O canto de revolta de uma águia nordestina : romantismo e brasilidade revolucionários em Maria Bethânia (1964-2021)

• Ano de defesa: 2022
• Autor(a) principal: Marlon de Souza Silva
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; FAF - DEPARTAMENTO DE HISTÓRIA; Programa de Pós-Graduação em História; UFMG
• Palavras-chave em Português: Maria Bethânia; Romantismo revolucionário; Brasilidade revolucionária; História - Teses; Bethânia, Maria, 1946-; Romantismo - Teses
• Link de acesso: http://hdl.handle.net/1843/48643

This Thesis analyze of artistic trajectory from the singer Maria Bethânia in the spotlight of the concepts on revolutionary romanticism and “Brasilidade” (Brazilianity), from 1964 to 2021. Taking as a starting point the discussion proposed by Marcelo Ridenti in which he states that, during the 60’s and the 70’s, at the artistic and intellectualized left-wing circles, the problem of the national and political identity from the Brazilian people was central, at a time of intense aesthetic and ideological debate around the arts. The author uses the term “artists from the revolution” to designate artists who had a romantic world view and/or a structure of feeling characteristic of a revolutionary “Brazilianity”. From the end of the 1970’s onwards, there was a decline in romantic utopias. Thus, this study aims to show how Bethânia fits into this perspective pointed out by Ridenti, consolidating herself as one of the artists from the revolution. Having a wide documentary body, it is understood that the singer, since her amateur debut in Salvador, had a typical attitude of revolutionary romanticism. As a result of his questioning performance, mainly in 1965 in the spectacle “Opinião” (Opinion), there was a greater surveillance by the organs from the regime, such as the censorship department and the National Information Service itself. Throughout her trajectory, I find a search among the Brazilian people by the singer that goes beyond the limits imposed by Ridenti. Thus, even in moments of reflux of revolutionary utopias, Bethânia continued to be the legitimate representative of this people, as in the show “A hora da Estrela” (The Star Hour), from 1984. In this context of political openness, there is a tone of disenchantment in the face of the political situation in which found the country. In his work and public manifestations, I observe a concern about the problem of land and a search for valorization of the far country (Sertão). This disenchantment is fought through his vision from Brazil, made explicit in the album “Brasileirinho” (Little Brazilian). However, singing a possible Brazil does not mean denying the problems present in Brazilian society. In the last 20 years of the singer's production, a mixture of revolt at the situation in which the Brazilian people find themselves and a hope for change is perceptible. This stance by Maria Bethânia demonstrates a structure of feeling that is characteristic of a revolutionary “Brazilianity”.