Kimberly L. Cleveland
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780813044767
- eISBN:
- 9780813046457
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813044767.001.0001
- Subject:
- History, Cultural History
Black Art in Brazil explores the work of five artists from different regions of Brazil—Abdias do Nascimento, Ronaldo Rego, Eustáquio Neves, Ayrson Heráclito, and Rosana Paulino—against the wider ...
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Black Art in Brazil explores the work of five artists from different regions of Brazil—Abdias do Nascimento, Ronaldo Rego, Eustáquio Neves, Ayrson Heráclito, and Rosana Paulino—against the wider backdrop of socio—historical and political developments taking place at the national and popular levels in the twentieth and early twenty-first centuries. The book traces the history of national and international interest in black art in Brazil, changes in the related terminology, and development of the discourse. Excerpts from interviews with artists and curators illustrate how different individuals understand and relate to the increasingly popular label “Afro—Brazilian art.” The publication also expands upon current scholarship by introducing its readers to a variety of paintings, prints, photographs, installations, sculptures, and performance pieces produced outside the Afro—Brazilian religious communities for secular audiences. The book’s in-depth analysis of different works demonstrates how some Brazilian art conveys “blackness” through visual vocabulary and how the markers of black art and culture have continued to diversify. In comparing modern (post-1920) and contemporary (post-1985) production, the book reveals that as the discourse on race, ethnicity, and black art began to change in the 1970s, so too did artists shift the creative focus from exploring their African cultural heritage to producing work that confronts current race—related social challenges in Brazil.Less
Black Art in Brazil explores the work of five artists from different regions of Brazil—Abdias do Nascimento, Ronaldo Rego, Eustáquio Neves, Ayrson Heráclito, and Rosana Paulino—against the wider backdrop of socio—historical and political developments taking place at the national and popular levels in the twentieth and early twenty-first centuries. The book traces the history of national and international interest in black art in Brazil, changes in the related terminology, and development of the discourse. Excerpts from interviews with artists and curators illustrate how different individuals understand and relate to the increasingly popular label “Afro—Brazilian art.” The publication also expands upon current scholarship by introducing its readers to a variety of paintings, prints, photographs, installations, sculptures, and performance pieces produced outside the Afro—Brazilian religious communities for secular audiences. The book’s in-depth analysis of different works demonstrates how some Brazilian art conveys “blackness” through visual vocabulary and how the markers of black art and culture have continued to diversify. In comparing modern (post-1920) and contemporary (post-1985) production, the book reveals that as the discourse on race, ethnicity, and black art began to change in the 1970s, so too did artists shift the creative focus from exploring their African cultural heritage to producing work that confronts current race—related social challenges in Brazil.
Kimberly Cleveland
- Published in print:
- 2014
- Published Online:
- January 2016
- ISBN:
- 9781628461558
- eISBN:
- 9781626740839
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628461558.003.0007
- Subject:
- History, African-American History
Kimberly Cleveland’s, “Abdias do Nascimento: Afro-Bazilian Painting Connections Across the Diaspora,” essay on Abdias do Nascimento, who passed away on May 23, 2011, is a timely reflection of his ...
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Kimberly Cleveland’s, “Abdias do Nascimento: Afro-Bazilian Painting Connections Across the Diaspora,” essay on Abdias do Nascimento, who passed away on May 23, 2011, is a timely reflection of his work on many levels. Born in 1914, Nascimento was politically active in Brazil and became the first Afro-Brazilian congressman (1983-1986) and Senator (1991, 1997, 1999). However, his lesser-known life’s work as a visual artist was about guiding this political-cultural lens to a deeper understanding of the African influences in Brazilian art. Between 1968 and 1981, Nascimento lived in a self-imposed exile in the United States taking on the role of cultural ambassador between Black Brazilians and African Americans. He intellectually embraced the ideas of Negritude, Pan Africanism, and the politics of Diaspora, which, as a cultural exchange, enriched his perspective and work as a painter.Less
Kimberly Cleveland’s, “Abdias do Nascimento: Afro-Bazilian Painting Connections Across the Diaspora,” essay on Abdias do Nascimento, who passed away on May 23, 2011, is a timely reflection of his work on many levels. Born in 1914, Nascimento was politically active in Brazil and became the first Afro-Brazilian congressman (1983-1986) and Senator (1991, 1997, 1999). However, his lesser-known life’s work as a visual artist was about guiding this political-cultural lens to a deeper understanding of the African influences in Brazilian art. Between 1968 and 1981, Nascimento lived in a self-imposed exile in the United States taking on the role of cultural ambassador between Black Brazilians and African Americans. He intellectually embraced the ideas of Negritude, Pan Africanism, and the politics of Diaspora, which, as a cultural exchange, enriched his perspective and work as a painter.
Eric A. Galm
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734058
- eISBN:
- 9781604734065
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734058.003.0005
- Subject:
- Music, Ethnomusicology, World Music
This chapter describes three individuals within Brazilian popular music who have moved the berimbau into genres beyond capoeira: Naná Vasconcelos, Dinho Nascimento, and Ramiro Musotto. Vasconcelos ...
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This chapter describes three individuals within Brazilian popular music who have moved the berimbau into genres beyond capoeira: Naná Vasconcelos, Dinho Nascimento, and Ramiro Musotto. Vasconcelos brought the berimbau from Brazil into a global jazz marketplace and, through his recordings, inspired the Bahian Nascimento and the Argentinean Musotto to follow his ideas for developing new concepts. Nascimento developed alternative techniques for playing the berimbau, most notably the “blues berimbau,” which is a combination of berimbau tradition and his interpretation of North American blues music. Musotto is known for creating multiple layered berimbau arrangements, and for experimenting with electronic sampling and sequencing in a broad range of Brazilian popular music contexts.Less
This chapter describes three individuals within Brazilian popular music who have moved the berimbau into genres beyond capoeira: Naná Vasconcelos, Dinho Nascimento, and Ramiro Musotto. Vasconcelos brought the berimbau from Brazil into a global jazz marketplace and, through his recordings, inspired the Bahian Nascimento and the Argentinean Musotto to follow his ideas for developing new concepts. Nascimento developed alternative techniques for playing the berimbau, most notably the “blues berimbau,” which is a combination of berimbau tradition and his interpretation of North American blues music. Musotto is known for creating multiple layered berimbau arrangements, and for experimenting with electronic sampling and sequencing in a broad range of Brazilian popular music contexts.
Kimberly L. Cleveland
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780813044767
- eISBN:
- 9780813046457
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813044767.003.0003
- Subject:
- History, Cultural History
Abdias Nascimento was an actor, activist, national politician, and self-taught artist from Rio de Janeiro. The chapter examines how this artist used his paintings to pay homage to the gods of the ...
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Abdias Nascimento was an actor, activist, national politician, and self-taught artist from Rio de Janeiro. The chapter examines how this artist used his paintings to pay homage to the gods of the Afro-Brazilian religion Candomblé, as well as everyday black Brazilians. The chapter then discusses how Nascimento exemplified the group mentality characteristic of modern black artistic production through his strong focus on honoring Brazil’s African cultural traditions and his self-identification with Africans from the continent and across the Diaspora. Lastly, the chapter explores how his American audiences had to be told that Nascimento’s works reflected “blackness” or African influences, as they could not read his visual vocabulary when the artist exhibited his religious-themed paintings in the United States during a period of self-imposed exile (1968-1981).Less
Abdias Nascimento was an actor, activist, national politician, and self-taught artist from Rio de Janeiro. The chapter examines how this artist used his paintings to pay homage to the gods of the Afro-Brazilian religion Candomblé, as well as everyday black Brazilians. The chapter then discusses how Nascimento exemplified the group mentality characteristic of modern black artistic production through his strong focus on honoring Brazil’s African cultural traditions and his self-identification with Africans from the continent and across the Diaspora. Lastly, the chapter explores how his American audiences had to be told that Nascimento’s works reflected “blackness” or African influences, as they could not read his visual vocabulary when the artist exhibited his religious-themed paintings in the United States during a period of self-imposed exile (1968-1981).
Piero Gleijeses
- Published in print:
- 2013
- Published Online:
- July 2014
- ISBN:
- 9781469609683
- eISBN:
- 9781469612515
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469609683.003.0005
- Subject:
- History, World Modern History
This chapter discusses the meeting of UN ambassador Andrew Young and his deputy Donald McHenry with Angolan prime minister Lopo do Nascimento and foreign minister Paulo Jorge, who were in New York ...
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This chapter discusses the meeting of UN ambassador Andrew Young and his deputy Donald McHenry with Angolan prime minister Lopo do Nascimento and foreign minister Paulo Jorge, who were in New York for the special UN session on disarmament. The Americans expressed their concerns—namely, the Katangan invasion of Zaire, the Cuban troops in Angola, and the negotiations on Namibia. The Angolans, in turn, expressed theirs: Zaire's support for the Angolan insurgents and, above all, the threat from South Africa. Young reported, “Nascimento said that everyone seemed to be complaining about the Cubans while ignoring the attacks of South Africa on Angola… . He said that attacks from the South Africans and indirectly from Zaire made it difficult for Angola to maintain non-alignment… . He expressed a desire for continuing communication with the U.S. There was a sense of helplessness about Nascimento.”Less
This chapter discusses the meeting of UN ambassador Andrew Young and his deputy Donald McHenry with Angolan prime minister Lopo do Nascimento and foreign minister Paulo Jorge, who were in New York for the special UN session on disarmament. The Americans expressed their concerns—namely, the Katangan invasion of Zaire, the Cuban troops in Angola, and the negotiations on Namibia. The Angolans, in turn, expressed theirs: Zaire's support for the Angolan insurgents and, above all, the threat from South Africa. Young reported, “Nascimento said that everyone seemed to be complaining about the Cubans while ignoring the attacks of South Africa on Angola… . He said that attacks from the South Africans and indirectly from Zaire made it difficult for Angola to maintain non-alignment… . He expressed a desire for continuing communication with the U.S. There was a sense of helplessness about Nascimento.”
