Goodbye, I have to leave...: a reading of “Bye Bye, Brasil” and “Iracema Voou”, by Chico Buarque
The musical work of Chico Buarque is known for the interpretive and critical character of Brazil, since its most participatory period of the 1960s and 1970s and today, as an astute chronicler of the ills of our society. It is possible to say that in his work we find a kind of synthesis of the hopes...
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2023 |
| País: | Brasil |
| Recursos: | Universidade Estadual do Oeste do Paraná (UNIOESTE) |
| Repositorio: | Travessias (Cascavel. Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.e-revista.unioeste.br:article/31409 |
| Acesso em linha: | https://e-revista.unioeste.br/index.php/travessias/article/view/31409 |
| Access Level: | acceso abierto |
| Palavra-chave: | Chico Buarque “Bye bye, Brasil” “Iracema voou” nationalism nacionalismo |
| Resumo: | The musical work of Chico Buarque is known for the interpretive and critical character of Brazil, since its most participatory period of the 1960s and 1970s and today, as an astute chronicler of the ills of our society. It is possible to say that in his work we find a kind of synthesis of the hopes and discouragements of the recent history of Brazil. In this perspective, this article works two emblematic songs of the songbook of the carioca composer: “Bye bye, Brasil” and “Iracema voou”, which seek to interpret Brazil, in the sense of unveiling and demystifying the ufanist conception, which conceived the Brazilian nation as a paradisiacal homeland, grandiose and doomed to success, as it propagated in the romantic thought, songs of composers prior to his generation, and also in the military regime. In the Buarchian perspective, Brazil is sung in order to oppose this naïve nationalist point of view of its precursors. Without distancing himself from the “things of Brazil”, Chico Buarque accompanies the historical transformations historical, social and cultural of the country and reveals to us its disharmonies. |
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