companheiros que ia ficar na mesa de Eugenio. Voltou trazendo consigo o copo de vinho e pediu a Atilio que servisse seu jantar ali. Depois, os dois novos amigos conversaram sobre varios assuntos e descobriram coisas que tinham em comum. Quando, no final da noite, o garcom trouxe a conta Vado fez questao de pagar. Eugenio se sentiu embaracado mas o outro cuidou da situacao corn muita elegancia.

Sairam do restaurante ja tarde. Vado o convidou para urn drinque em sua casa; Eugenio aceitou e eles foram para o carro vermelho parado do outro lado da rua. Chegaram a urn alto e elegante predio de apartamentos. Vado cumprimentou o porteiro que os olhou corn naturalidade. 0 hall de entrada era luxuoso, cheio de plantas e quadros de born gosto. No elevador, Vado marcou o oitavo andar.

Eugenio ficou impressionado quando entraram no apartamento. Tudo era muito bem decorado corn pecas de extremo born gosto. Longas cortinas balancavam em frente de imensas janelas abertas na sala de visita. De la se podia ver toda a cidade transformada em urn pacote de pequenas lazes.

Em toda a sala predominava o verde claro e o rosa champanhe, corn uns toques de azul muito leve. Sofas e cadeiras, distribuidos harmonicamente, compartilhavam corn tapetes, outros moveis e quadros magnificos o espaco aconchegante. Numa pequena mesa, ao lado do aparelho de som, estava urn vaso corn flores frescas 31

BRAZZIL - JUNE 1997

que davam um toque de classe ao ambiente. Vado apagou as luzes, deixando apenas o abajur que lancava uma claridade muito suave; depois colocou uma musica e foi preparar os drinques. 0 ar fresco entravapela janela aberta e o silencio da noite se misturava ao som do Concerto numero dois para piano de Rachmaninoff. Tudo estava muito calmo e aquele era urn momento magic°. Eugenio se sentia mais vontade quando o amigo lhe entregou o drinque, convidando-o a se sentar.

Os dois continuaram a conversa iniciada no restaurante; falaram de si mesmos e de coisas que gostavam. De repente, Vado perguntou: "Por que voce voltou ao restaurante?" Sem pensar, sem tentar encontrar uma desculpa, Eugenio respondeu apenas: "Porque eu queria ver voce, conhecer voce, falar corn voce". Vado foi direto quando perguntou: "Voce ja esteve envolvido antes em situacao semelhante?"

Eugenio respondeu: "Nao, esta é a primeira vez e eu ainda nao consigo entender o que esta acontecendo com igo. Nunca em minha vida me imaginei envolvido corn outro homem.

1st° me assusta, mas tambem me excita.

Nao quero ir embora, nao quero perder voce de novo. Tudo parece loucura mas nao quero pensar sobre isto. Quero ficar aqui corn voce." Vado o abracou e os dois se beijaram. A sensacao era de que o tempo parara au. Ficaram ass im, abracados sem dizer nada, apenas sentindo o calor urn do outro. A milsica suave andava pela sala e envolvia a emocao dos homens que, naquele momento, eram apenas dois seres cheios de desejos e expectativas.

Nao pensavam em nada, s6 se acariciavam devagar e ouviam os proprios coracOes que batiam forte. Aos poucos foram tirando as roupas, e experimentando o prazer de serem parte urn do outro.

Fizeram amor la mesmo, no chao, sobre aqueles tapetes macios. Para Eugenio tudo era totalmente novo. As sensaceies eram muito especiais quando o outro o acariciava, beijava seu corpo de uma forma tao gentil, fazia caricias extremamente sensuais. Nao era possivel que aquilo estivesse acontecendo corn ele! Seu corpo dominava e era dominado, o desejo crescia a cada toque, a cada movimento. As maos se encontravam, os corpos se pertenciam. Ele nao sentiu vergonha, 32

nao sentiu repulsa, nao sentiu que fazia nada de errado. Sentiu prazer, mais do .que tudo; sentiu vontade de ficar au, corn Vado, para sempre. Depois de algum tempo na sala, foram para o chuveiro. A agua quente que caia sobre os dois corpos abracados aumentava o prazer e o desejo; nao diziam nada, apenas se tocavam, apenas se queriam mais e mais. Foram para a cama e, misturando suor corn o resto de agua que a toalha deixara nos corpos nus, eles fizeram amor novamente. Depois, cansados, os dois homens adormeceram.

Eugenio acordou assustado no dia seguinte. Ficou confuso corn o lugar que nao reconheceu imediatamente.

Olhou para o lado e viu que estava sozinho na cama. Levantou-se e procurou suas roupas. Elas estavam colocadas corn cuidado na cadeira do quarto. Foi ao banheiro e tomou urn banho rapid°, depois de usar urn barbeador eletrico que estava ao lado da pia; secou e penteou os cabelos antes de voltar para o quarto e vestirse. Pensou na noite anterior e teve sensacao de sonho. Saiu do quarto e seguiu o cheiro de café. Vado estava preparando alguma coisa para eles comerem e quando Eugenio entrou na cozinha virou-se, olhou para o amigo perguntando se ele dormira bem.

Eugenio respondeu que sim, se assentou e p6s café numa xicara. Depois de tomar urn pouco, ficou olhando para o que sobrara no fundo da louca e comecou a falar: "Pode ser que eu esteja ficando maluco. Nao consigo entender ainda o que mudou em mim, estou confuso corn tudo isto, mas nao me arrependo de nada. Sei de uma coisa: eu gosto de voce." E voltando-se para o outro que se assentara mesa perguntou: "Posso voltar?" Vado disse apenas: "Eu gostaria muito que voce voltasse sempre".

Aquele fora o comeco do relacionamento deles.

Aline e Eugenio nao se viram mais. De vez em quando D. Ida recebia urn telefonema da moca e comentava qualquer coisa corn o filho que nao dizia nada a respeito A relacao corn Vado j durava algum tempo e era um tempo feliz. 0 amigo estava sempre lhe dando presentes caros e, algumas vezes, fabulosos, como a motocicleta Kawasaki 400cc, que ele

recebera pelo aniversdrio. Fora uma surpresa e ele disse que nao poderia aceitar. Como explicaria aquilo para D. Ida?! Vado o convencera a dizer que havia conseguido comprar por urn born prep, corn o dinheiro que vinha juntando hd tempos. Eugenio finalmente concordou em aceitar o presente e, sentindo-se um pouco incomodado repetiu para ela a explicacao que Vado inventara. A mulher, que nao sabia quanto custava uma geringonca daquelas, se convenceu de que o filho estava mesmo precisando de um tipo qualquer de transporte para ir trabalhar.

As roupas agora eram diferentes, os ambientes eram diferentes... os amigos eram diferentes. Nos finais de semana faziam compras para a casa, e Eugenio se espantava corn o quanto gostava de fazer isso corn Vado. lam sempre a restaurantes caros e elegantes, faziam passeios otimos nos feriados prolongados, frequentavam juntos a academia de gindstica. Vado nao deixava que Eugenio pagasse as contas pois sabia que o amigo nao tinha urn saldrio que permitisse isso. Estava sempre comprando para ele roupas novas e caras, sapatos e cintos, meias e produtos de perfumaria. Adorava ver Eugenio surpreso, mas deliciado corn todo aquele novo mundo. A noite, quando Eugenio chegava, ia tomar urn banho e encontrava o cartao corn seu nome sobre caixas e sacolas que Vado havia colocado sobre a cama. Ia falar corn ele insistindo para que parasse de mimd-lo tanto, mas o amigo dizia que gostava de fazer aquilo, que ficava feliz. Depois do banho, ja descansado, Eugenio pegava o copo de vinho branco que Vado lhe trazia e se assentavam na sala. Assistiam juntos algum programa na televisao, viam um filme no video, ou ouviam mnsica e conversavam sobre o dia, enquanto comiam uma coisa qualquer que Vado sempre preparava.

A cada noite o prazer de sentir prazer e a vontade eterna de estarem juntos aumentavam, e eles se deixavam envolver mais e mais.

Eugenio parara de sair corn os colegas de trabalho para uma cerveja depois do servico. Joao Ricardo ficara escandalizado quando o amigo finalmente lhe contou sobre a relacao em que estava envolvido e disse que nao queria ser amigo de homossexual.

Eugenio, que já esperava uma reacao como aquela, nao se importou muito.

Agora morava parte do tempo no apartamento de Vado. D. Ida, ignoranBRAZZIL - JUNE 1997

do o que se passava corn ele, nao se incomodava pelo fato de Eugenio estar sempre tao ausente; ele precisava mesmo de liberdade para dorm ir na casa de amigos, sair corn eles, passear e conhecer outros lugares. As vezes ficava urn pouco preocupada quando passava alguns dias sem ter noticias do filho; mas quando ele telefonava ela se sentia tranquila.

A vida de Eugenio se modificara completamente, mas ele nao estava assustado. Passou a achar muito natural aquele relacionamento. Vado se sentia extremamente feliz e parecia uma crianca corn brinquedo novo. Nao comentava corn os amigos sobre a nova fase que estava vivendo—nao queria que eles se envolvessem ou dessem palpite. Alguns reclamavam que ele n o saia mais para jantar corn eles, mas entendiam que, de alguma forma, o amigo estava feliz. Apenas Catarina ouvia as confidencias de Vado; ele confiava na cliente e amiga de tantos anos, de quern gostava como se fosse a "maezona" que ele queria ter tido. Ela ,o entendia, nao se escanclalizava, nao censurava. Apenas 'pedia a ele que tomasse cuidado para nao se magoar; ela estava feliz por ele mas, ao mesmo tempo, preocupada.

Urn ano se passara desde que se conheceram. No carnaval de 1991, os amantes foram para Cabo Frio. Eugenio nao conhecia o lugar e ficou maravilhado. Vado queria fazer-lhe todas as surpresas e agrados; o amigo nao se fazia de rogado e gostava de ser tratado daquela maneira.

No sabado de aleluia daquele mesmo ano, Vado convenceu Eugenio a sair fantasiado em uma banda que desfilava todos os anos pela cidade. Na sexta-feira, Vado trouxe a fantasia de Batman—a mascara fez Eugenio se sentir mais confortavel. No sabado, pela manha, os dois tomaram uma boa dose de gim tonica e a bebida ajudou a relaxar. Vado se fantasiara de Capita° Gancho e os dois sairam de casa as gargalhadas. 0 desfile durou todo o dia e, enquanto dancavam, os participantes bebiam cerveja, se abracavam e se reconheciam. Eugenio nunca vira alguns daqueles amigos de Vado mas foi apresentado a el es assim que chegaram ao local de onde a banda sairia. Um deles, que se vestia de "Dama das Camelias", corn vestido longo e coberto de flores, cabeleira preta e cheia de cachos, botas de exercito e urn imenso bigode, abracou o novo parceiro BRAZZIL - JUNE 1997

e disse quase gritando: "Seja bem-vind a ala dos alegres rapazes da banda!'

Uma sensacao de desconforto tomo conta de Eug8nio. Vado o chamou estendeu em sua direcao uma lata de cerveja gelada. 0 desfile durou toda a tarde. A musica e o barulho envolviam a todos que jam se juntando ao grupo alegre; as pessoas se abracavam e dancavam corn se fossem eternamente parte daquela folia. No final do dia, corn a cabeca girando e o corpo leve, os dois amigos tomaram um taxi que os deixou em casa.

Quando finalmente selivraram das fantasias, e do cheiro de suor que desapareceu corn urn bon) banho, eles foram para a cama. Conversaram urn pouco sobre festa, comentando as excentricidades riram demais quando Vado se lembro que "a dama das carnelias" havia s engracado corn um mulato forte e alto fantasiado de "viking", corn tranca louras e longas, capacete tradiciona corn chifres, vestindo sandalias d soldado romano. No final do desfile os dois estavam abracados e o "viking' tinha uma camelia enfiada em uma d suas trancas. Uma chuva fina caia 1 fora refrescando a noite quente. Vad abracou Eugenio e os dois dormira profundamente. 0 tempo ia passand e, as vezes, o relacionamento se tornav tenso. Vado sentia ciumes que muita vezes nao conseguia controlar. Eugeni se aborrecia quando era acusado d parecer distante ou menos interessad que antes. Depois de alguma discussA Eugenio acabava convencendo o amig de que ele via coisas onde elas nA existiam. Vado nao conseguia fica magoado por muito tempo corn amante. E fazer amor voltava a ser u imenso prazer.

Já estavam juntos por dois anos Aline tentou a reconciliacao alguma vezes, mas Eugenio disse que er impossivel; que ela deveria procura ser feliz e esquece-lo definitivamente Ele chegou ate mesmo a receber n telefonema do pai da mop; corn muit cuidado o homem falou corn Eugani que se fosse questa() de dinheiro el nao precisava se preocupar porque como presente de casamento, o casa ganharia um apartamento mobiliado Eugenio explicou que nao era nad daquilo. Queria que eles procurasse entender que ele nao gostava de Alin o suficiente para. continuar co

qualquer tipo de relacionamento.

Finalmente a moca nao lig.,ou nem o procurou mais. "Foi melhor assim", pensou Eugenio, que nao sabia mais o que fazer para se livrar dela.

Catarina chegou ao salao cedo, na quinta-feira. A noite iria a um jantar-dancante onde estaria comemorando corn as amigas, naquele mes de novembro de 92, trinta anos de formatura do ginasio. Ela queria estar muito elegante e precisava dar um jeito no cabelo sem corte, jogar nele uma cor bem bonita e arrumar as unhas.

Vado nao havia chegado ainda, mas telefonara e pedira que avisassem a cliente que ele chegaria dentro de meia hora.

Chegou corn ar cansado e cumprimentou corn urn born dia seco as pessoas que estavam la. Catarina notou que o amigo estava diferente, mas nao fez nenhum comentario. Enquanto ele trabalhava corn o cabelo dela, a manicure cuidava das unhas. Vado estava silencioso e nao conversaram. Quando a cliente ficou pronta, ele disse a funcionaria da recepcao que estava saindo para tomar urn café. Perguntou amiga se ela teria urn tempinho para corner alguma coisa corn ele na lanchonete proxima ao salao de beleza.

Ela disse que sim e as dois seguiram juntos para o lugar. Vado pediu urn café puro; Catarina pediu urn café e urn pedaco de torta de nozes. Assentaramse a mesa e Vado segurou a mao da amiga. Olhou para ela e disse simplesmente: "Estou corn AIDS". Abaixou a cabeca e nao falou mais nada. Catarina descansou a xicara no pires e, depois de urn breve silencio, perguntou: "Quando voce soube disto?" Ele respondeu, sem levantar a cabeca: "Hoje de manha. Meu medico me chamou ao consultorio e me mostrou os resultados dos exames que fiz". Ela chegou a cadeira para perto do amigo e colocou o braco sobre os ombros dele.

Nao disseram nada, so ficaram ali quietos, olhando para os carros que passavam la fora.

A principio ele pensou em esconder do amante aquela noticia terrivel. Mas nao poderia fazer isto, era desonesto nao alerta-lo para o que estava acontecendo. Eugenio chegou em casa e sentiu que alguma coisa estava errada, mas ilk) fez nenhum comentario.

Beijou Vado e lhe perguntou como fora o dia; contou que se encontrara 33

corn Joao Ricardo e que o "amigo" fingira que nao o conhecia—ridiculo!

Depois foi para o chuveiro esperando que o outro viesse para o quarto.

Ele nao foi. Eugenio foi encontrd-lo na sala, quieto, corn urn copo de vinho branco na mao.

Quando o viu chegando, Vado Ihe pediu que se assentasse porque precisavam conversar.

Entregou a ele um copo de vinho e, sem rodeios, deu a noticia. A reacao foi de incredulidade.

Eugenio, palido, olhando para o amigo, disse, quase gritando: "Impossivel! NA° pode ser verdade porque voce esta muito bem de sande! NA° diga uma coisa destas para mim porque eu nao you acreditar!" Vado ficou silencioso, brincando corn o vinho no copo. Eugenio chegou ate a janela e ficou olhando para o nada. Finalmente voltou e abracou o amigo pelas costas.

Ficou assim por um momento e depois disse devagar: "Estamos nisto juntos.

Eu te amo e a gente vai fazer o que for preciso. Eu ficarei corn voce sempre."

Os dois choraram juntos; um choro de dor, de revolta, de saudade de tempos que nao voltariam mais, tempos que comecavam a acabar ali.

A doenea foi rapida; os sintomas externos dela Se manifestaram logo.

Muitas clientes do said° foram se afastando aos poucos. Algumas tinham compaixdo, outras tinham curiosidade, mas a maioria tinha medo. Catarina continuou indo para arrumar o cabelo e todas as manhas passava para saber como o amigo se sentia. Ele se cansava depressa e seus ajudantes tinham de fazer o trabalho. Os medicamentos nao faziam mais efeito; as drogas caras e importadasjá nao the davam nenhuma esperanca. Finalmente ele entregou a gerencia do salao a uma funciondria mais antiga.

Eugenio mudou-se para o apartamento de Vado. Disse a D. Ida que era uma mudanca tempordria porque ele precisava ajudar urn amigo; tirou uma licenca do trabalho para cuidar do amante que estava muito mal.

Era doloroso estar ao lado dele todo o tempo, vendo-o tomar a forma da doenca que sem piedade alguma se apropriava do corpo do homem que ele amava tanto. N5o reconhecia mais as pernas fortes e bem feitas, os bracos que sempre o haviam envolvido corn tanto carinho; o que estava sobre a cama nao passava de urn amontoado de 34

ossos cobertos por uma pele sem cor. 0 rosto de traps tao bonitos nth) era sena° uma mascara corn olhos fundos e sem brilho, uma boca de labios descoloridos e ressecados. Eugenio cuidava dele tentando minorar a dor e o sofrimento do amigo; era extremamente dificil ve-lo morrendo a cada minuto—uma morte lenta, sofrida, desesperante. Vado resistia se agarrando a vida, sem querer ir embora tao cedo—tinha apenas trinta e quatro anos. Passava as noites praticamente acordado e tinha medo de ficar sozinho; dizia ao amigo que dorm isse porque se precisasse de alguma coisa chamaria. Eugenio tentava ficar acordado tambem mas estava exausto depois de tantas noites em claro e acabava dormindo. Vado acariciava seus cabelos e urn choro silencioso vinha junto corn lembrancas de urn tempo tao especial.

Foi numa noite quente de marco de 1993 que Eugenio acordou assustado corn Vado the chamando e pedindo que abrisse a janela porque nao conseguia respirar. Levantou-se depressa, acendeu a lampada de cabeceira e abriu a janela. Voltou para o lado do amigo, ajeitou os travesseiros e os lencois e perguntou se ele se sentia melhor. Vado tentou esbocar urn sorriso mas nao conseguiu. Eugenio falou: "Acho que e melhor eu levar voce para o hospital. Nao temos aqui o que necessario para voce se sentir melhor.

Eu sei que esta nao é sua vontade mas hora de fazermos isto. Tenho certeza de que vai ficar mais confortavel. Eu you ficar Ia o tempo todo, ndo se preocupe. Vai ser born, voce vai ver, e eu you ficar mais tranquilo." Vado concordou. Eugenio trocou a roupa do amigo que, extremamente fraco e corn a respiracao dificil, nao conseguia se manter de pd. Todas as roupas eram agora imensas para aquele corpo tao Quando estava pronto, Eugenio o carregou no cob o ate o carro; era como carregar uma crianca; aquele homem, antes tat) grande e forte, estava agora extremamente leve. Chegaram ao hospital e os enfermeiros o levaram para o quarto. Durante toda a noite Vado nao se acalmou e mesmo corn o oxigenio parecia que o desconforto n5o o abandonava. Já estava internado hd oito dias; os momentos de lucidez eram bem poucos.

Era terca-feira e o dia estava muito quente. Catarina estava no quarto conversando corn Eugenio. Passara a tarde Ia para que o outro pudesse descansar um pouco. Corn uma voz muito baixa Vado os chamou para perto de sua cama. Eles se aproximaram e ele disse para Catarina: "Minha bela e fiel amiga, obrigado por tudo". Depois segurou a ma° do amigo, olhou para ele e disse corn dificuldade: "Voce me fez extremamente feliz. Amei voce demais e ndo queria que as coisas acabassem assim." E fechou os olhos.

Todo o desespero term inava ali. A expressao agora era de paz; finalmente ele parava de sofrer. Catarina abracou Eugenio e ficaram assim por um tempo, quietos. Ele deixava que as ldgrimas viessem livres agora; nAo precisava mais fingir que estava tudo bem, n5o precisava ser forte; o amigo nao estava mais ali. A vontade era de gritar de dor mas ele ficou em silencio.

Já se haviam passado sete meses desde que Vado morrera. Eugenio voltara para a casa da m5e. Urn testamento deixado pelo amante fe-lo herdeiro de seus bens. Os gastos corn a doenca foram imensos e Eugenio usou parte do dinheiro para pagar as despesas. 0 apartamento foi vendido, o salao .foI fechado.

Em toe, diante da janela do quarto, Eugenio pensava em Vado. Teve vontade de chorar. Merda de vida! Por que as pessoas nao podem simplesmente viver, sem terem de se arrepender a cada passo, a cada movimento! Droga!

Queria ter o amigo ali corn ele, precisava dele mais do que nunca— que falta ele the fazia, que saudade dos carinhos e dos beijos dele! Olhou mais uma vez para o papel corn o numero do telefone e o colocou sobre a mesinha ao lado da cama. Estava muito cansado e precisava dorm ir. Apagou a luz e deitou-se como estava. 0 vento fresco entrava pela janela e a lua cheia brincava corn as estrelas.

Os Alegres Rapazes da Banda is

this

short story's original title.

Its author, Adelaide Bouchardet Davis, born in Visconde do Rio Branco, Minas Gerais state, is a writer and professor of Portuguese at Denver University, Colorado, USA. You can reach her via E-mail: addavisAdu.edu Copyright © by Adelaide Bouchardet Davis BRAZZIL - JUNE 1997

Amazon may r present aimrazil's territory, ut it's jos , tory of the Braz han flora. '6 41` Pa a'ot , tlantiaa, for exa pie, althotiOh hadoW of its for er self, hiiversity than t e Amazon. Anric * reire the Ma a da Arau' ...4 aatingas, a d the ceriadbi

he Amazon is the largest equatorial forest in the world and occupies approximately 42% of Brazil's area. The rainforest ecosystem is stratified into four layers of plant and animal life. Most of the activity takes place in the canopy layer, 20 to 40 meters above ground, where plants compete for sunshine and the majority of birds and monkeys live. The dense foliage of the canopy layer blots out the sunlight at lower levels, while a few tall trees poke above the canopy and dominate the forest skyline. A poorly defined middle layer or understorey merges with the canopy from below. Epiphytes hang at this level.

Bushes and saplings up to five meters in height constitute the shrub layer, while the ground layer is composed of ferns, seedlings and herbs—plants adapted to very little light. Ants and termites, the so-called social insects, live here. The safivas (leaf-cutter ants) are farmers and use leaves to build underground nests for raising fungus gardens, while army ants swarm through the jungle in huge masses, eating everything in their path. Fungi and bacteria, the decomposers', keep the forest floor clear. It's tidy in comparison to temperate forests.

The forest is not homogeneous; plant species vary with the land and its exposure to water. Plants of the igapo and flooded lowlands are mostly palms and trees with elevated roots. The valuable hardwoods and the brazil nut tree prefer land that is high and dry. The rubber trees and other plants of the varzea, land by the river's edge, have adapted to spending half of the year below water and half the year dry. Then there are the aquatic plants of the river itself like the giant Vitoria regia water lilies (named after Queen Victoria), mureru, camarans and manbeca. There are floating marshes with amphibious grasses that have both earth and aquatic roots, depending on the season and local conditions.

The forest still keeps many of its secrets: to this day major

T

BRAZZIL - JUNE 1997

tributaries Jf Mc Amazon are unexplored. Of the estimated 15,000 species )f Amazon creatures, thousands of birds and fish and hundreds of mammals have not been classified, and after each foray into the jungle botanists still manage to bring back dozens of unclassified plants.

A cursory sampling of known species of animals found in the forest—some common, some rare, some virtually extinct— would include th jaguar, tapir, peccary, capybara, spider monkey, howler mon ey, sloth, armadillo, caiman, alligator, river dolphin, manatee nd turtle; and various species of snakes such as the boa constri tor and anaconda. Typical bird species of the forest include the toucan, parrot, macaw, hummingbird, woodpecker and hawk. Insect life is well represented with over 1800 species of butherfl and more than 200 species of mosquito. Fish species include p ranha, tucunare, pirarucu, surubim, pintado and electric eel. The enormous diversity of fish in the Amazon means that biolog sts are unable to catalogue or identify 30% of the catch they co e across in the markets of Belem.

Unfortunately, deforestation is taking place on such a vast scale that countle s unknown species of animals and plants will be destroyed. W will lose a genetic library that has already given us so much rubber, manioc,. cocoa, anti-malarial drugs, cancer drugs and housands more medicinal plants.

Mata Atlantica Reduced by s gar-cane farming, logging, coffee cultivation and acid rain to etween 2 and 5% of its original size, the surviving coastal ainforest, known as the Mata Atlantica, now only occurs in i olated pockets. The largest, the Estacao Ecologica da Jury'a, on the southern coastal escarpment in Sao Paulo state, owes *ts survival to the shelving of plans to build a nuclear power pl t.

Separated fro the Amazon by non-rainforest terrain, the Mata Atlantica is uch older (601million years compared to the 35

h ‘ , T11 \ a Amazon's 40 million) and evolved independently. limited overlap of species. It has an even richer hiodi ei say than Amazon. and contains many unique and endan i:ered animals, such as the spider monkey (the largest primate in the Americas). howler monkey, puma, marmoset and the goldenlion tamarin. Its distinctive flora includes many larrn trees: brazil wood, iron wood. Bahianjacaranda and cedar. a‘ \\ cli as a number of rare tree ferns. The Mata Atlantica is also home to more than 500 bird species. many of which are-uniqut I hcse include harpy and black-hawk eagles, tinamcius and lai ie bers of the vibrant tanagers.

Mata da Araucaria The mountainous regions of southwest and southern Brazil were once covered by coniferous forests which were dominated by the prehistoric-looking araucaria, or parana pine tree. It grows to a height of 30 to 40 meters, has clear trunks and candelabra-like heads of upturned branches that form flattened crowns. Its seeds, pinhoes, are edible.

Decimated by timber cutters, the araucaria forests are now more scattered, but are much in evidence in the south, where their animal inhabitants include foxes, tree squirrels, skunks. spotted cats and monkeys.

Caatingas These are dry areas, such as those of the sertdo in the Northeast, where vegetation consists mainly of cacti and thorny shrubs, which have adapted to lack of water and extreme lic,11 Much of the wildlife in these areas—anteaters and armadillos . for example—has been severely depleted by hunting and habitat ' i destruction. Currently, these areas are being exploited without, control. Wood and coal from the caatingas area primary energy source for a large percentage of the region's inhabitants. It's also used to fuel 30% of the Northeast's industries, generates—'114,000 jobs directly, and contributes 15% of the income on rural properties. Recent studies show that continuing destruction of the caatingas at its present rate will see them disappear in Paraiba in 28 years, 40 years in Pernambuco, 50 years in Ceara and 65 years in Rio Grande do Norte. The list of endangered species for the caatingas includes the Spix and Lear's macaws, and the three-banded armadillo.

Cerrados These open lands, which also occur in the form of Savannah, are usually grassy plains dotted with small trees such as the mangaba and carobeira. This landscape extends from the borders of Maranhao in the Northeast down through Minas Gerais and as far as the Southwest. Armadillos, foxes and rheas are some of the well-known species in these areas. The ceerados are disappearing fast. The use of this land for agricultural purposes such as soya farming has reduced available habitat for wildlife, such as the maned wolf and giant anteater, which are native to this region and are now endangered species.

ECOLOGY & ENVIRONMENT In the 1970s, the military government attempted to tmine the Amazon with an ambitious plan entitled Plano de I intim acao National (PIN). Long roads, like the 300-km Transiiiiiii/onica, were cleared from the jungle and settlers from the Noi theast soon followed in the tracks of the bulldozers. The roads were said to be safety valves to ease the social tensions and overpopulation of the drought-stricken Northeast: Thousands left the Northeast to build homesteads in the newly cleared forest. The majority of these hopeful settlers failed to establish a foothold and either perished or abandoned the land for the favelas of Manaus and Belem.

During the '80s, the Brazilian government acted as if the forests were an impediment to progress, an asset to be used to pay back the debt incurred during the 20 years of military dictatorship. Encouraged by the IMF (International Monetary Fund) and the World Bank, the Brazilian government provided large incentives to coax multinational timber and mining firms to exploit the Amazon. These gigantic projects were designed to yield short-term profits and pay off the foreign debt regardless of environmental and social consequences. The economic plan was launched with purely extractive goals, and the forests and precious metals were perceived as resources to be exploited at top speed until they were gone.

36

Many of the loans for these gigantic projects worsened Brazil's foreign debt, which plagued the economy for more than a decade. Despite increasing criticism at home and abroad, this plan is still being maintained and will eventually exhaust Brazil's resources.

The early '90s saw a dramatic surge in international and domestic interest in Brazil's ecological progress and environmental attitudes. This was demonstrated by the ehoice of Brazil as the venue for ECO-92. a mega environmental and ecological bash organized by the United Nations to thrash out appropriate priorities for the environment and economic development.

Although the international media generally centers its attention on destruction of the Amazon rainforest, there are a number of other environmental issues in Brazil which are very serious.

The Mata Atlantica, a region of forest which, in the 16th century, covered 1.5 million sq. km and stretched from the states now known as Rio Grande do Norte and Rio Grande do Sul, has been reduced to a mere 10,000 sq. km. Some Brazilian sources, such as Fundacao SOS Mata Atlantica, believe that even these remnants will be finished in 15 years, along with more than 300 species of wildlife that are already on the brink of extinction.

The Pantanal is threatened by pollution and poaching—described in more detail at the end of this section. The Northeast region, already experiencing extreme poverty and social breakdown, is literally losing ground to desertificationm and beaches throughout Brazil (particularly those near industrial areas) are threatened by indiscriminate dumping of major pollutants or malfunctioning sanitation systems. Further problems involve the burning of huge tracts of land in parks and reserves: widespread and unchecked use of dangerous pesticides; and the concomitant reduction or extinction of hundreds of plant and wildlife species—an irretrievable genetic loss.

Poaching & Pollution in the Pantanal According to Dr Maria Padua, a well-known biologist and conservationist, poachers are doing more damage to the Pantanal than the Amazon. The Brazilian government has not done much to stem the slaughter of the animals.

Anywhere from 500,000 to two million animals are killed each year in the Pantanal, smuggled over the Bolivian border (where poaching is also illegal, but requisite laws are not even tokenly enforced) and exchanged for cocaine, guns and cash.

The slow and fearless jacares are easily shot at short range.

A jacare skin commands a price of $200, but only a fraction of it is used—the supple, small-scaled skin of the jacare's flanks is sought after to make fashionable wallets, belts, purses and sho es. Fhe rest of the carcass is useless to poachers and is discarded.

A park ranger told us of the hundreds of jacare carcasses, their skulls in neat piles, crates of handguns and rifles, bags of cocaine, and the many jaguar and ocelot pelts which were found in a raid on some poachers, who worked two hours by boat from Porto Jofre.

Just as poachers supply the fashion industry with skins, they supply American pet shops with rare tropical fish and birds. A hyacinth macaw will sell for $5000 in the USA; compare that to the minimum monthly wage of a Brazilian and it's easy to see the great temptation for farmers, truckers, government officials, in fact anyone in the area, to get involved in poaching. The depletion in the numbers ofjacare is causing unchecked growth in the piranha population, which, in turn, will affect the numbers of different fish and bird populations.

As well as the threat posed by poachers, the delicate environment is also threatened by mercury in gold slurries and everexpanding farm and ranch lands. Sediments from erosion caused by intensive soya and rice farming flow into the area. Sugar mills and factories that produce alcool (sugar-cane fuel) in sao Paulo and Mato Grosso dump poisonous waste into rivers that drain into the Pantanal. Scientists have also detected use of the defoliant Thordon, a component of Agent Orange.

Large projects are begun without an environmental impact study. The latest is the proposed construction of a hidrovia, an aquatic freeway on the Rio Paraguai aimed at improving the transport of goods from the interior to the new Mercosul partners: Paraguay and Argentina. Experts predict it will cause BRAZZIL - JUNE 1997

the water level in the Pantanal to drop by up to 10 meters, with disastrous consequences for the ecology of the area.

The Fate of the Amazon The Amazon, a very large, complex and fragile ecosystem—comprising one-tenth of the planet's entire plant and animal species, producing a fifth of the world's oxygen and containing a fifth of the world's fresh water—is endangered.

Unless things change, the rainforests will be cleared for more ranches and industrial sites, the land will be stripped for mines and the rivers will be dammed for electricity. Already jaguars, caimans, dolphins, monkeys and a host of other wildlife and plant species are threatened with extinction. As in the past, the Indians will die with their forests, and the invaluable, irreplaceable Amazon may be lost forever.

The construction of roads is a prerequisite for exploiting the Amazon. This process was initiated with the construction of the Transamazonica highway in 1970. The ensuing decades saw over $10 billion thrown into gargantuan projects and schemes offering financial incentives to exploit resources regardless of the effects to the environment. Those involved included the World Bank, the IMF, US and other international banks, and a variety of Brazilian corporations, politicians, and military figures. According to calculations made using Landsat photos, the damming of rivers, burning, and clearing of the forests between 1970 and 1989 destroyed about 400,000 sq. km or around 10% of the Amazon forest.

At the end of 1988, Chico Mendes, a rubber tapper and opponent of rainforest destruction, was assassinated in the town o Xapuri (Acre state) by a local landowner. This sparked an international reaction, which eventually pressured the World Bank and the IMF to declare that they would no longer fund destruction of the rainforest.

Despite this commitment, it seems there will be no appreciable slackening in the forest destruction. The Perimetral Norte, a highway which is projected to stretch in a huge loop from Macapa (Amapa state) via Boa Vista (Roraima state) all the way to Cruzeiro do Sul (Acre state), is still being touted as a viable project. In the state of Acre, the extension of BR-364 from Rio Branco to Cruzeiro do Sul is being supported by Japanese finance. Local politician Joao Toto recently stressed that this road will be "the salvation of Acre." The stretch between Rio Branco and Sena Madureira (about 125 km) has been completed. The inevitable conclusion is that new highway projects such as these will follow the old pattern of development and open up the Brazilian Amazon to even more destruction.

The military recently claimed in all seriousness that the environmental issues surrounding the Amazon had been eZaggerated by foreigners intent on invading the region! Gilberto Mestrinho is into his third term as governor of Amazonas state, and is responsible for over 1.5 million sq. km of the Brazilian Amazon. The following are samples of his pearls of ecological wisdom: I like trees and plants but they are not indispensable. After all, men have managed to live in space for almost a year without trees..: Man is the center of the environment and I will be the governor of men, not of animals and the forest...

There are hardly any healthy trees in Amazonia and they should be used before woodworm gets to them.

Much of what is being promised overseas and in Brazil appears to be 'greenspeak,' a type of lip service whereby the speaker certifies green intentions for a hazy point in the future without putting these into deeds.

Exploitation of the Amazon — Most biologists doubt that the Amazon can support large-scale agriculture; the lushness of the jungle is deceptive.

Apart from volcanic lands and flood plains which can support continuous growth, the jungle topsoil is thin and infertile; most of it is acidic and contains insufficient calcium, phosphorus and potassium for crops.

Small-scale slash and burn, a traditional agricultural technique adopted by nomadic Indians, seemed to work best at supporting small populations on such fragile lands without ecological compromises. Indians would fell trees in a four or 5hectare plot of land and burn off remaining material. The resulting ash would support a few years of crops: squash, corn, manioc, plantains and beans. After a few seasons, however, the BRAZZIL - JUNE 1997

nutrients would be spent and the Indians would move on. The clearings were small in size and number and the land was left fallow long enough for the jungle to recover.

In contrast, modern agricultural techniques are enormous in scale, directed to the production of animal protein rather than vegetable protein, and fail to give the jungle an opportunity to recover. Nowadays ranchers clear huge areas of land—some cattle ranches are larger than European nations. These lands are .. so that nutrients contained at one point in the never left fal biomass of the forest and thin topsoil are permanently squandered.

Farming and ranching is almost incidental to the deforestation process. Vast tracts of land are bought so that the buyers can speculate for the treasures buried beneath the earth, not those growing on it. Since Brazilian law requires that one third of the land be put to use, the owners set fire to the land (killing wildlife indiscriminately), plant some grasses and raise cattle. The government then approves the land rights and the important mineral rights are secured.

Effects of Development—The Indian tribes in the Brazilian Amazon have borne the brunt of the destruction, which has systematically wiped out their lands and the forest, their sole livelihood. New roads have attracted settlers and garimpeiros (miners) into the last refuges of these tribes which have been virtually wiped out by introduced diseases, violent disputes over land, pollution from mining or the construction of huge dams which simply flood them out of the area.

Giant hydroelectric schemes, such as Balbina (Amazonas state) and Tucurui (Para state), are also a source of controversy.

In the case of Balbina, a $750 million project funded by the World Bank, there are doubts as to the usefulness of flooding over 2000 sq. km . Apart from the loss of wildlife and wastage of valuable timber, the possible chemical effects of such large quantities of submerged, decomposing, vegetal matter on the water quality and the surrounding region have not been sufficiently researched. Over 70 major hydroelectric schemes are planned for completion in the Brazilian Amazon by the year 2010.

Thousands of garimpeiros have swarmed into the region to mine the streams and rivers. Unfortunately, their principal mining technique involves the use of mercury separation to extract gold from ore. Large quantities of mercury, a highly poisonous substance, are washed into the water, where they become a major health hazard for local Indians, wildlife and the garimpeiros themselves.

One of the most dramatic and disturbing sights in the forest is the burning of immense tracts to clear the area for agriculture or cattle ranching. Whilst travelling in the region we noticed that many airports—Porto Velho, Cuiaba, Imperatriz, and Acailandia are just a few examples—were regularly closed to air traffic because of the smoke. During broad daylight, we found ourselves sitting outside in semi-gloom (induced by huge clouds of smoke obscuring the sun) at a restaurant in Porto Velho, whilst a light rain of vegetal ash descended on the tables.

It is quite obvious that no attention whatsoever is being paid to legislation which restricts the number of fires on any one day, and it would be a Herculean task to enforce such a law.

According to meteorologists, the smoke cloud has already reached Africa and Antarctica. Scientists generally agree that the torching of the forest on such a massive scale contributes to the greenhouse effect, but opinions differ as to how much.

Scientists are becoming increasingly concerned by the regional and global climatic changes caused by massive deforestation.

The water cycle, which depends on transpiration from the forest canopy, has been interrupted and neighboring lands, such as eastern Para, are receiving less rainwater than usual, while the spent soils of the surrounding areas and deforested zones are being baked by the sun into desert wastelands.

Perhaps the most devastating long-term effect is the annual loss of thousands of forest species which disappear into extinc37

tion and thereby reduce the genetic pool which is vital (as a source of foods, medicines and chemicals) for sustaining life on earth.

The Search for Solutions—It is only fair to point out that many of the countries which have criticized Brazil's development of the Amazon were once actively encouraging such development, and have only recently been reminded that their own treatment of the environment was hardly exemplary. The general consensus for the '90s, however, is that a series of different approaches must be tried to halt and remedy the destruction. The following are a few samples of what's being attempted.

Debt-for-nature swaps are international agreements whereby a portion of a country's external debt is cancelled in exchange for local funding of conservation initiatives. Negotiation of such swaps requires that the sovereignty of recipient countries is kept intact, and that inflationary effects on their economies are avoided.

Brazil is saddled with an enormous external debt and has shown interest in such a swap, but the sovereignty issue is controversial, especially with the military, and the inflationary track record of its economy is well known.

These extractive reserves gained the world's attention when Chico Mendes, an enthusiastic advocate of these reserves, was assassinated in Acre state. The aim of this concept is to set aside reserves for the sustainable harvesting of brazil nuts, rubber, and other non-timber products. The idea is to use the forest as a renewable resource, without destroying it.

Alternatives are also being researched to stop wasteful clear-cutting of timber. In many cases, huge tracts of forest are wiped out in order to extract only a few commercially valuable tree species, whilst the rest is considered waste. Different methods are being tried to control the type of timber cut, the size of the area that is logged, and the manner in which forests are harvested—preferably as part of an overall management scheme to retain forests as a sustainable resource.

If any success is to be achieved, these schemes will have to be underpinned with finance and enforcement. A number of foreign organizations are eyeing the idea of providing finance for Brazil's environmental needs, but experience has shown

that any funds provided should be watched carefully. Much of what is currently promised in Brazil exists only on paper. and funds have a strange habit of missing their destination or drifting into private accounts. Many of the country's environmental protection units suffer from lack of funds, staff and equipment, and a consequent inability to act.

Depredation of parks and reserves will have to be stringently guarded against by reliable, well-informed and committed -green rangers-. Otherwise, there will be no change in the sort of situation where, for example, the Parque Nacional da Amazonia in the state of Para has only a handful of park guards responsible for physically protecting nearly 1,000.000 hectares.

Environmental Movements—Brazil's environmental movement is about 20 years behind those in Europe, Japan and the USA. Rallying behind the slogan -Vamos preservar a natureza" (Let's preserve nature), the nascent conservation movement is beginning to make inroads. The environmentalists have demonstrated the benefits to industry of not polluting, and industry is beginning to respond. Nowadays environmental impact studies accompany all major industrial projects, but this does not mean that the companies concerned will feel comExcerpts from Bra:il pelled to act on recommendaA Travel Survival Kit tions made in such studies.

3rd edition, If Brazil's environment is to be preserved it will be

by Andrew Draffen, through the efforts of groups Chris McAsey, like these within Brazil and Leonardo Pinheiro, abroad—groups that can eduand Robyn Jones. cate the public and enlist its For more information support to control consumption of tropical-forest products; to call Lonely Planet: pressure domestic and interna(800) 275-8555. tional banks and institutions to Copyright 1992 Lonely stop financing destructive dePlanet Publications. velopment projects; and to persuade the Brazilian government Used by permission. to adopt more rational uses for the Amazon.

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BRAZZIL - JUNE 1997

Since the mid-seventies Uakti (wak-chi),[1] a group of orchestral players from Minas Gerais state, has been teasing the sublime from silence and breaking down the doors of Western European notation and instrumentation. A laboratory for expanding musical parameters, Uakti has added a special magic to the work of Milton Nascimento, Marlui Miranda, and Paul Simon. At the same time, by playing specially constructed instruments and embracing elements of Balinese gamelan, minimalism, jazz, and aleatory music, they have defied marketing categories.

With the release of their eighth disc, Trilobyte, Uakti has moved even farther into the uncharted realms of musical consciousness. The group's recent U.S. tour took them from Stanford, California, to Boston's World Music Festival.

While Uakti was in Los Angeles I spoke with Artur Andres Ribeiro, Uakti's flautist and spokesperson, for what turned out to be a meeting with a remarkable man.

Artur, at the show last night you said, "Villa-Lobos is a river that Brazilian musicians are always returning to and drinking from."

Yes, I feel that Villa-Lobos is a celestial person, like a comet that doesn't pass very often. I feel that there is a mission behind his incarnation. But there are other musicians that create this influence, that have this mission. Sometimes when you hear the works of Bach, there is something so profound, so urn... a resonance that continues centuries after him. And Mozart too. You feel that all the notes he has written are... how do you say that? Clean. Everything is BRAZZIL - JUNE 1997

In Another Sound Dimension Artur Andres Ribeiro is not your run-of-the-mill musician. For one, the vastly creative artist thinks all the people in the West are big mushrooms. "Reality," he says," cannot be seen because we have so many dreams, that we cannot connect with real life." In this exclusive interview he talks about subjects he never dared mention before, as his relationship with extraterrestrials. And he gives us an inside look on how cutting-edge band Uakti works.

BRUCE GILMAN

in the right place. There are pieces of Villa-Lobos that I don't like. Seriously. I listen, and I think, 'This is strange; I don't like it.' But he has so many creative solutions orchestrally and in the melody and the harmony, in the rhythm, that it's incredible. The Bachianas are something very special. They are a review of Bach, have the influence of Bach, but they are also very, very Brazilian. They are very, very Villa-Lobos. It's incredible how he could keep this balance.

On Mapa Uakti recorded Ravel's Bolero.

The Bolero was a very interesting experience. Marco had this very, simple idea. Always, he has simple and fantastic ideas.

This Bolero, heard live is even more interesting because you can see the instruments. It's percussive and uses gourds submerged in water. You have principally three kinds of sounds: a low frequency, and as you bring part of a gourd out of the water, you have a medium and then a high frequency (imitates the sound). With these three kinds of sounds we suggest the melody. Yea? As everybody knows the Bolero, we suggest the melody by the rhythm and by the difference of frequencies. It's not temperate, of course. You use the memory of the people who are listening.

Are there other composers Uakti plans to record?

We have the possibility of releasing a very interesting work for our next album on the Point label. It's a work that we recorded for a ballet group in Brazil called Grupo Corpo. They are the most important ballet group in Brazil. We worked with them on 2], which is the CD we just released in Brazil. This next 39

work is a composition like 21 that uses geometric figures as a score.

Iunderstood the notational technique for the I Ching 12], but how do geometric figures work as a system of notation?

Well, very simply, a triangle is 3/4, the square is 4/4, a pentagon is 5/4, the hexagon is 6/4, and so on. It's really interesting. The ballet 21 was a great success in Brazil and in Europe too. Marco worked closely with the choreographer. He knew the music that Marco had composed so well that he easily transposed it into dance. It's very, very together. You know?

Really nice.

There is an overture where we use a counting cycle of 21 bars. The accents start on 21, then move to 20, then 19, 18, 17, until you come to 1. Then the cycle reverses until 21. You feel the measures accelerando. Yea? You've got to listen to that.

This idea of measures accelerando and measures rallentando appears throughout the piece in different combinations. It's very, very interesting. This concept is the foundation of the work, measures accelerando and measures ritardando. In the end you can listen to a very interesting combination, which is the 6, plus 5, plus 4, plus 3, plus 2, plus 1, that adds up to 21.

After we recorded it we felt the plurality coming to the unity.

This idea of returning to the unity and then moving to the plurality again is a really harmonious idea.

And the dancers had no problem with the odd meters?

No. none at all. They could feel the meter because the geometric figures provide a very simple score to follow. It's very easy. We have worked with these kinds of scores all over the world in workshops with children and with old people, with adults. It's incredible because people who have not played music, that know nothing about rhythm and who say that they can't play any rhythm, can play very, very complicated combinations of rhythms by using geometric figures. Working with Marco is fantastic because we learn a lot about composition.

There are many kinds of possibilities, and we are always trying to approach something new.

Harry Partch created instruments because the sound he wanted, that he heard in his head, couldn't be realized with traditional Western European instruments. Is it the same for Marco Antonio?

Yes, I think so. Marco has this quality for researching different things all the time. He is always looking for something new, and in this way the old things are not so important for him. He is not attached to his past work or his compositions.

Has Marco Antonio ever toured with Uakti?

Yes, until '93, I think. After that, he decided not to. He's probably going to start traveling again, but not playing. He does not like to. He plays very well. He is one of the best instrumentalists I have known, so conscious.

Everything he plays conveys his total awareness. But he prefers work as a composer and in the studio. He has a special mind for these kinds of things.

You need one lifetime to perform and another to compose.

Yea, yea, to perform you always have to practice. It's impossible to divide your energy between playing and writing.

Can you tell me a little about Marco's teacher, Walter Smetak?

This was a very spiritual man. He was a Swiss-Brazilian, a cellist and a composer. In Bahia he started working with these new instruments. He had a different approach than Marco for constructing instruments. But sometimes Marco uses some of his mentor's ideas. The musical work of Smetak was much more...microtonal. He was considered a crazy guy.

All the instruments had a concept, a visual concept and a spiritual concept too. Marco has worked more with the musical.

He is not so worried about the formal, visual, external appearance, but more the sound. And Marco composes more for the instruments. But Smetak had a very strong influence on Marco's ao

career. I think that it changed his way of approaching music. He went to Bahia to study conducting and cello and came back an instrument designer and composer.

Artur, we started to talk about a new project. Can you tell me more about it?

Yes, after 21, the Grupo Corpo was interested in another special work for dance. They have a nice sponsor, Shell Oil, and always have completely new music. Milton wrote "Maria Maria" especially for them; it was the first ballet they danced many years ago. So, they had this idea of asking Philip Glass to write the music and for Uakti to adapt Philip's music for our instruments. He wrote around 12 themes. Marco selected the seven he wanted to work with, the themes that would sound best with our instruments:The title of this work is -Seven or Eight Pieces for a Ballet."

The overture, which Marco wrote, will be performed with the curtain closed. This overture is built on a sequence that Marco has often used. It's very simple. You start with the notes FACE, and then the upper thirds, the sharp 7th and the 5th, go down a step; so you have FABD. Then the other thirds, the fundamental and the 3rd go down to make EGBD. And then this one goes and this one goes...You can experiment. It's very simple. Marco has used this sequence in many places on Coletanea. After the overture, the Philip Glass music begins. It really is a very special work. I like this. I think it could be the best work of Uakti. Very, very interesting because you have this minimalistic way that Philip composes combined with the characteristic sound of our instruments and our many improvisations. So it's a more free, more fresh Philip Glass.

I\vas talking to our record director yesterday and was about to suggest that we include some arrangements of Villa-Lobos when he asked what I thought we should record to complete the CD. I said, -We have some beautiful arrangements of the Bachianas Brasileiras." He screamed, "Oh! I'm crazy about this music." I said, "Everybody is crazy about this music. We ogght to record this." We're going to record "Trem Caipira" and "Aria" (Cantiga) from Bachianas Brasileiras No. 4. It's a very interesting arrangement that uses the pan (PVC pipes). It is very difficult to play. I don't know how Paulo can play it on that instrument. It's extremely fast.

Milton once recorded an arrangement of the "Aria" (sings).

Will the disc be released this year?

Well, we are interested in releasing it by the end of '97 or the beginning of '98. We don't want to wait too long between releases like with the I Ching . Three years is too much time Philip Glass has been the executive producer for two discs. How much input does he have on the music of Uakti?

Nowadays you can say the best thing to do is, not do.

Sometimes, yea? This is probably Philip's strongest quality. He keeps you completely free to do what you want. This is very hard for people to do nowadays.

Record producers always feel obligated to tamper a little.

-Let's just take something...(laughs). What do you think if you do that?" But Philip is the best executive producer we've had because he doesn't say anything, and he only smiles. He smiles much more than most of the people I know. He always has a smile on his face. And it's very sincere.

He's a very special man. You can believe that. I always feel so good when I'm with him. I feel like he's a child. His questions are always so pure, so simple. I don't feel the ego. You know?

You sit beside some people, you feel the ego. But with Philip, I cannot feel it. He works closely with the Dalai Lama. This is BRAZZIL - JUNE 1997

very special . Some executive producer!

How have things been working with the Point label, the management, the support for new releases?

Around five or six years ago, Philip Glass was invited by Polygram to create a label? inside Philips Classiti, 'inside Polygram, for music that is not contemporary music or even jazz, something that is more like world music, but not New Age. We were the first artists invited to work with Point. Mapa was the first CD that Point released. Working with Point is a very nice experience because the people are very warm and musical.

Point is Philip Glass's label, and all the people that work with Philip like him very much and like what they are doing. I feel that.

Uakti has recorded an entire work titled I Ching, and on the new disc you have recorded "Trilogy For Krishna." It seems like the group is searching musically and spiritually at the same time.

In some ways, I feel that Uakti is transformed by the music.

I always say that we are not instrumentalists; we are instruments for the instruments. We have to be open for them, and they want to say something. You have to be like a channel for them to express.

Artur, are you a Buddhist?

No, I follow a school that comes from Buddhism, the Gurdjieff school in Minas. In the United States there is also the Gurdjieff foundation. This man, George Ivanovich Gurdjieff, was a remarkable man. He was born at the end of the last century and died in '49. He journeyed for 20 years through the Middle East and Central Asia working in many monasteries in Tibet and with Sufis. His mission was to bring oriental knowledge to the occident by passing it through a language we could understand.

Buddhism is wonderful, but for us it is really difficult to understand how to leave things, to rid ourselves of worldly attachments.

I feel there is something we have to learn during our adult lives, mostly because our education is completely disconnected about these ideas. All our education, here in the West is to educate the mind. You see, in America ail the people are big mushrooms; not only the United States, all America, South America, and Europe—the West. Reality cannot be seen because we have so many dreams, so many imaginations in the mind that we cannot connect with the real life that exists outside ourselves. Gurdjieff says that we have to learn how to work with two cerebrals at the same time. This is another level of being. To do that I have to learn to divide my attention, not in one center, but in two simultaneously. Gurdjieff embraced the idea of working with the body. Because the body is always here. The body, from the first second I am on this planet until the last second I am going to be here, is always with me, and it is heavenly. But we cannot learn this because all of our schools don't have this to give us. We have to find a school.

Gurdjieff used the idea of known identification. It's interesting. You are here. This tape recorder is here, but you are not a tape recorder. But you are here. You have to practice this selfremembering. It's likebeing aware that you are here inside this body all the time. Wherever you are, you can remember you, yourself. You know? When you are in a strange place and you feel, Oh, I am here, in this place. And you, can feel that you are inside, feel your body, and feel you are alive in that place. Same as the Buddhists.

The way that Gurdjieff works is very interesting because the best exercise we do is relaxing. We learn how to relax starting from the head, and move throughout the body. Not a passive relaxation, but a very active one. Close the eyes, and relax the whole body. And keep feeling, learning how to feel. Relaxing, but actively, very aware, awake inside. Yea? Not sleeping. And the movements, this dance, we always work with this. I have to learn how to move my body, relaxing, feeling my body. If I am feeling my left arm now, it means that part of my attention is in this part of my body. So as I'm talking with you, I have a connection with the sensation of my left arm. You know? So this is one possibility of being with two centers, not with one. It's like an anchored boat. The sea wants to get your boat for this hour, but you are here. The sensation is something that is incredible for us who have to play on stage.

I always do that in the presentations. I feel my right leg, and then I feel my left leg while I'm playing. In the beginning it is difficult, but if you understand that.. .And you have to practice.

It's like playing. You start with just the tenacity for playing, for BRAZZIL - JUNE 1997

moving. Yea? I's very special. This is the second level. The third level is b ing with the three centers together. This is another thing. very far thing, but it is the goal.

The bacly, emotion, and mind?

Principally he emotion. Relaxing this part takes years.

Well, there are y ars of tension here. Yea? We have to try to get close to this em tional world, and then things change. Everything, all these t uths, these schools, are truly different fingers pointing for the same moon.

I feel a ver nice sentiment for the Dalai Lama. He has delightful energ . But Gurdjieff has been a stronger influence for me. Workin with his ideas and practicing his teachings has changed my life It's incredible. He is dead but the consciousness continues. You know he has music. He has very, very special Music. Y u can find it. He worked with a disciple named Thomas de Har mann. There is a film too of his life called Meeting With emarkable Men directed by Peter Brook, an English director very famous. I think you can buy this tape. It's wonderful. It's is life. Yea? His autobiography in different monasteries. H worked with dance, sacred dance. And he wrote hundreds • f compositions for his movements. It's really, really special m sic.

You ought t listen to this. There is a recording of piano music that was ade by Thomas de Hartmann. He died a few years after Gucci' ieff in '56, but they worked together with this music. There is I think, a 3 CD set. Triangle Editions is the record compan . All the , works of Gurdjieff are good for meditation. His usic is really, really special.

Is there on • ultimate concept that guides Uakti?

For me it's ery difficult to say. It's like I am in the rain. I cannot see from 'nside what's happening outside. I have been in this rain for 20 ears. From inside it is difficult to compare. I think it is that •eople are always trying to feel comfortable wherever they e, even though the world is not like that. The real world has d fficulties all the time. What I think is interesting is that at all imes there are two sides of the energy. That's clear. The third ide is very difficult to find, this balance that the Dalai Lama alw ys speaks of when he says "You have to be in the middle." Ye? It's the third energy. The third energy only appears when t e opposite sides are together, and never in our lives are both sues together. We are sad or we are happy, and then come to b sad again, then happy. We are never in the middle. That's hat Gurdjieff says all the time. We always connect, but 90 o of the people are always connecting with the negative side. ea?

We learn th s in our education, from our parents, and from all these peopl that are around, that everything is very bad.

Everything is n gative and becomes negative because we are planting negative thoughts, and we take this into the future. It's clear Last night 1 was talking with Decio's daughter. She's at an age where ever thing she sees is not good. Not enough. She's 18 years old. verything is bad. The food's not good. The Chinese food is oo spicy. I told her, "You ought to connect with the positive thi gs that are happening when you are in L.A.. All the people from Brazil who are your age would like to be in the United States, •robably in L.A." Yea? "You are not with your boyfriend. You don't have your own food to eat, but you have to be flexible." ith the music of Uakti, I feel that the soul of this music is the way we are trying to approach something more positive. I think it is only that. And in such a way we are trying to find somethi g positive for ourselves. The results are only a consequence of that. Each one of us in his own way is trying to become a little it better.

Artur, do u come from a musical family?

No. My mo her, Maria Helena Andres, is a famous painter in Brazil. "Tril gy for Krishna" is dedicated to her. She lived in India for many years and still goes there often. She followed Krishnamurti f r many years, and she came here too, to Ojai.

She was the pe son who introduced me to Gurdjieff.

"Trilogy f r Krishna" is a gorgeous piece. How did it come about?

The way thi composition developed is interesting. It evolved from an improv sation I recorded four years ago. I had gone into the studio and said, "Turn on. I'm going to play." I started playing some i eas on the alto flute with some effects. Everything was done asually, but the results were so nice that I later transcribed eve ything I had played.

On Triloby e, the flute section that has three flutes is -Krishna One." I was really pleased it came out so close to my 41

original ideas. There were some effects of reverb that I asked Michael Riesman to help me with. He's the conductor of the Philip Glass Ensemble and a first-class sound engineer who came down to Brazil to work with us on Trilobyte. He used a very deep, cavern-like reverb, and it was exactly what I had in mind.

"Trilogy" is a composition that works with the idea of three powers. There is a very old knowledge that says in the absolute there is no division; it is unity. In the world just beyond that first dimension, but very close to the unity, the second dimension is divided by three. That's the trilogy that always appears like Father, Son, and Spirit; or Brahma, Vishnu, and Shiva; positive, negative, and neutral. Gurdjieff calls this knowledge Holy Affirming, Holy Denying, and Holy Reconciling.

"Krishna One" is the affirmative, just flutes that are continuous (sings the part), like something affirmative. For "Krishna Two" we used the tower [3]. I wrote a canon [4], an eleven note sequence for the instrument. Everything happens over this sequence. There is a canon with this sequence and then with the marimbas. After that is established, the pans, the PVC pipes enter. Finally a melody appears that is a beautiful mantra for Krishna that a very good friend of mine, a flautist, chanted for me. It's very simple but wonderful (sings). It's in eleven and for Krishna. And I found out something that was really interesting.

This mantra has been continuously sung in a monastery in India or Nepal since 1939. It is being sung now and has been sung uninterruptedly since 1939.

Since 1939!

Yes. A monk started to chant the mantra. Two or three hours after, another monk came to chant the mantra. The process has continued every day, all day, all night, since that time. It's incredible. This is objective art. It is really objective. It's incredible because it is something so simple, yet so powerful that it is bringing a little harmony to this crazy world.

I was surprised to find Elomar's "ArrumacAo" on

Is this som hing that you just started practicing in the last two years?

No, I started around 10 years ago. And after that, I left this.

But I've felt the Osults of this practice each day. I feel exactly When my energy goes down and when my energy goes up. This is a long story. There is a man in Brazil who has a connection with some very friendly extraterrestrial beings.

Not Paulo doelho?

No, It's another guy from Brasilia. We became friends. So this compositioq is dedicated to him and his method.

You dedicatid "Music For An Ancient Greek Temple" to Philip Glass.

Yes. When We were composing 21, I was very involved working with the Gurdjieff group, but I was very influenced by this person frorn Brasilia that I mentioned, this contacted person. We say contacted by aliens. And he could explain many things to me that were happening in my life that I couldn't explain.

We were juA recording 21. Most of the composition was being done in the studio. It was January, and we were on a short vacation at my Tarm. It's around 100 kilometers from Belo Horizonte. We had been building a number of structures there in order to receiVe Gurdjieff groups for weekend retreats. And it was one of the first nights that I was sleeping in my house, which had just been finished. I had this dream. But it wasn't a dream because it was really different. It was something very special. I was out of body and completely conscious of what was happening.

I was driving my car. And at a certain moment, on the road going to Belo, wmeone took me out of my body. But it was completely...I vs dreaming and at the same time I was wide awake in the dream. And I went up, and the car stopped at that point in the road. It was exactly at the point I have to pass through when I go to my farm. I was going up, and up, and up, and then they let me down. Yea? I went down directly, 90 Trilobyte. degrees. I don't know how long I stayed in this place. It's a place Well, this version of Elomar's "Arrumacao" is one Uakti that exists in a very strange land where they mine minerals. was invited to make for a TV program organized by a Brazilian There were many cuts in the mountains. It's a very ugly place singer named Saulo Laranjeira. He has a program named if you look with our normal eyes. But it was like I was inside "Arrumacao" (Straightening Up) that always opens with a temple. All the buildings were like temples. And there were Elomar's music. It's a program where guest artists present their beings on a very; high level of consciousness. music live. He uses our arrangement as an introduction to the Yea? It's strange but they spoke with their minds. One word show. Two years ago he had such a deep mesasked us to make the arsage that you could rangement. I was happy not only comprehend with this arrangement afit with the mind, but Ualtti's Discograp ter I made it, so we decided with the whole body.

21 D to include it on Trilobyte.

Immediately the body Trilobyte i'ornt Music/ "The Secret of the 17 and the mind together Philips'Classics Nuts" is a puzzling title. received a feeling and I C'hing Point usic/ What is its significance? understood. And Philips Classics Ah, this is a long story. there was one word I hfetpa Want Music/ In reality it's a spiritual could remember in Philips Classics exercise that I have worked the dream. I kept it in Coletanea Iftr, e/Po I ygrarn with in the past. It's a very my mind, but I Tudo e Todas powerful exercise. Only couldn't remember it as Coisas[5] few people have received when I woke up. But Uakti 2 this kind of.. .It changed my this word meant, Uakti Oficina life...It's a long story. among many other Instrumental plYg rani Really? Tell me. What things, that I had is the exercise? completed one half of Uakti with other artists: Well, it works with a my mission musically Marlui Miranda Todos 0 very special energy. And and in regard to the Milton Nasciniento Anima it took many hours a day to big constructions I Paul Simon The practice. Every 17 minutes had made on my farm you have to do these exerfor people to have Recommended Discrtgr cises by eating fruit and workshops.

Philip Glass Songs 580 1989 nuts. The number 17 apI was shown a Thomas Be Hartmann The Musk of Gurdjie) pears all the time. It's difdance movement. It De Hartmann Triangk TCI) 1001-1003 ficult to describe exactly. was like a Gurdjieff 1989 It works with kundalini work. We work with Bobby McFerrin Circlesongs Sony SIC6I734 1997 energy in order to open the movement, line, and Michael Tilson Thomas Alma Brasileira channels more. I practiced turns. You have to be New World Symphony Music of Villa-Lobos RC 9026-68538-2 four or five times in my always aware, count1996 life and had to prepare ing silently, feeling mentally to make it and to some part ofthe body. have the time because it At the same time you takes six continuous days. have to move exactly It's something I cannot talk about, but it's something that the legs and the arms and the head at the same time. ICs very changed my life. Really. complicated, but incredible. They showed me a movement that 42

BRAZZIL - JUNE 1997

involved six lines of people. Six people. Then one of these people went behind another, so I only saw five. And then another person went behind someone, and ! saw four. And three, and two, and one. And then everybody appeared again. I saw six. It was exactly the six, five, four, three, two, one of the 21.

In this experience they showed me that. In the rhythm, it was exactly that. But it was strange because they did not explain it like I'm trying to explain it to you. It came so fast that you comprehend exactly what's happening. That is the. plurality coming to the unity and then moving to the plurality again. And it's always this movement. Eternal movement. Yea? The rhythm was exactly that. It was fascinating to experience this. After that, it was very strange because I was in a very hie' level of consciousness. I've never been in such a highly conscious state.

Then I passed into another dimension that exists in the same place, but it was like the first floor. I had been on the second floor, and I came down to the first floor. There were people. I could feel the people more individually. I could feel the egos more. On the other floor there was no ego. Everyone had been the same. You were connected with the same eternity. But on this first floor, I could feel.. I talked with other people there about the experience! had just had on the higher level, and one guy said, "Oh, of course, I have had this experience many times."

I felt that. Yea? It's not like where we are now. Here it's worse. It was very nice being able to compare it to here. I tried to explain this to them. It was curious because they explained to me that Philip Glass worked in this temple too and had many recordings here. (I've never talked with anybody about this.

You're the first guy I've ever talked to about this.) Philip worked at this temple, and he had many compositions that he had dedicated to them. This was a Greek temple that existed in Greece a thousand years ago and has moved to South America now. I don't know why. They are there. It's like a school. You know when people are sleeping the more conscious part of the self.. .There are many people that work there.

Probably you have your own temple, and you don't know about it. They showed me Philip's records, the covers of the records, but L can't remember. I can't remember what the lettering on the records said (laughs). So, I wrote "Music for an Ancient Greek Temple" and dedicated it to Philip. He doesn't know about this. I think you don't have to write this. Only if you want.

The music has a mysterious quality about it.

It starts with the big water instrument called the aqualung that uses water falling into two PVC pipes, one just a little bit thinner, which fits inside the other and slides up or down to vary pitch. It sounds like a stream trickling over rocks that sirens up and down like a soft trombone. Conceptually it's a little like the borel that Decio plays.

The new disc is called Trilobyte and contains a composition called "Trilobita Two." Uakti has designed an instrument called Trilobita. And on Mapa there is a tune titled "Trilobita."

Yea, it's always in our lives. This instrument is a virtuoso's instrument. It's normally played with four hands, Paulo and Decio. "Trilobita Two" is one of Paulo's compositions, and it's very interesting. There is a counting cycle of one hundred beats.

Groups of ten, ten, ten...?

No, no, it's more complicated than that. Paulo has to explain it to you because I cannot explain it well. But it's an interesting arrangement to complete the one hundred count cycle. He knows better. I cannot explain exactly. It's a superimposing of different bars and at one hundred they connect again then start another parallel cycle.

In a tune like "Onze" are you concentrating on geometric patterns?

Sometimes, but sometimes I'm just feeling. -Onze" (Eleven) is in eleven and like 21 uses a score of geometric figures. The idea is that the traditional way of writing music is very difficult for improvising because if I write a chart using 3/4, 4/4, 6/8, 5/ 8 (Artur writes out the meter and bars on a piece of scrap paper), and you are supposed to improvise over that. ..OK? Complicated, yea? But if! write like this (draws geometrical shapes) 6/ 8 could be a little six pointed star, 5/8 a little pentagon. Yea? Or instead of 6/8 you could have 6/4 and 5/4.

It could be like this and the beat would always be the same.

It's very easy to read. Yea? You don't have to think about it.

You can always...It's objective. You know? You use another side of the brain. We're going to play "Onze" tonight, and it's BRAZZIL - JUNE 1997

just incredible bec use the improvisation is always together in this language that Marco has created using geometric figures.

It's incredible bec use you can improvise easily over the three, four, six, five. Yo are feeling the beats, so it can be a much more free improvi ation and still be together. You know? It's incredible, you'p have to try it.

Does UaktleV r plan to use a vocalist?

We have thou ht about that. and we thought about Marlui Miranda. We had project recently to perform at a festival. The promoters wanted us to invite another artist, but they were interested more in the name than in the results. So we invited Milton, Lo Borges and Flavio Venturini. Mineiro (from Minas Gerais state) sing rs. composers. But we have had a very nice connection with arlui from recording with her and have always been very ond of her work.

We're probab y going to do something else together. A vocalist with Ua ti would have to be someone like Bobby McFerrin or Marl i. You know? More to function like another instrument. We h e this feeling that we ought to work one day with McFerrin. T is would be great. His latest recording with a group of singers i. incredible, incredible. Eight circles.

Circular son s?

Yes, vocal ost natos. Do you know this recording? It's the most important r cording of his life. He's a very spiritual musician. I feel t at when he sings. Now he's conducting. I believe he is working with the Minneapolis Symphony. He has been studying con ucting and is now the assistant conductor for the Minneapolis 'ymphony.

The tune "Pa que das Emas" sounds like a circle song.

Yes. It's like a circular melody. You never feel where it starts. It repeats am n at the octave and goes up. -Parque das Emas" is a very nice melody Marco wrote many years ago, and we fought with h'm to include it in this recording. It's very simple (sings).

It's 4/4!

(Sings and c nducts) Yea. How unusual for Uakti (both laugh). If you list n to the I Ching it's all in six.

Artur, what re your plans for the future?

Continue exis ing (laughs). It's enough.

Notes: 1. Uakti was legendary creature from the Amazon rain forest whose bod was perforated with holes. The wind passing through his b6d created beautiful sounds that attracted the women of the Tu ano Indian tribe whom Uakti seduced. The men of the tribe k lied and buried Uakti. Time passed and palm tress grew on Ua ti's burial site. Wind instruments made from this palm wood p oduced melodies identical to Uakti's. These instruments were only played in secret ceremonies away from the women of the tribe.

2. The I Chin (Book of Changes) contains 64 hexagrams each made up of ix solid or broken lines. In Uakti's notation each solid line re resents a quarter note, each broken line two eighth notes.

3. The tower s a Uakti string instrument that is played by two members oft e ensemble. The large cylindrical instrument, which stands on a cello end pin, is rotates by one player by means of a hand drill mechanism at the top of the instrument while the other player creates the tower's eerie sound by contacting the strings at various angles with a loose horse-hair bow.

4. Canon is th strictest form of musical imitation, in which two or more part, take up, in succession, the given subject note for note.

5. Tudo e To s as Coisas (All and Everything) is the name of ten books in t ree series written by G.I. Gurdjieff. The title was chosen by arco AntOnio Guimardes as an homage to Gurdj ieff. *Special tha ks to the Brazilian Culture Ministry Bruce Gilman, music editor for Brazzil, received his Masters degree in music from California Institute of the Arts.

He leads the Brazilian jazz ensemble Axe nd plays cuica for escola de samba MILA. You can reach him through his E-mail: cuica@interworld.net 43

Firebrand Extraordinaire Singer composer Caetano Veloso is famous for shocking the bourgeoisie and defying expectations.-His Tropicana movement didn't please the military dictatorship, which sent him into exile. Back in Brazil, he put on a Carmen Miranda show and his fans were scandalized by his androgynous behavior.

Seen as a symbol of Brazilian pop music, he is now on a worldwide tour singing Latino, non-Brazilian songs.

LIANA ALAGEMOVITS, BRAZILIAN PRESS

I

Trying to describe Caetano Veloso and his work to those unfamiliar with him is probably like trying to describe the smell and taste of a perfectly ripe red strawberry to someone who's never even seen one. Born in the state of Bahia in 1942 in Santo Amaro da Purificacao, Caetano has always been a bit enigmatic and just slightly beyond easy definition.

Following his sister Maria Bethania to Rio de Janeiro in the early 1960's, he quickly achieved fame when she recorded his compositions for a musical play. Joao Gilberto heavily influenced his singing, but it was Caetano's own extraordinary ability as a composer, which soon earned him a well-deserved reputation as a Discography provocateur. As a restless intellectual, he states that "My role is to change people's minds."

Domingo, Polygram, 1967 Constantly forging new paths found Caetano Veloso, Philips, 1968 him at the forefront of the radical , Tropicana ou Panis et Circensis Gil. Mutantes, Nara, Gal e Gaetano, Tropicana movement of the late 1960's, Caetano's US tour Polygram, 1968 along with Gilberto Gil, Gal Costa and June 16 - Jackie (ileason Theatre. Miami Caetano Veloso, Philips, 1969,.

Maria Bethania. This movement mixed Beach (305)673-730() Caetano Velar°, Philips, 197 foreign elements with Brazilian music, June 17 - Caribe I lilton lintel. San Juan/ ' Aracci Azul. Philips, 1972 Puerto Rico but was not readily accepted by their ., Transa, Philips, 1972 June 21 - A \ erN Fisher Ilall. New York nationalistic audiences.

Barra 69 Caetano e Gil ao Viv WC Jazz Festi‘ al (212)721-6500 The Tropicana movement however na Bahia, Philips, 1972 June 22 & 23 - Jordan Hall. Boston Caetano e Chico Antos e ao Vi affected other aspects of Brazilian cul(617)536-2412 Phonogram, 1972 ture and arts as well, influencing theJune 25 - Pantages Theatre, Los Angeles , Temporada de Vercio ao Vivo atre, poetry and film. The new style of (818)566-1111 , na Bahia - Caetano, Gal, Gil, music also succeeded in disturbing the June 27- Masonic Auditorium. San FranPhonogram, 1974 cisco (415)392-4400 military dictatorship who feared that Qualquer Coisa, Philips, 1975 the movement had too great an influJoia, Philips, 1975 Doces Barbaros - Caetano, Gal, ence over Brazilian youth. Caetano and Gil, Maria Bethania, Two volumes.

Gil were both jailed, and subsequently exiled to England for several Polygram, 1976 years, where they also recorded and performed.

Muitos Carnavais, Philips, 1977 Upon his return to Brazil, Caetano found himself to be considBicho, Philips, 1977 ered a symbol of resistance to the government by many who had not Muito, Philips, 1978 even liked him during Tropicana. Always ready to defy expectaCinema Transcendental, Polygram, 1979 Brasil - Joao Gilberto, Caetano, Gil, tions, Caetano danced like Carmen Miranda in his first show, Phonogram, 1981 shocking the audience with his androgynous behavior. He continOutras Palavras, Polygram, 1981 ued exploring musical styles, always weaving his inquisitive words Cores, Nomes, Polygram, 1982 with melodies together in beautiful counterpoint. His albums exUns, Polygram, 1983 perimented with old styles to create new ones, always expanding Velo, Polygram, 1984 the possibilities. Fairly nationalistic in regard to music, Caetano Caetano Veloso, Nonesuch, 1986 was also responsible for the comeback of several forgotten BrazilTotalmente Demais, Polygram, 1986 Caetano, Polygram, 1987 ian musicians of the 1960's like Luiz Gonzaga. By the 1980's, Melhores Momentos de Chico e Caetano Caetano had achieved full popular acceptance, and his songs were Chico Buarque, Caetano Veloso, finding their way into other artists' work. During this period, his Jorge Ben, Astor Piazzola, Elza Soares, work became more poetic, including his first U.S. album released Beth Carvalho, Paulo Ricardo, Tom Jobim, in 1987, Caetano Veloso, in which he plays songs from the two Cazuza, Rita Lee and Luiz Caldas, Sigla, 1986 previous decades accompanied only by his acoustic guitar. In 1993, Caetano Veloso Circulado, Polygram, 1991 Caetano e Gil - Tropicana 2, Polygram, 1993 Caetano and Gil celebrated 25 years of Tropicana and 30 years of Fina Estampa ao Vivo, Polygram, 1995 44

BRAZZIL - JUNE 1997

r oy Loco por Ti, I'm Crazy for America You, America

0 Leaozinho The Little Lion Caitano Veloso

Gilberto Gil/Capinarn Soy loco por ti, America I'm crazy for you, America Yo voy traer una mujer I'm will bring a coastal playera r woman Que su nombre sea Marti Whose name will be Marti Que su nombre sea Marti Whose name will be Marti Soy loco por ti de amores I'm crazy for you with love ,A Tenga como colores As with colors La espuma blanca de LatinoThe white foam of Latin America America Y el cielo coma bandera And the sky as a flag Soy loco por ti, America I'm crazy for you, America; Soy loco por ti de amores I'm crazy for you, with love Sorriso de quase nuvem Smile of almost clouds Os rios, cancOes, o medo The rivers, the songs, the fear 0 corpo cheio de estrelas The body full of stars Com o corpo cheio de estrelas The body full of stars Como se chama a amante Like you call the lover Esse pals sem nome, This country with no name Esse tango, esse rancho, This tango, this hut Esse povo These people Dizei-rne, arde Tell me, it burns 0 fogo de conhece-la The fire of meeting her 0 fogo de conhece-la The fire of meeting her Soy loco por ti, America I'm crazy for you, America Soy loco por ti de amores I'm crazy for you with love nombre del hombre muerto The name of the dead man Ya no se puede decirlo, Cannot be said, Quien sabe Who knows?

Antes que o dia arrebente Before the day explodes Antes que o dia arrebente Before the day explodes El nombre del hombre mueno The name of the dead man Antes que a definitiva noite Before the final night ends Se espalhe em Latino-America It expands in Latin America El nombre del hombre es The name of the man T la of th pueble people El nombre del hombre es name e man is pueblo people Soy loco por ti, America urn crazy tor you, Aitier `c Soy loco por ti de amores I'm crazy love Espero o amanha que cante I wait for thee fyuotuurw e ith to sing El nombre del hombre rnaerto The , deadman name of the words , be sad Nao sejam palavras tristes Not to por d e amores So loco I'm crazy for ybu with, love poema amda existe A poem still exists:: Com palmeiras, t corn Withpalm trees with rincbeiras trenches CancOes de guerra, quem sabe War songs, who knows Cancoes do mar Ocean songs Ai, hasta te conmover Alas, until it touches you Ai, hasta te eonmover I las, as until it touches you A -Soy loco por ti, America for you, America ritzy for you with love Soy loco por ti de mores _:mm crazy Estou aqui de passagein here, only passing b Seig tie adiante 4 I know later, Um dia you morrerjOne day I will die De susto, de bala ou vlciof1i Scared, shot or addicted De susto, de bala eon vicio Scared, shot or addicted Num precipicio de luzes In an abyss of lights Entre saudades, solucos Between nostalgia, sorrows Eti you morrer de bnices I will die facing down Nos bracos, nos olhos In the arms, in the eyes Nos bracos de 11111Et mulher In the arms of a woman Nos braces de urna mulher In the arms of a woman Mais p apaixonada ainda Even more passionate entro dos bracos da In the arms of the camponesa country girl .4 Gerrila, model Guerrilheira, manequim, Ai de mum Woe is Nos bracos de quern me In the armsof someone who • loves me queira Nos bracos de quern me In the arms of someone who queira loves me Soy loco por ti, America I'm crazy for you, America Soy loco por ti de IIMOICS I'm crazy for you with love

lim

BRAZZIL -JUNE 1997

Gosto muito de te ver, ledozinho Caminhando sob o sol Gosto maito de voce, ledozinho Para desentristecer, ' ledozinho 0 meu coracdo tdo so Basta eu encoritrar voce no caminho

I like to see you very much, little lion Walking in the sun I like you very much, little lion.

To make happy, little lion, My lonely heart It's enough to find you along the way

Um filhote de leao, raio da manha Arastando o meu olhar mo urn ima 0 meu corac o é o sol pai e toda a cor Quando el • Ihe doura a pele ao leo

A lion's cub, a morning shine Dragging my eyes like a magnet My heart is the sun, father of all colors When it tans your skin out in the open

Gosto de e ver ao sol, leaozinho De te ver ntrar no mar Tua pele tua loz, tua juba Gosto de ficar ao sol, ledozinho De molha minha juba De estar pe to de voce e entrar numa

I like to see you in the sun, little lion, To see you go in the ocean Your skin, your light, your mane I like to stay in the sun, little lion, To wet my mane To be near you and be cool

Lu

friendship w th a world tour and the release of Tropicana 2.

In 1994 C etano, always seeking self-renovation, undertook a ajor project to reaffirm his relationship with Latin A erican music. Having grown up listening to the me odies of his parents' generation in the 1930's and 1 40's, he put together a collection of music from a period during which Brazil was more Vigorously as erting its latinidade. The result was Fina Estamp , an album sung entirely in Spanish, which won hi the Premio Sharp award as Best Foreign Album. I includes songs and ballads from famous Latin Americ n composers, which later became classics, such as the title song "Fina Estampa" by Peruvian Chabuca Grande, "Vete de Mi" by Argentines Virgilio & Homero Exposito, and "Tonada de Luna Llena" by Venezuelan Simon Diaz.

South American and European tours followed, and now Caetano is bringing his show Fina Estampa to the United States for performances in Puerto Rico, Miami, New York, BOston, Los Angeles and San Francisco.

The group includes longtime Jobim collaborator and cellist Jaques Morelenbaum, guitarist Luiz Brasil, Zeca Assumpcdo on bass, and Marcelo Brasil on percussion/ drums, all seated in front of a reproduction of a Diego Rivera mural, Panamerican Unity, depicting artisans and musicians. The original fresco is on display at San Francisco's City College, so it is fitting that the U.S. tour ends in California before heading to Japan. The show definitely reaffirms Caetano's love affair with the Spanish-speaking world yet the repertoire includes Gilbe o Gil's "Soy Loco por Ti, America" as well as enough of his own favorites to satisfy most diehard Caetano fans.

•

Movies Rio Anonima (Anonymous) - A Rio taxi driver takes stock of his life the same say diplomat, poet, composer Vinicius de Moraes dies. Written

by Wilson Saydo, directed by Aderbal Freire-Filho, with Pedro Paulo Range! and Gracindo Jr. 0 Carteiro e o Poeta (The Mailman and the Poet) - Written by Antonio Skarmeta and directed by Aderbal Freire-Filho. With Rogerio Froes and Marcos Winter. The story about the imaginary friendship between Chilean poet Pablo Neruda and the mailman who delivered his mail when Neruda was in exile in Spain.

Don Juan - Moliere's classical take on the legendary 14th century lover and libertine., Directed by Moacir Chaves with Edson Celulari and Caca Carvalho.

Master Class (Master Class) - By Terrence McNally with Marilia Pera and Caio Ferraz. Maria Callas's adventures during the time she spent at the Julliard School of Music in New York.

Sao Paulo Bar Doce Bar (Bar Sweet Bar) Musical comedy. A ,group of friends discuss and sing their lives under the watchful eye of a caring waiter.

Written by Luis Alberto de Abreu, directed by Ednaldo Freire. Aldo Avilez, Fernando Petelinkar and Tico d'Godoy star.

Ensaio para Danton (Essay for Danton) - Based on German dramatist Georg Btichner's Danton 's Death from 1835. It deals with relationships, power, revolution and death. Sergio de Carvalho directs Amazyles de Almeida, Nelly Sampaio, and Gustavo Machado.

No 0/ho da Rua (Thrown on the Street) - The little daily adventures in the big city. Twenty stories of passion, friendship and misunderstandings. Written by Luiz Cabral and Ricardo Soares. Directed

by Beth Lopes. With Amadeo Lamounier, Bel Kowarick, Luiz Carlos Rossi, and Rosanna Seligmann.

VacaMau & Binho - Sketches based on Ze Fidelis, an old-guard radio comedian. Carlos Alberto Soffredini wrote, adapted and directed.

46

American films just released: The Funeral (Os Chefoes), Bound (Ligadas pelo Desejo), The Evening Star (0 Entardecer de uma Estrela), The Fifth Element (0 Quinto Elemento), Champions (Champions: Duelo de Campeaes), Some Mother s Son (Maes em Luta), Another 9 1/2 Weeks 2 - Love in Paris (9 Semanas e 1/2 de Amor 2), The Chamber (0 Segredo), Michael (Michael: Anjo e Sedutor), Lost Highway (A Estrada Perdida), Liar, Liar (0 Nfentiroso), Michael Collins (Michael Collins: 0 Preco da Liberdade), The Relic (A Reliquia) Beautiful Thing (Delicada Atractio) - EnA couple of adolescents land - 1996 (both are 16) fall in love and decide to face the music and fight their families for their right to live together. By Hetti MacDonald with Linda Henry and Scott Neal.

Filhas de Yemanja (Yemanja's Daughters) - Brazil- 1996 - YoungFinnish woman on a trip to Brazil learns that her sister has disappeared. The movie is the story of her search. Directed by Pia Tikka, with Petra Karjalainen, Lui Mendes, Anselmo Vasconcelos, and Scarlet Moon.

0 Homem Nu (The Naked Man)- Brazil -1996 - Man is taken for sexual pervert and even terrorist after being locked outside his apartment naked. Remake of movie inspired by a Fernando Sabino short story. With Claudio Marzo, Lucia Verissimo, and Daniel Dantas.,Directed by Hugo Carvana.

0 Que E Isso, Companh eiro? (What's That, 1996- The story of the Pal?) - Brazil young g uerrillas from the ALN (Aga° Libertadora Nacional) and MR-8 (Movimento Reyolucionario) who on September 4, 1969 kidnapped Charles Elbrick, the American ambassador in Brazil exchanging him for 15 political prisoners. Loosely based on Fernando Gabeira's book of same name.

Directed by Bruno Barreto. With Alan Arkin, Pedro Cardoso, Fernanda Torres, Selton Mello, and Fernanda Montenegro.

Pequeno Dicionario Amoroso (Little Love Dictionary) - Brazil - 1996 - A chance meeting between two youngsters develops into a torrid love story. Directed by Sandra Werneck with Andrea Beltrao, Daniel Dantas, and Tony Ramos.

Shine (Shine: Brilhante) - Englarid/Australia - 1996- The story of pianist David Helfgott, whose career is interrupted by disease. He then returns to the concert circuit.

Directed by Scott Hicks. With Geoffrey Rush and Armin Mueller.

0 Velho: A HistOria de Luiz Carlos Prestes (The Old Man: The Luiz Carlos Prestes's Story) - Brazil - 1995 - Documentary based on a 1985 interview given by the founder of PCB (Partido Comunista Brasileiro-Brazilian Communist Party), Luiz Carlos Prestes (1898-1990). By Toni Venturi, narrated by actor Paulo Jose.

Books

best-sellers Fiction 1. 0 Paciente Ingle.s Michael Ondaatje 2. 0 Mundo de Sofia Jostein Gaarder 3. Armadilha Aerea Michael Crichton 4. 0 Ultimo Chef& Mario Puzo 5. 0 Homem que Cakulava Malba Tahan 6. Novas Comedias da Vida Privada Luis Fernando Verissimo 7. 0 Xango de Baker Street J6 Soares 8. Ponto de Fuga - Morris West 9. Legitima Defesa Jonathan Kellerman . 10. Mas Serd o Benedito?

Mario Prata

Nonfiction 1. Chic - Urn Guia Basico de Moda e Estilo - Gloria Kalil 2. Terra - Sebastiao Salgado 3. 0 Povo Brasileiro, a Formacclo e o Sentido do Brasil - Darcy Ribeiro 4. 0 Principio Dilbert - Scott Adams 5. Manual de Redactio do Estado de S. Paulo - Eduardo Martins 6. Vislumbres da India - Octavio Paz 7. 0 Rio do Meio - Lya Luft 8. 0 Mundo Assombrado pelos Demonios - Carl Sagan 9. Cronicas de Reporter - Pedro Bial 10. A Arte da Guerra: Os Documentos Perdidos - Sun Tzu

Self-Help/New Age 1. Inteligencia Emocional Daniel Goleman 2.A Inteligencia Emocional e a Arte de Edu car Nossos Filhos John Gottman e Joan DeClaire 3. Meu Anjo - Faust° Oliveira 4. As Sete Leis Espirituais do Sucesso Deepak Chopra 5. A Profecia Celestina James Redfield 6. Violetas na Janela Vera Likia Marinzeck Carvalho 7. A Decima Profecia - James Redfield 8. Muitas Vidas, Muitos Mestres Brian L. Weiss 9. Homens Sdo de Marie, Mulheres Sao de Venus - John Gray 10.A Cura Atraves da Terapia de Vidas Passadas - Brian I. Weiss According to weekly newsmagazine Veja BRAZZIL - JUNE 1997

LIKE A YER

OMR

eVOTION "Dealing with a completely different culture is a process, and I will always be in the middle ofthat process," says jazz flutist extraordinaire Ali Ryerson with characteristic modesty about her latest release Brasil: Quiet Devotion.

The Concorde Picante label's new CD contains five originals by the Rio-born and California-based pianist/composer/arranger Weber Drummond, as well as the rarely-heard "Chovendo na Roseira" by the late Tom Jobim.

This is not the first time Ryerson has ventured into Brazilian territory.

Last year she flirted with bossa nova and jazz samba on /n Her Own Sweet Way. The inspiration for Brasil: Quiet Devotion came after an extended period of practice with Drummond and another Carioca musician, legendary percussionist Helcio Milito, Tamba Trio's drummer in the '60s.

HANDHELD ART

trtiqq%) Ifetat q11.

1 Zne telt

Brazilian art in some of its manifestations should soon be available through American bookstore chain giant Barnes & Noble. Brazilian painter Sonia Menna Barreto has signed a contract with the company, which has 350 bookstores in the U.S., for distribution of notebooks, cards, and agendas illustrated with her paintings.

Barreto's American adventure is very promising. The artist has had four of her paintings being shown at New York's Ambassador Galleries since last September.

SOUTH VERSES Great news for Brazilian poets who are virtually unknown even in their own country. Twenty poets who made their names at the end of the '60s and afterwards now have their own anthology in the U.S., Nothing the Sun Could Not Explain, a bilingual work published by Sun & Moon Press. The book is a collaboration among Brazilian poets Regis Bonvicino and Nelson Ascher, American poet Michael Palmer, and Brazilian academic JoAo Almino, professor of Brazilian literature at Stanford and Berkeley universities in California.

The anthology brings together tropicalist Torquato Neto with Paulo Leminski, who wrote a type of poetry known as marginal. The book also includes Francisco Alvim, Nelson Ascher, Carlos Avila, Carlito Azevedo, Frederico Barbosa, Josely Vianna Baptista, 1.,enora de Barros, Regis Bonvicino, Angela de Campos, Age de Carvalho, Rui Vasconcelos de Carvalho, Ana Cristina Cesar, Horacio Costa, Julio Castafion Guimarfies, Duda Machado, Claudia Roquete Pinto, and Waly Salomao.

In 1972, American poet Elizabeth Bishop published Anthology of Twentieth-Century Brazilian Poetry with poems of such greats as Carlos Drummond de Andrade and Manuel Bandeira. Eleven years later there was Brazilian Poetry-1950-1980, organized by William J. Smith and Emanuel Brasil. Among the poets included in this work were Ferreira Gullar and the concretists.

BRAZZIL - JUNE 1997

S.

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PORTUGUESE LANGUAGE SERVICES (415) 587-4990 CERTIFIED TRANSLATIONS (TRADUcA0 JURAMENTADA)

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Certified by the California Judicial Council and filed with the Brazilian Consulate Since 1981

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IMMIGRATION ATTORNEY

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STEVEN R.LANDAAL lawyers Loam,

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LOOKING FOR PEOPLE INTERESTED IN EXPOSING OR SELLING BRAZILIAN RELATED ITEMS. INFORMATION AND MAILING LIST FOR BROCHURE:

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BRAZZIL - RO. BOX 42536 LOS ANGELES, CA 90050 Call (213)255-8062 or E-mail: brazzil@brazzil.com

For Ad, call (213) 255-8062 or E-mail: brazzil@brazzil.com 48

BRA7_ZIL -JUNE 1997

FEIRA LIVRE OPEN MARKET ACTORS/COMMERCIALS TV Commercials - Secrets of -How You Can Star in Commercials and Make Big $$ Money-.

(All ages, all sizes, all ethnic groups.) Valuable report. Send $12 to M. C. Randell, Box 17564, Beverly Hills, CA 90210 [138]

INTERNATIONAL TELEPHONE Prepaid International Callback Telephone Cards - Low rates between any countries. Brazil to USA for 730 per minute!

(619) 738-7005 or (619) 4329709 [135]

BUSINESS OPPORTUNITY Own your own full or part-time business. Entrepreneurs sought for billion-dollar US network marketing company expanding to Brazil. Highest paying company in industry. Call 1 (800) 994-6238 for information. [1371

JOB OFFERED Precisa-se de urn padeiro com muita pratica; principalmeme para fabricacao industrial de PAO DE QUEIJO E SALGADOS. Boa oportunidade,. Telefone (213) 266-0899 - Area de Los Angeles. Chamar pela Dra. Cynthia Cho. [135]

Secretary needed to work in the Palos Verdes area. Some computer background. Possible living quarters available for those wishing to relocate to the Beaches area. (310) 541-9512 [136]

Precisamos de sambistas para shows. (213) 812-7393 [140] Procuro pessoas sexo feminino para ajudar limpar casas. Pago bem. (818) 786-6742 [135]

SOUTH AMERICA/EUROPE EXPANSION - Billion $ Corporate expansion looking for individuals with contacts in Brazil and Europe. High income potential. 1(800) 337-0264 [141]

Urgente! Wanted PortugueseEnglish speaking communicable people. $$ 2000-4000 p/t, $$ 4000-8000 f/t. Call (818) 8120256 [141]

CATERING ATENcA0 BRASILEIROS Fornecemos MARMITAS. (310) 438-3415 [136]

MISCELLANEOUS Agradecendo Graca Recebida - Orar o Salmo 38 tits vezes ao dia tres dias consecutivos.

Publicar agradecendo graca recebida. B.A.R. [137]

CLASSES Aprenda Ingles -$20 cada hora - Individual (310)398-9228 Professor: Christopher Rudolph [137] Conversational Brasilian Portuguese Method - "I tried several methods to learn BRASILIAN PORTUGUESE, but when I started lessons with NILSON, I knew immediately that I'd found the best one. And in just a few months, I was able to communicate on a one-on-one basis.- Individual, Total Immersion, Corporate Group and Semi-Private.

Phone (310) 379-0738 [136] Looking for a very fast, efficient, and pleasant way to learn Brazilian Portuguese? (415) 9913476 [141] COOKING Delightful Brazilian Cooking

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]

Coming to Rio? American living in Rio needs someone to bring guitar equipment from San Francisco. Will compensate. Please, send your E-mail to Peter at leilacosta@ax.ibase.org.br [140]

Music Brazilian Music in its totality.

Samba, bossa nova, chorinho, baiao, axd,.and more. Merchant Express (800) 589-5884 Music for all occasions. Live, D.J. or Elvis impersonator. Affordable (213) 469-2204 - Gerry [138] Norma Blase - soft Brazilian jazz, bossa, samba. Vocal/guitar duo to larger ensemble. Oakland (510) 451-3639 [135] NEWSPAPERS & MAGAZINES Jornais e revistas do Brasil.

Recebemos jornais diarios etodas as principais revistas, irtcluindo masculinas e femininas. Tel. (800) 589-5884 PERSONAL WOMAN SEEKS MAN Americana coin coracao brasi-

BRAZZIL - JUNE 1997

FEIRA LIVRE RATES: 500 a word. Phone is one word.

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POLICY: All ads to be prepaid. Ads are accepted at our discretion. Your canceled check is your receipt. Please, include address and phone number, which will be kept confidential.

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BRAZZIL P.O. Box 42536 Los Angeles, CA 90050-0536. leiro, bem educada, que adora a mtisica, o samba, cultura, a linguae o povo brasileiros, queria conhecer um brasil iro solteiro de 40 anos ou mais, e boa forma, morando em New ork City ou pertinho. E-mail: s Ivia2125@ aol.com [130] PERSONAL MAN SEEKS WOMAN American, male, w ite, 45 years old, would like to m eta Brazilian or Portuguese 1 dy. I speak English only. Age open. Call (415) 757-1946 (Ev s) [142] mericano„ entrepreneur seeks Brazilian lady 18-36, open mind and attractive. Send letter/ photo. Chris - 109 Minna St. #338- San Francisco CA 941053728 [136] Americano, 32, at orney, athletic, outgoing, en oys travel, seeks fun, attractive brasileira, 20-32, for friendsh [p/romance.

Scott Mizen, 808 E. ceanfront, Newport Beach, CA 92661[140] Americano, 36, atraente, romantic° e sincero. Procura brasileira 18-45. Env'ar foto para: 2440- 16th St. #I79, San Francisco, CA 94103 [148] Americano, 38 anos, olhos azuis, fala portugues, queria conhecer brasileira de 18 a 30 anos. Chamar William (310) 2047913 [139] Sort-of-American, corporate jaguar, very succesf I, 33, needing some serious St ess relief... looking for a very exy, furry Brazilian kitten to p ay with. If you are 22-32, in Br zil or USA, no problem... I'll fly you. Letter with photos to GS, 3 2 S. Highland Ave. #14A, Pitt burgh, PA, 15206, USA [138]

PERSONAL FRIENDSHIP AND CHATTING Male, 30, wants to meet Brazilians to practice Portuguese. I studied for a year but need to practice. (818) 548-5935 [137] PRODUCTS pao de Queijo —30 por $10 — Angela (310) 398-9228 [137] PSYCHOTHERAPY Chronic & Life Threatening illnesses, A.D.D. & dyslexia, life transitions, bicultural & relationship issues, sexual identity conflict — Edison de Mello, M.D.; Ph.D./MFCC — Portuguese/ Spanish/ English. (310) 656-6987 [137] Emotional & psychological help - Elizabete Almeida MFCC licensed psychotherapist. English/Portuguese. Reasonable rates. (310) 281-7536. [146] TAX A TTT Services - Tax & Translation & Travel and Notary (909) 627-2171 [146] TOURISM Excursao Las Vegas - Saida todo sabado: (LA) 8:00 AM - Chegada: (Vegas) 2:00 PM - Saida: (Vegas) 10:00 PM - Chegada: (LA) Domingo/manha 4:00 AM - $69/pessoa Tel. (310)815-8717 [137] TRANSLATION & INTERP. English to Portuguese, technical translation. Precise, fast turnaround - Ricardo Paoletti (716) 839-5310. Fax: (716) 839-5410.

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Fast, reliable, affordable translations. (818) 248-3667. [134]

49

TV & RADIO COAST TO COAST SHORT WAVE RADIO Radio Nacional da Amazonia - 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 Cara° CHICAGO The Sounds of Brazil - Every Saturday, 10.00 pm Midnight, 95.5 FM, WIAJA with Scott Adams Show Brazil - Every Friday, 8:00 am - 11.00 am, 91.5 FM, WMFO with Edna Moreno DENVER Brazilian Fantasy - Every Sunday, 4:00 pm - 6.00 pm, 89.3 FM, KUVO LOS ANGELES TV Brazil TV - Buena Vision, Channels 6 or 56 (Mon. 8:30 pm); LBCTV-CVI (Long Beach & Signal Hill), C,hannel 57 or 65 (Wed. - 6.30 pm); CVI (San Fernando Valley), Channel 27 (Tue. 7:30 pm) RADIO Sounds of Brazil - Every Saturday, 1:00 PM - 3-00 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

POMPANO BEACH, FL. 9:00 PM - Ricardo Falai° & Show de Mulatas at Brazilian Tropicana

inimajanyikummill HOLLYWOOD, FLOR. 9:00 PM - Clauduarte SA at Brazil Samba

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Restaurant - (954) 781-1113

SANTA MONICA, CAL. 8:00 PM - Samba Academy at 217

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D7IVii11.111 LOS ANGELES 10:00 PM - Kleber Jorge & Meia Noite at Mama Gaya - (310) 659-

LOS ANGELES 9:30 PM - Orlando & Banda Terraquia at

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ANAHEIM, CAL. 7:30 PM - Sergio 2000 at Ginga Brasil

Emmujuvinuaikummi

4999 10:00 PM - Lois & friends at

Zabumba

NEW YORK 8, 10, & 12 MIDNIGHT - Samba Novo at

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LOS ANGELES 7:00 PM - Valsa No. 6 by Nelson Rodrigues with Zaira Bueno at

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ANAHEIM, CAL. 7:00 PM - Lois Sings Brazil at

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

SAN FRANCISCO 10:00 PM - Entre Nos at Bahia Cabana IRVINE, CAL. 9:00 PM - Ana Gazzola & Brazil Sound Band at Bistango (714) 752-5222

LOS ANGELES

Ginga Brasil

=IVA III BliVernail NEW YORK 8, 10, & 12 MIDNIGHT - Katende

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FORT LAUDERDALE, FL. 8:30 PM & 10:30 PM - Raizes do Brasil and show de mulatas at Bra-

zil Brazil -(954) 561-8200

SAN FRANCISCO 10:00 PM - Entre Nias at Bahia

SANTA MONICA, CAL. 8:00 PM - Samba Academy at 217 Broad-

way (310) 679-3502

Eimmulifki

MIAMI BEACH

Cabana

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

Brazil

jgaikumniii

8 PM - Caetano Veloso at Jackie Gleason

Theater (305) 673-7300 11.1101.. +11ni iiiMill1111111

LONG BEACH, CAL.

SAN JUAN/PUERTO RICO

7:00 PM - SambaLa's Rainha da

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Bateria Contest at Tonys

Hotel

1'] I 4-1 DINA Mall.

PASADENA, CAL.

LOS ANGELES 9:00 PM - Brazil North & South CD release party at Fais Do Do (213) 931-4636 9:30 PM - ULA Samba Band at Zabumba 10:00 PM - Constellation Band at Cafe Danssa 1111111.MOMMIUMINI

SANTA MONICA, CAL. 8:00 PM - Samba Academy at 217

7:00 PM - Orlando & Banda Terraquia at

La Bamba (818) 584-9771 11111111111li

LOS ANGELES 10:00 PM - Kleber Jorge & Meia Noite at

Mama Gaya - (310) 659-4999 10:00 PM - Lois & friends at Zabumha 11111111111111111111MMEIMMIll

Broadway (310) 679-3502

MA 4 D1 I44 971VM PASADENA, CAL. 7:00 PM - Orlando & Banda Terraquia at La Bamba (818) 5849771

I: 01:141 BLVM

MIAMI

LOS ANGELES

RADIO Brazilians Love Jazz - Every Sunday, 8:00 pm- 10.00 pm with Gina Martell' -93.9 - Love 94

10:00 PM - Kleber Jorge & Meia Noite at Mama Gaya - (310) 6594999 10:00 PM - Lois & friends at Zabumba

LOS ANGELES 10:00 PM - MILA Samba School at Café

Danssa

ANAHEIM, CAL. 7:00 PM - Lois Sings Brazil at C-;Inda Brasil

SANTA BARBARA 9:30 PM - Orlando & Banda Terraquia at Papagallos (805) 963-8374

NEW YORK AFTERNOON - Hermeto Pascoal at Cen-

tral Park 8PM-Caetano Velosoatvei y FisherHali in JVC Jazz Festivai (212) 721 6500 BRAZZIL - JUNE 1997

calendar - june 97 - us.a.

8,10, & 12 MIDNIGHT -Juliana Aquino

10:00 PM - MILA Samba School

and Viva Brasil Dancers at S.O.B. s

at Café Danssa

SAN FRANCISCO 8 PM - Marisa Monte at Maritime Hall

ANAHEIM, CAL. 7:30 PM - Sergio 2000 at Ginga

(415) 974-0634

Brasil

SAN FRANCISCO 10:00 PM - Aquarela at Bahia Cabana ANAHEIM, CAL. 7:00 PM - Kleber & Zara() at Ginga

ME:121 ILIA Il1AW1:111M NEW YORK 8 PM - Marisa Monte & Djavan at The Beacon Theater in JVC Jazz Festival (212) 307-7171 8, 10, & 12 MIDNIGHT - Brazilian Samba Dinner at S.O.B.'s

Brazil

IRVINE, CAL. 9:00 PM - Ana Gazzola & Brazil Sound Band at Bistango (714) 752-5222 LOS ANGELES 9:30 PM - ULA Samba Band atZabumba 10:00 PM - Constellation Band at Café

SAN FRANCISCO 4:00 PM - 9:00 PM - Brazilian Festa Junina at Stern Grove Park,

Danssa

Pine Lake (415) 863-1100 - Organized by The Brazil Project of the International Child Resource Institute (ICRI)

BOSTON 8 PM - Caetano Veloso at Jordan Hall

SAN FRANCISCO 10:00 PM - Entre Nos at Bahia

(617) 536-2412

Cabana

SANTA MONICA, CAL. 8:00 PM - Samba Academy at 217

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

Broadway (310) 679-3502 ....2210 2zaffa

Brazil

IRVINE, CAL. 9:00 PM - Ana Gazzola & Brazil Sound Band at Bistango (714) 752-

BOSTON 8 PM - Caetano Veloso at Jordan Hall

5222

(617) 536-2412

LOS ANGELES 9:30 PM - Bumbum Night at

LOS ANGELES 8 PM - Marisa Monte at House of Blues (213) 848-5100

Zabumba

EMU 910 I *1

Café Danssa

10:00 PM - Constellation Band at

LOS ANGELES 8 PM - Caetano Veloso at Pantages

NEEETia jaxitamm BOSTON 8 PM - Marisa Monte at Berklee

Theater (818) 566-1111

PASADENA, CAL. 7:00 PM - Orlando & Banda Terraquia at La Bamba (818) 584-9771

Performance Center (617) 9312000

mui jag Igm

; :445/M14MM LOS ANGELES 10:00 PM - Kleber Jorge & Meia Noite at Mama Gaya - (310) 659-4999 10:00 PM - Lois & friends at Zabumba 1111161a

1

minej_+imaimin WASHINGTON, DC 8:00 PM - Marisa Monte at 9:30 Club

SAN FRANCISCO 8 PM - Caetano Veloso at Masonic Auditorium (415) 392-4400

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

LOS ANGELES

MIAMI 8:00 PM - Marisa Monte at Intercontinental

LOS ANGELES

Ginga Brazil - 821 N. Euclid, 1 (714) 778-0266

II: Ell ZIL:i II/Man= I

MIAMI

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

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

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

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

OAKLAND, CAL.

14 Below - 1348 14th St., Santa

NEW YORK

S. FRANCISCO

Monica -(310) 451-5040 I Cafe Danssa - 11533 W. Pico 1 B1. West L.A.- (310) 478-7866 I Tony's - 701 Long Beach Blvd.

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

BRAZZIL - JUNE 1997

TV & RADIO TV BTN (Brazilian TV Network) 1100 pm - 1:00 am, DCI 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 RADIO Brasil corn S - Every Saturday, 9:00 PM with Judith King, 88.3 FM - WBGO Canta Brasil - Every Saturdday, 8:00AM -93.1 FM -WPAT Radio Amazonia - Every day, 6:30 PM on short wave - 6.185 MHZ TV Brazil News - Every Wednesday, 8:30 PM - Channel 34 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 &lingua, 91.5 FM via satellite, with Ricardo and Amarina Pugh - Fresno Canta, Brasil - Every Sunday, 6.00 PM - 8:00 PM - KKUP, 91.5 FM, with Xuxu, Maria Jose and David Heyman Programa de Domingo - Every Sunday, 1:00 PM - 2.00 PM, KSQQ 96.1 FM with Lino Bugatti A Taste of Brazil - Every Sunday, 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 WASHINGTON, DC Waves of Patropi - Every Saturday, 6:00 PM - 9- 00 PM, WDCU, 90 FM with Andre Lace rda

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 Jerry's Cachaca (617) 666-5410 Instruction Approach Student Ctr (617) 787-5401 Braz. & Amer. Lg. Inst.

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(310) 793-8745 Ministerios Renascer (888) RENACER 52

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Manoel Faria (510) 537-3533 Ralph Baker (510) 444-8100 Auto

Nelson Auto Body , (415) 255-6717 Matts Auto Body (415) 565-3560 Beauty Salon Books Bibbo Luso-Brazilian Books (415) 421-BIBO (800) 727-LUSO Carmen's International (415) 433-9441 Clubs & Association, Neyde's Brazilian Ch. of Corn.

(415) 681-5355 (212) 575-?030 Clubs & Associations Brazilian Corn. Bureau (212) 916-3200 B.A.S.O. Brazilian Trade Bur. (415) 661-2788 (212) 224-6280 Bay Area Brasilian Club Consulate (415) 334-0106 Brazilian Gen. Cons.

Brazilian Cult. Movem.

(212) 757-3080 (415) 437-6991 Food & Products Dance& MusicSum.Camp Amazonia (510) 655-8207 (718) 204-1521 Computer Coisa Nossa Micronet (201) 578-2675 (415) 665-1994 Merchant Express Consulate (201) 589-5884 Publications Brazilian Consulate The Brasilians (415) 981-8170 (212) 382-1630 Dance Instruction Brazilian Voice Aquarela (201) 955-1137 (510) 548-1310 OCA Magazine Brazil Culture.& Arts (516) 596-1853 (510) 215-8202 Portugal-Brasil News Ginga Brasil (212) 228-2958 (510) 428-0698 Samba Newsletter Escola Nova de Samba (718) 937-0574 (415) 661-4798 Restaurants Samba do Coracio Brasilia (415) 826-2588 (212) 869-9200 Samba, Swing & Suer Brazil 2000 (415) 282-7378 (212) 877-7730 Dental Care Brazilian Pavillion Roberto Sales, DDS (212) 758-8129 (510) 451-8315 Cabana Carioca Events Promotion (212) 581-8088 Indigo Blues F. B. C. Events (212) 221-0033 (415) 334-0106 S.O. B. Nativa Productions (212) 243-4940 (408) 286-9798 Tapir* River Food (201) 491-9196 Brazilian Coffee Dist.

Travel Agencies (415) 648-5966 Barb Tour Service (201) 313-0996 California Produce Odyssea Travel Servici (415) 586-6200 (212) 826-3019 HGC Imp. Wholesale (408) 947-8511 Instruction Attorney Portuguese - A. Frame Iv an Porto (510) 339-9289 (800) 314-4826 Portuguese Lang. Serv.

(415) 587-4990 Clubs & Associations Money Remittance Clube Bras. San Diego (619) 295-0842 Brasil Express Sunday Night Cl. Britain (415) 673-0262 (619) 233-5979 Vigo (415) 863-0218 Import/Export West Brazil Brazil Imports (415) 695-9258 (619) 234-3401 Music Money Remittance

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Vigo-California (619) 479-V1GO

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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 CaN (415) 986-4058 Mozzarela Di-Bufala (415) 346-9888 Nino's (510) 845-9303 Paulo's Juice Bar (415) 437-0839 Stelladoro (415) 928-2662 Tropicilia (408) 471-0294 Translation Port. Lang. Services (415) 587-4990 Travel Agencies Rio Roma (415) 921-3353 Santini Tours (510) 843-2363 Travel Americas (415) 334-0404 Tropical Travel (510) 655-9904 Tucanos Travel (415) 454-9961 Winship Travel (415) 863-2717

ashington DC 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) 238-2700 Travel Agencies Intern. Discount Travel (703) 750-0101 Washington Travel (703) 527-6977 BRAZZIL - JUNE 1997

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Carolina Maria de Jesus was a semi-illiterate favela (shantytown) resident when in 1958 journalist Audalio Dantas discovered that she had written a diary about her tough living. Two years later she published a book that would make her a celebrity in Brazil and all over the world. Her glory didn't last more than a few years however and she died poor and forgotten in 1977. We tell the story of her meteoric career.

ROBERT M LEVINE AND JOSE CARLOS SEBE BOM MEIHY

Carolina's life abruptly changed forever in April 1958, during a municipal election campaign. One day, Audalio Dantas, a twenty-four-year old reporter for the evening edition of the Diario de Sao Paulo, arrived to research a story on favelas.

Dantas had been born in the capital of the northeastern state of Alagoas. He migrated to Sao Paulo in the 1930s when his father opened a food and provisions store in the interior of the state. The son never formally studied journalism, but taught himself to write in a newsy style. He hustled his stories and photographs as a freelancer and eventually was hired by the Diario as a feature reporter.

By chance he elected to feature Caninde in his story. On his first visit, Dantas wandered over to a recently inaugurated playground (granting benefits such as this had long been a Brazilian political custom). As he interviewed people, Dantas witnessed an exchange of curses between a group of men who had been competing with the neighborhood children for places on the new seesaws and swings and a tall, thin black woman. He heard her yell, "If you continue mistreating these children, I'm going to put all of your names in my notebook!" The young journalist later asked Carolina about her writing. She took him to her shack and showed him pages filled with fairy tales, fiction about rich people, poems about the countryside, and entries from her diary.

There were notebooks scattered all over the shack with dated entries in them. Some of the writing was on cardboard or on newsprint. Reading the scraps of paper, Dantas found them to be, in the words of her English-language translator, David St. Clair. "crude, childlike words, much like a primitive painting done in words." He recollects that after reading one page, he knew that it as important social testimony. Dabtas selected one of her notebooks, which covered a three-year span. At first she refused to let him take it to his editor, saying that her diary was "filled with ugly things and ugly people.' The reporter ignored her protest and published excerpts from it along with his accompanying story.

After this first meeting, Dantas visited regularly on weekends and brought candy and little gifts for the children and writing paper for Carolina. He spent hours talking with her about her •diary entries. Everyone in the favela knew about the reporter's visits. His interest boosted Carolina's pride in her writing but angered some neighbors who thought her vain and arrogant even before Dantas's arrival in her life. Carolina basked in the reporter's continued interest in her writing. From this moment, Audalio Dantas became inextricably tied to her. "I am not bringing you a newspaper story," he said to his readers, "but a revolution. The newspaper continued to print her diary fragments in a tightly edited serialized form, and they caught the attention of the public, turning Carolina into a celebrity.

In the aftermath of these events, Dantas was made Sao Paulo bureau chief of 0 Cruzeiro, a leading national weekly magazine.

By this time, he had taken the role of Carolina's (unofficial) agent and mentor, and he spent a year editing her diaries. Carolina wanted him to publish her poems and short stories as well. But Dantas, a progressive reform-minded journalist, saw in her writing what he considered to be the unvarnished voice of the socially downtrodden and ignored everything but her Canindd writings.

After encountering initial reluctance from several publishers, Dantas finally reached a publication agreement for the edited diary with Livraria Francisco Alves. The publications director was Paulo Dantas Neto, no relation to Audalio. The contract represented a major coup. Francisco Alves was one of the oldest and most prestigious publishing houses in Brazil. Paulo Dantas was himself a self-taught novelist and essayist who had achieved some importance in the literary world and was widely respected.

He remembers listening to some of his colleagues at the press saying that the manuscript was a waste of time and that it wouldn't sell. Acting on a hunch, however, he convinced the business manager, Ldlio de Castro, to do a run of 3,000 copies as an experiment to see what might happen. His intuition that the manuscript was something special carried the day.

Paulo Dantas recalled much later that he had nagging doubts about the viability of the project and that he had told the reporter Audalio that it was not a book but a pain in the neck. Then, Paulo Dantas remembers, "the television phenomenon happened," and "sales went wild." Brazilian intellectuals were not interested in

Carolina's story, but television was because of rising excitement about national political reform.

News broadcasts covered Carolina extensively and she soon became a sensation. Yet on the day in August 1960 that Carolina walked out of the favela at 5:00 A.M. with her children to see her book for the first time and to sit at a table autographing, she had to sell junk she had foraged to have enough money for food and her bus fare.

Carolina's 182-page Quarto de Despejo ("The Garbage Room") describes in vivid detail the way its author survived by picking up trash. It refers to not only the garbage found infavelas, but the name given to a back room in many Brazilian houses, an enclosed porch, or a space under the back stoop, used for storage of junk before its disposal. In this sense, the published diary's title refers to a nondescript piece in the back where castoffs and garbage were allowed to accumulate— just as human castoffs and people considered rubbish were allowed to accumulate in the growing shantytowns of Brazil's cities. Quarto sold 90,000 copies within the first six months, making it the most successful book in Brazilian publishing history. During the height of her success, Carolina earned $60 a day in royalties, a veritable fortune for a woman who had made her living by scavenging.

From the beginning, Audalio Dantas and Carolina shared a special relationship. Neither one liked the other, but each understood that their own fortune would be tied up with the other's. Dantas applied pressure on Carolina to rewrite some entries to make them more current. He added nothing and only edited it to make it shorter and to eliminate repetition. He also toned down or edited out entries he considered inappropriate. In the published diary's preface, which he subtitled "Our Sister Carolina," he affected a patronizing tone: Carolina: our sister, our neighbor, there in Caninde favela, 'A 'Street, Shack #9. The shack is this way, made of boards, covered with tin, cardboard and scraps of wood. Two rooms, not very comfortable.

One is a living room-bedroom-kitchen, nine square meters, and a small bedroom, with just enough room for a bed. Her humanity is this: Carolina, Vera Eunice, and approximately thirty-five notebooks.

He went on to say that the exterior of thefavela was as ugly as the interior of her house. Carolina, the preface continues, "you shouted loudly and your shout was heard by others.... Your door opened....

You found the key to open it.... Favela anguish has escaped," he said, "and some people will turn away their noses because of the foul odor that escapes with your words." Forgive us, he concluded, "these people do not understand the reasons you had to open the door of the garbage dump....

To them I say: our sister who opened the door is great.... She is a small piece of Brazil." This preface did not appear in the English-language edition. Instead, the

BRAZZIL - JUNE 1997

publishers printed a longer essay by David St. Clair providing biographical background for readers unfamiliar with Brazil.

What message did Carolina Maria de Jesus' first published diary convey? The entries span a long if disjointed period of time (July 1955, then May 1958 through January 1960), but the entries all fit the same model. In each one, Carolina describes in terse, colloquial language what she did from when she woke up to when she lay down to sleep. In this regard, the reader comes away less affected by individual descriptions of suffering or poverty—although these are disturbing—than by a gathering sense of the numbness of Carolina's existence. Because the diary is so personal and so filled with detailed descriptions of her hour-to-hour activities, there is little explicit political content. Carolina in her diary did not advocate resistance to the system or revolutionary action because she was too tired after each day of scavenging. She did offer specific criticisms, however, the most pointed being an indignant rebuke to the local Catholic priest, Brother Luiz, for preaching resignation and submissiveness to the poor. In her treatment of the priest, moreover, Carolina displays her unfortunate trait of distrusting those closest to her. Once when he accompanied a group of public health nurses to the favela to check residents for sores, she mocked him in her sometimes crude manner: "I'd like to know how Brother Luiz discovered that the favelados have physical sores," she wrote.

The exhausting routines of her daily struggle made her cross and surly although she seemed to try not to let this show in her writing. She knew that she was smart, and she knew that because of a twist of fate she was condemned to life in the favela. She knew that others, less intelligent and less perceptive, occupied higher stations in life. Smarting at her circumstances, she constantly judged her neighbors and they almost always fell short. This one was a troublemaker; that one she calls a "bitch."

She refused to permit people to treat her with familiarity and held herself aloof from the people around her. Her intense self-confidence and high degree of, self-esteem bolstered her resolve and sustained her dignity even when women threw filled chamber pots at her children or screamed obscenities at her. She looked down on favelados who took charity. She protected her independence. "I never married and I'm not unhappy," she wrote. The men who wanted to marry me "were mean and. the conditions they imposed on me were horrible." She expressed pride in her children's self-esteem and literacy. Her son Ze Carlos told her that he planned on becoming a distinguished gentleman and that she would "have to treat him as Senhor Jose. She wrote in her diary that she hoped to sell a book to a publisher so that she could buy a piece of land and leave the favela.

Sometimes Carolina's diary reveals her mixed emotions. She mocked herself because, as she said, no one expected a

black woman to think or say such things.

She wrote that she was not nasty to people lest they bring a lawsuit against her—as if any middle or upper-class Brazilian would ever waste the time and money necessary to bring a lawsuit against a pennilessfavela dweller. She satirized politicians by name, comparing their intrigues to the behavior of favela women whose episodes of rowdyism "grate against the nerves." Again and again she declared her desire to be left in peace, to be able to shut the door and to read and, especially, to write. She was cleverly manipulative, zinging people she did not like, then rationalizing and backing off, retreating to her own world. "I don't resent it," she said, after a neighbor, Dona Elvira, gave her reason to believe that she had burned five stacks of her scavenged newspapers. "I'm so used to human malice." And, finally, to end her entry and to gain sympathy anew: "I know I'll need those sacks badly." Elsewhere in her diary she relates the disgusting tale of a middle-class housewife who gave a slum dweller who begged for food a carefully wrapped package which yielded two dead rats when the woman returned to her shack to feed her hungry children.

While most of her stories recounted the banality of her existence, occasionally she let her spirits and her imagination soar. On a warm night in the favela, she reported, she felt the "crazy desire to cut a piece of the sky to make a dress." But she came down to earth quickly. In the same entry she wrote: I'm not going to eat because there is very little bread. I wonder if I'm the only one who leads this kind of life. What can I hope for in the future? I wonder if the poor of other countries suffer like the poor of Brazil. I was so unhappy that I started to fight without reason with my boy Jose Carlos.

It is the variety of her experience that distinguished her observations from mere complaints. Carolina was uneducated, but she understood the abstractions and realities that held life together. She recorded her identification card number: 845,936.

She lamented a black boy's death in the favela not only because he had become bloated as if made of rubber but also because she knew that he had died without having been registered at birth. "Nobody tried to find out his name," she noted. She understood full well the Kafkaesque bureaucratic web faced by all Brazilians, especially the marginalized. The Health Department, she noted, sends nurses to test for parasitic infections, but the government doesn't provide money for medicine. The afflicted are informed that they have the disease, but they are unable to cure it. Instead, Carolina and her neighbors resorted to folk remedies like garlic enemas, herb tea, and cornstarch mixed in water to fill an infant's stomach when it cried from hunger. She clung to simple (although seemingly unattainable) goals: to be very clean, to wear expensive clothes, to live in a comfortable house, to escape

55

from the favela. Carolina's diary entries seemed to be written for comfortable Brazilians, people who she hoped would be shocked by her descriptions of spells of dizziness caused by hunger. At the same time, she filled her diary entries with descriptions of her dreams. She wrote about one, after a day hunting for scrap and carrying it to the junkyard: I am very happy. I sing every morning. I'm like the birds who sing in the morning because in the morning I'm always happy. The first thing that I do is open the window and think about heaven.

Some days later, she reported another: I dreamt I was an angel. My dress was billowing and had long pink sleeves. I went from earth to heaven. I put stars in my hands and played with them. I talked to the stars. They put on a show in my honor. They danced around me and made a luminous path. When I woke up I thought: 'I'm so poor. I can't afford to go to a play so God sends me these dreams for my aching soul.' To the God who protects me, I send my thanks.

A thousand people queued up outside the publisher's bookshop in Sao Paulo on her diary's first day of sale in August 1960. Carolina, sitting at a table outside the store, signed 600 copies, talking briefly with each ofthe people who bought one. Her former employer, Dr. Zerbini, appeared. Labor Minister Joao Batista Ramos told the press that she would be given a brick house—something she repeatedly had dreamed for and written about in her diary—by the federal government. Echoing the sentiments of many, she replied that Jove/as should be eradicated. In three days, the first printing of 30,000 copies of her diary sold in Sao Paulo alone. A bookstore in the distant state of Mato Grosso ordered 300 copies by mail on credit, something unheard of in Brazil. The initial volume of sales could have been much higher but the surface of the printing press at Francisco Alves became warped, hindering efforts to turn out additional copies. The national press's attention to Carolina in turn helped establish the context out of which Carolina became an international success. So many foreign editions of Carolina's diary were printed that she joined Jorge Amado as the two most widely translated Brazilian authors.

Quarto de Despejo was eventually translated into thirteen languages and sold in forty countries, including most countries of Western Europe, the Soviet bloc, where it was very popular, and Japan. Stories about her appeared in Europe's leading feature and news magazines—Paris Match, Le Afonde, Epoca, Realite, Stern— and in the United States in Life and Time.

Her feat was astonishing: other books describing the struggles of poor Latin American women were later published in Brazil but never in the original words of an insider. These derivative books, more-

se

over, achieved only a fraction of the audience won by Carolina when her diary first appeared. Clearly, Carolina touched a nerve among the reading public not only because of what she said but also because of her extraordinary achievement in producing her diary by herself. For her part, Carolina never saw herself as a curiosity or heroine. Her testimony recorded reality as she saw it, no more, no less. The publication and initial success of her book promised financial rewards beyond her wildest dreams. Her author's contract with Editora Francisco Alves gave her ten percent of the proceeds from the sale of each book, with an additional five percent allotted to Audalio Dantas. This was a standard publishing arrangement in Brazil, and Carolina was more than satisfied.

Many readers were thrilled by her ,story. Shortly after the publication of Quarto, a man of modest means named Antonio Soeiro Cabral contacted her and offered her the use of a room in the back of his house in working-class Osasco, a town about fifty kilometers from the capital. In August, Carolina and her three children moved out of Caninde with a table, two beds and a mattress, a bookshelf, and six pots. As she was moving out, her favela neighbors surrounded the truck and jeered at her.

One man screamed at her that she was a -black whore" who had become rich by writing about favelados but refused to share any of her money with them. Some in the crowd were drunk. Rocks were thrown and one bloodied young Jose Carlos's face. Other stones struck Vera Eunice on the back and arm even though Carolina, pounding on the hood to signal the driver to leave, shielded her with her body. As they drove off, some of the favelados gave chase, brandishing clubs and throwing refuse until they neared the police post at the edge of the favela. The truck driven by a Hungarian immigrant who had volunteered his services lumbered away.

Even as ,a favela resident, Carolina had maintained a keen interest in local politics. During the Kubitschek presidency (1956-61), politicians would frequently hold outdoor rallies where they spoke from wooden stages erected in public squares or parks. Carolina so frequently showed up at these gatherings that she became well known and was sometimes invited up to the speaker's platform to debate. This notoriety produced some benefits for Carolina. When she was stabbed trying to defend her son from attack, Carolina was sent to the municipal hospital with all tile bills paid by Mayor Janie, Quadros. On another occasion, Quadros—who became Brazil's president in January 1961, but resigned seven months later—arranged for her to be fitted for dentures. Carolina Maria de Jesus, in short, commanded attention even before her diary was published. Yet if she had not gained widespread public attention through Audalio Dantas's discovery of her writing, she would have lived and died without any chance of leaving the favela.

Although the politicians reneged on their promise to buy her a house, the royalties from her book made it possible for her to have her publishers make a down payment on a house for her family. Because of the stipulation in the publishing contract that she share payments with Dantas and because of her lack of proper identity papers—members of Brazil's lower classes often went without the documentation necessary to transact business—Carolina at the time her diary was published could not open a bank account in her own name. As a result, a trust account was opened by Audalio Dantas for depositing her earnings. A few months later, her publishers helped her go through the steps of signing papers to obtain a mortgage for a small house on a tree-lined street in a white working-class neighborhood (Imirim), at Rua Bento Pereira, 562, Alto de Santana, in the North Zone. Some reporters who covered her story nastily called her Santana dwelling a barraco (hovel), but to her it was a palace. It had a modest living room, a kitchen with a gas stove, built-in closets, a small garden, electricity, and running water. Audalio Dantas had no notion when he made the down payment that there might be people still living in the house. When the moving truck arrived, the previous owners, the Monteiros, had not yet moved out. Long experienced at living in difficult circumstances, Carolina and her children moved in to the "casa de alvenaria" (cement-block house) and, for a period of time the two families shared the house, the children playing together. A newspaper reporter recounted this with amazement: "they are cooking on the same stove, washing their clothes in the same sink, bathing in the same shower," as if such coexistence between favelados and "normal- ordinary people, as he described the Monteiros, were unnatural.

Her life quickly became a soap opera.

Strangers visited Carolinaat all hours. Some came to ask for money. Newspaper and magazine photographers posed her in her living room seated on a sofa sewing while her daughter stood behind her and her sons stretched out on the floor reading. Vera Eunice, the accompanying story remarked, who "never liked going without shoes," now has them and someday may become a pianist. Some newspaper stories claimed that the house had been -given to her by the government," which was untrue. Things soon changed for the worse. Carolina and her family never felt at home in this house of their dreams. More than anything the lack of privacy brought by her fame affected Carolina. Her new neighbors, all whites, shunned her and her children. The police were called to stop fights, which broke out between drunks and passers-by; the neighbors blamed Carolina for that, too. From the first day she moved to Santana carrying her possessions into the house in boxes perched on her head. Carolina knew that she would sooner or later have to leave. People pestered her for money. "What sad glory I have that does not give me peace of mind,- she was quoted as saying.

They make me stop everything I intended

BRAZZIL - JUNE 1997

to do when! dreamed of leaving thefavela.

What have I become? An exploited doll and I refuse to be treated as such." She told reporters that she yearned for the countryside where people would leave her alone.

In the favela, she said, she had hunted for paper during the day and written for five or six hours in the evening before sleeping. In Santana she had little time for writing and felt suffocated by the attention. She became resentful, especially of people who took advantage of her and then dropped her.

Public reactions to Carolina's fame varied widely. Some journalists mocked Carolina's sudden notoriety and exaggerated her lack of sophistication. Some simply lied.

She lives in a government-financed house in industrial Santo Andre and spends her days in the city, sometimes at the Fasano tea parlor frequented by the elegant people of Avenida Paulista ... With mascara-painted eyelashes and wearing high-heeled shoes, dressed in silk and elegant accessories from the best downtown shops, Carolina, accompanied by her three children, strolls twice weekly on Avenida Itapetininga, where Paulistas descended from the colonial elite also walk.

And: Playing the part of a fashion model, the formerly humble chronicler of urban misery addressed Governor Carvalho Pinto himself with a sense of superiority, according to a social columnist... during a visit of cultural figures to the governor's palace, she did not take the initiative to greet him. Instead, when he went over to her, at the end of the session, she said to him: 'Ah, were you here?'

It may be that this conversation never occurred. Carolina wrote elsewhere of her visit to Sao Paulo's vice governor Porfirio da Paz, and claimed that when she was there she felt "out-of-sorts and disoriented. Still, even Audalio Dantas soon tired of her behavior. He accused her of having become "drunk with success." The media continued to judge her, commenting on her manners and on her clothing. She was expected, she said later, to appear in public with docility, accompanied by her daughter Vera Eunice in a starched white dress with ribbons in her hair. She was expected to answer questions sagely in a non-provocative manner. She understood her assigned place and initially permitted her managers and editors to plan her appearances. Within a year or so of her attaining the status of a celebrity, however, she changed her mind, and refused the direction of her social betters. Growing tired of the circus atmosphere around her and the fact that she was treated as a sideshow freak, not as a serious writer or commentator, she increasingly offended those who listened to her. Progressives, who wanted her to condemn society for creating poverty, found her outspoken sense of morality and what they judged to

BRAZZIL - JUNE 1997

be her innate conservatism annoying.

Nonetheless, her published diary conDuring the military dictatorship of the late tributed to new attempts to find solutions 1960s, a reporter quoted her as saying that for the city's favela residents. Vargas's she had read with care all of the speeches dictatorship and ' presidency of the military president, General Garras- (1930-1945,1950-1954) had earlier tazu Medici, and that she planned to write spawned efforts to do something about him a letter telling him to provide govern- urban destitution, but those experiments ment funds to move slum dwellers into had been limited in scope. In Sao Paulo permanent housing. On another occasion these projects typically recruited upper she offered praise to General Geisel, ' class volunteers to teach uneducated Medici's successor, telling a reporter that women, usually not from the poorest nor "he is a good man and the people like his darkest-complexioned groups, how to sew, government." In an atmosphere in which prepare meals hygienically and to care for radicals on the far left were engaged in their infants. During the early 1950s, Sao kidnapping and urban guerrilla activity, Paulo Governor Prestes Maia was lobbied her criticism of the repressive military personally by the French nun and social regime was uncommonly mild. Yet her worker, Madre Dominique, who had books were not reissued during the entire founded a charitable institution to provide period of the dictatorship. Throughout this help for the very poor. Moved by her period Brazilians shied away from social request, he began to involve some public issues and focused instead on the so-called agencies in poor relief, but in the end the economic miracle that brought great prosmovement to eradicate favelas died out. perity to only a few.

By 1970 there were far more favelas in For her part, Carolina refused to acSao Paulo than ever before. cept that society reserved the right to grant In late 1960, Carolina was sent by her legitimacy to some and not to others. Re- publisher on an extensive tour to publicize formers wanted her to comment about soher book. The further Carolina traveled cial injustice in a broader way, asking her from Sao Paulo the more she seemed to to relinquish her tenacious concern with relax and the more she seemed able to herself and her children. Her unwilling• - acknowledge small pleasures. In Pelotas, ness was seen as selfishness. She did not in Rio Grande do Sul, on November 30th, understand this criticism. Carolina would she was given a silver plaque by the Clube neither relax nor join others' crusades.

Cultural Fica-Ai, inscribed "Only books She balked at being "handled." Her sharp make people immortal." She described tongue rapidly alienated her self-appointed her return from the ceremony to her hotel advisors. It was soon said that Carolina as "delicious." While in Pelotas, she obwas "unable to live comfortably with her served a small house surrounded by a rose ephemeral success." Audalio Dantas, algarden in bloom. "I would like to live in though he continued to champion her in such a house," she wrote, simply. She his newspaper stories and in the introducconstantly surprised her audiences by chaltions he wrote for various editions of her lenging questioners and by making statediary, more and more complained pri- ments considered provocative. Carolina vately about Carolina's trying personalin person was more outspoken than readity. She told people that she wanted to be ers of Quarto expected. Speaking in Porto a radio vocalist and after her book became Alegre, the state capital, Carolina agreed successful she arranged to record a samba with a black man in the audience who she had composed. She paid for the re- protested against racial discrimination. cording with her book royalties. She was Later she was received by Governor Leonel sometimes gratified when others used her Brizola's wife, Dona Neuza—the "first to further their goals— Archbishop Dom time a governor's wife received me since Helder Camara, among others, frequently I left the favela," she wrote, flattered. cited her to argue that the cries of the Dona Neuza confided in her that she hated impoverished represented not communist living in the governor's mansion and that subversion but the painful suffering of the her husband, as a politician, had no friends. downtrodden. But Carolina was ignorant She offered to have her chauffeur take of the unwritten rules by which public Carolina to visit the city'sfavelas, to "tell figures were expected to behave and she them what they need to do, that they need veered erratically out of control. The un- to study." "My dream," the governor's imaginable stroke of fate that catapulted wife said, "is to abolish illiteracy in this her from obscurity affected her power- state." Carolina accepted, guffawing. 'The fully and she seemed to crave more suc- only official car I've ever rode in," she cess. She wished to publish books and be said, "was a police car." an actress. She wanted to lead Carnival Carolina posed willingly alongside parades, just as when she was an outcast politicians and permitted herself to be child she wanted to perform in a circus. used, in essence, to further their careers.

Carolina's fanciful goals may have been At times, she seemed to be bursting with a influenced by her father's abandonment pride tempered with wariness, offering a of her or by her mother's lack of sympathy metaphor for others to follow as an exfor her intellectual ambitions, but her crit- ample: "Today I had lunch in a wonderful ics never acknowledged the traumas of her restaurant and a photographer took my earlier life. Audalio Dantas saw her idealpicture," she wrote shortly after she beism and her difficulty relating to others as came famous. She recalled that she told personality flaws. She always considered him: "Write under the photo that Carolina herself above the group in which she lived, who used to eat from trash cans now eats he added, and this proved her downfall. in restaurants. That she has come back

into the human race and out of the Garbage Dump." On her arrival in Rio de Janeiro, Life magazine sent her roses, and paid for her and her children to stay in a small room at the august Copacabana Palace Hotel on the beach. The hotel's management, Paulo Dantas, confessed later, "had to swallow their prejudice against colored people" in giving her a room. To supervise Carolina's children, the hotel provided a governess, a woman from Vienna, who called Carolina "madam" and asked her where was her -companion."

"Madam?" Carolina responded: "I'm from a favela and we have nothing." Ze Carlos looked out the window and said that he wanted to jump out into the hotel pool.

The governess later complained about the children's brattiness, noting with indignation that they left the water faucet running.

Although the experience of visiting luxurious Copacabana as an honored guest dazzled Carolina and disoriented her, her benefactors were more judgmental. "A foreign magazine [Life] invited her to stay at the Copacabana Palace Hotel," Audalio Dantas said. "She went and ate in the finest restaurants. Total confusion followed. All of this in the head of a simple person, a common person; it was an exaggeration. In her head, then, it was just too much, because [her head] also contained a good, solid dose of paranoia." Paulo Dantas later complained about her -terrible children sliding down the [hotel] banister disturbing the peace," simply refusing to understand that Carolina instinctively drew her children to her as she always had done, not having relatives or baby sitters available to watch them whenever she wanted.

As a celebrity, Carolina was now free to express herself spontaneously and have , her words heeded. Frequently this confused her, and she committed gaffes. In more fortunate moments things went well, and she reveled in being herself. Her publicity tour took her to Brazil's Northeast, where, in spite of her prejudiced view of northeasterners as lazy and bad citizens, she was received warmly by both politicians (notably the socialist mayor, Miguel Arraes) and intellectuals. A man in a bookstore told her that he was buying her book because he too had once lived in poverty.

She was driven to Caruaru—in the interior of the state where the drought region began—and dined in silence with the mayor and nearly three dozen others at the table.

She became flustered and did not remember who was the mayor. She received small gifts and visited hospitals and newspaper offices. As observant as ever, she noted that public works in Caruaru had stopped because funds had dried up.

Waiting in the Recife airport for her return flight to Rio, she overheard some people mocking her. They talked about how stuck-up she seemed and suggested her book should have been titled "From the Favela to the Moon." She saw a dark-skinned woman sobbing near the ticket counter. When she inquired, the woman told her that she had come from Sergipe because her son in Sao Paulo had

58

lost his wife in childbirth. She had no money for the fare to Sao Paulo. Carolina asked the director of the airline, Loide Aereo, who was waiting with her presumably oblivious to the scene Carolina was witnessing, to issue the woman a ticket and offered to pay for it. The agent charged the full fare, 3,700 cruzeiros, and the woman was permitted to board the aircraft. "I said goodbye to her," Carolina wrote, without asking her for her address.

The incident epitomizes the conflicted nature of Carolina's personality after she achieved fame. On one hand, she remained vigilant to the suffering of others. On the other hand, her insecurity and lack of experience in dealing with authority left her vulnerable to being taken advantage of. This frustrated her and contributed to her ultimate decision to seek solace and to turn away from the public eye.

When the fanfare of her publicity tom died down, Carolina felt deflated and lonely. When she turned down persons seeking favors, some responded scornfully: "You are rich now; you have left the favela. Now you are Madam Carolina."

She tried to overlook them but the words stung. Confined to the routine of keeping house, she complained that she felt that she was growing old. When reporters and television cameramen visited, she served them coffee and pinga (sugar cane liquor) and treated them with respect although the resulting stories often belittled her. Her neighbors scorned her, but the public's reaction remained favorable, and she continued to strive for adulation. A youth composed a samba, "Favela do Caninde," in homage. The Teatro Bela Vista presented a play based on Quarto de Despejo, produced by Amir Haddad. Carolina was invited to be the guest of honor for the opening performance. Although she responded that she was moved by the gesture, she quarreled with the director and demanded that she be given the leading role in place of a professional actress. Her advisers continued to tell her what to do, and she rebelled against their advice. On one occasion, the mother of Eduardo Suplicy Matarazzo (then a student and future heir to the Matarazzo fortune and later a Senator), invited her to their home.

Audalio Dantas said that he counseled her not to go: "I think it is a crock (uma merda)," he said he told her; "you shouldn't go; they are inviting you so you can be put on exhibit." She did go, however, because she was touched by the Matarazzo's warmth.

Her whirlwind schedule of appearances and interviews continued unabated. Within a year of her trip throughout Brazil to publicize her diary she embarked on a similar month-long tour of Argentina, Uruguay, and Chile. During this trip, for the first time in her life, she was free from responsibility. Her children had remained in Brazil, and she relished being able to sleep late in the morning at her hotel. Her account of this trip, in journal form, was later published as an addendum to the Argentine translation of her second diary, Casa de Alvenaria, issued to little acclaim

by her publisher in mid-1961. Outside Brazil she was generally greeted with more even-handedness than in her own country and she responded by showing a maturing ability to handle questions and to respond to new experiences. When asked by a reporter in Buenos Aires for her opinion about how Brazil should eradicatefavelas, she reacted at length and with a degree of sophistication not present in her earlier discourses on similar subjects. She replied: Solving Brazil's favelaproblem should be accomplished by carrying out national land reform. This is because favela dwellers came from the countryside, where we worked as agriculturists. When the landowners did not permit us to grow food for our needs, life became too difficult. They only wanted to plant coffee. We did not receive sufficient wages to permit us to buy supplies and food. We began to suffer hunger. Then we migrated to the big cities, looking for industrial work. But we could not afford to pay high rent, and, as a result, the favelas came into being.

She gamely defended her country whenever she could. "Racial prejudices in Brazil were buried by Getillio Vargas," she declared in one interview, although her autobiographical writings were filled with examples of how as a black she had always faced discrimination. Her efforts to be a diplomat went unappreciated, however. Reports from her foreign tour in the Brazilian press belittled her as usual, despite the warm reception she received at every stop. Three thousand people attended one of the ceremonies at which she spoke.

In Buenos Aires she was presented with the "Order of the Knights of the Screw," a good-humored honor awarded to visiting foreign dignitaries.

Only a year after she became an international celebrity, public criticism about Carolina's personality flaws had outstripped expressions of praise. Audalio Dantas's reaction, and the fickleness of the press, were harbingers of things to come. From the beginning, critics paid more attention to Carolina's demeanor and image than to the substance of her ideas and observations. For a brief and bewildering moment in time, Brazil made Garolina its heroine. Almost immediately, however, commentators preferred to depict her as a curiosity, not-so-subtly hinting that she did not deserve the praise that had so briefly been heaped on her and almost universally ignoring the issues that Carolina's writings brought up: hunger, unemployment, racism, the difficulties faced by women, the rigidity of Brazil's class system, the degradations suffered by the poor. Instead, even her benefactors complained about the burden Carolina had placed on their shoulders: "Everybody wanted to write their memoirs, to air their suffering," Paulo Dantas said, "And I had to deal with all of this."

This text was excerpted from The Living and Death of Carolina Maria de Jesus by Robert M. Levine and Jose

Carlos Sebe Born Meihy, University of New Mexico Press,

BRAZZIL - JUNE 1997

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