Column: Paula Abreu

By Paula Abreu (City Parks Foundation SummerStage Associate Programming Director)

Music has always been a unifying art, the common point between diffe rent cultures. Its consumption continues to grow globally. But does music remain the same in times of political crisis, intolerance and furious clashes?

Certainly not. Faced with oppression, the artist’s voice acquires another dimension, gaining yet another layer of meaning. That’s nothing new. Fifty years ago, during the dark years of the Brazilian dictatorship, we were presented with musical revolutions such as Tropicália, with masterpieces by Chico Buarque, amongst many others. In the USA, protests for human rights and against dirty wars marked the 1960s and 1970s, with Harry Belafonte, Bob Dylan, Pete Sieger and their peers.

Nowadays, again, music is used as a weapon for questioning and for resisting. Even in a new context of media, market and politics, music remains a tool used in order to overcome barriers and social problems.

Here in the USA, from Taylor Swift’s controversial “You Need To Calm Down”, full of subliminal and powerful messages, to Childish Gambino’s sweeping “This Is America”, and the savvy and politicized rap of Kendrick Lamar, pop music has challenged racism, prejudice and inequality.

In Brazil, there are prominent examples everywhere. Such as “AmarElo” by Emicida; the international phenomenon Pabllo Vittar; Letrux’s red and wordy concert; Ana Cañas being nominated for the Latin Grammy. Music with a powerful message is most welcome in such critical times. In this sense, both Brazil and the USA are very well served.

Our concern, however, is that - while art institutions in the USA are solid and have the power to convey transformative messages - this role is restricted to some innovative initiatives in Brazil. At times when public funding is cut and the government cancels entire cultural programs plus threatens artists with censorship, the only way out is not to keep quiet.