Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Brazilian Art under Dictatorship: Antonio Manuel, Artur Barrio, and Cildo Meireles by Claudia Calirman (review)

Brazilian Art under Dictatorship: Antonio Manuel, Artur Barrio, and Cildo Meireles by Claudia... Books Reviewed been able to reach wider audiences than Itamar Assumpção, for example, an MPB misfit from São Paulo who made waves in the early 1980s. Yet, Moehn has taught this salty Paulista dog some new tricks and even convinced me to give the arrogant Paulinho Moska another look and listen. In sum, Moehn has achieved two goals with this book. First, he reminds the reader of the need to critically assess the complexity and heterogeneity of middle-class cultural production. Secondly, in his assertion that sonic production influences social production he inspires the non-musician to consider music as a mode of being in the world and thus something we must not only appreciate but understand. While reading this book, I was often reminded of the refrain from "The Argonauts," a tropicalia versioning of the Portuguese national music of fado by the ageless Brazilian master Caetano Veloso. It is the double entendre in the phrase "navegar é preciso," meaning that navigation is both "precise" and "necessary" that is not only a gesture to the seafaring Iberians of centuries long past but also remains a guiding light for thoughtful Brazilian artists as they seek to experiment with deterritorialized technologies while http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Luso-Brazilian Review University of Wisconsin Press

Brazilian Art under Dictatorship: Antonio Manuel, Artur Barrio, and Cildo Meireles by Claudia Calirman (review)

Luso-Brazilian Review , Volume 50 (2) – Jan 29, 2013

Loading next page...
 
/lp/university-of-wisconsin-press/brazilian-art-under-dictatorship-antonio-manuel-artur-barrio-and-cildo-E507mGDkQZ

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
University of Wisconsin Press
Copyright
Copyright © the Board of Regents of the University of Wisconsin System.
ISSN
1548-9957
Publisher site
See Article on Publisher Site

Abstract

Books Reviewed been able to reach wider audiences than Itamar Assumpção, for example, an MPB misfit from São Paulo who made waves in the early 1980s. Yet, Moehn has taught this salty Paulista dog some new tricks and even convinced me to give the arrogant Paulinho Moska another look and listen. In sum, Moehn has achieved two goals with this book. First, he reminds the reader of the need to critically assess the complexity and heterogeneity of middle-class cultural production. Secondly, in his assertion that sonic production influences social production he inspires the non-musician to consider music as a mode of being in the world and thus something we must not only appreciate but understand. While reading this book, I was often reminded of the refrain from "The Argonauts," a tropicalia versioning of the Portuguese national music of fado by the ageless Brazilian master Caetano Veloso. It is the double entendre in the phrase "navegar é preciso," meaning that navigation is both "precise" and "necessary" that is not only a gesture to the seafaring Iberians of centuries long past but also remains a guiding light for thoughtful Brazilian artists as they seek to experiment with deterritorialized technologies while

Journal

Luso-Brazilian ReviewUniversity of Wisconsin Press

Published: Jan 29, 2013

There are no references for this article.