Name: CAMILA TEIXEIRA GABRIEL BAIÃO
Publication date: 20/12/2024
Examining board:
Name |
Role |
|---|---|
| ANDRESSA ZOI NATHANAILIDIS | Examinador Interno |
| EDILBERTO JOSÉ DE MACEDO FONSECA | Examinador Externo |
| LUIS RICARDO SILVA QUEIROZ | Examinador Externo |
| SERGIO DA FONSECA AMARAL | Examinador Interno |
| VIVIANA MONICA VERMES | Presidente |
Summary: The aim of this study is to analyze the songs of singer and songwriter Belchior, from a perspective that considers the concept of anthropophagy as a decolonial alternative. The aesthetic theory proposed by Oswald de Andrade at the beginning of the 20th century had as its premise the rethinking of cultural dependency in Brazil. Using the indigenous anthropophagic ritual as a metaphor, the modernist author proposed, as pointed out by Haroldo de Campos (2010), a critical consumption of the entire universal cultural legacy, aimed at a sense of transvaluation, capable both of appropriation and of deshierarchization and deconstruction. Our hypothesis consists of associating this endeavor with the current decolonial prerogative, which, in an act of refusal of European and North American hegemony, advocates for a critical effort to value Latin American identity. In this case, we consider anthropophagy as a decolonial alternative in that it represents an original and critical way for Latin American consciousness to confront the Eurocentric civilizational and cultural legacy. Given Belchior's interest in engaging with authors from national and global literature and music, as well as his commitment to representing the socio-historical condition of Latin America, this study aims to analyze the anthropophagic appropriation gesture of the Ceará-born author in the construction of themes such as modernity, coloniality, and decoloniality/resistance in his songs. At first, the goal is to argue theoretically in favor of modernist anthropophagy as a decolonial alternative, based on authors such as João Cesar de Castro Rocha (2011), Walter Mignolo (2008), and Aníbal Quijano (2005). Next, a study on the song genre, the Latin American movements of Nueva Canción and Nueva Trova Cubana will be proposed, as well as an investigation into Belchior's life and work and his relationship with the Tropicalist movement (TATIT, 2012; CALOS, 2014; GRANATO, 2018). Finally, the songs “Apenas um rapaz latino-americano” (1976), “A palo seco” (1974), “Baihuno” (1993), and “Quinhentos anos de quê?” (1993) will be analyzed in order to recognize, in the literary-musical discourse of the Northeastern singer and songwriter, anthropophagic and decolonial perspectives committed to celebrating otherness and transcultural dialogue.
