Yesterday, Brazil’s Congress marked the 50th anniversary of the military coup that overthrew constitutional president João Goulart and ushered in a 21-year military dictatorship that killed hundreds of its own citizens and tortured thousands others. In 1964, Congress was directly implicit in the coup and the subsequent military dictatorship: Congress proclaimed the presidency vacant even while Goulart remained in Brazil and declared Chamber of Deputies leader Ranieri Mazzilli as the acting President of Brazil for the second time in his life (he’d also assumed the role in the wake of Jânio Quadros’s abrupt resignation in 1961). Mazzilli was president in name only, as a military junta, led by Artur Costa e Silva, established control before Congress selected Humberto Castelo Branco as the country’s new president. By contrast, yesterday’s commemoration was to be a more solemn affair, recognizing the setbacks that human rights and democracy both suffered under Brazil’s military regime.
Of course, that did not mean all were willing to cooperate with such a dignified approach. Ultra-right wing congressman Jair Bolsonaro, a dictatorship apologist, decided to use the event to celebrate the military in his speech, with various other representatives turning their backs on him. Meanwhile, his supporters unfurled a banner thanking the military, through whose efforts “Brazil is not Cuba,” according to Bolsonaro, while another Bolsonaro supporter shouted to others, “I do not want communism in my Country.” Ultimately, the ceremony ended up being delayed for over an hour. Yet the event reminds us of the degree to which Brazil’s dictatorship continues to appear in politics even while torturers are publicly named but remain unpunished, something that seems unlikely to change anytime soon, given the reluctance of President Rousseff (herself a political prisoner and torture victim during the dictatorship) to review the 1979 amnesty that pardoned all those in the military regime who committed torture and murder.
Last night marked the second and final night of the major parade of samba schools for Carnaval in Rio de Janeiro. While Portela and União da Ilha stood out for their performances on the second night, it was Salgueiro samba school, which paraded on the first night with the theme of indigenous origin stories from around the world, that took the Gold Standard for best samba overall school this year (which collectively considers the theme, song, costumes, dancing, floats, and execution of the parade overall). However, União da Ilha won the award for best storyline/theme this year, and Viradouro won the A Series on Sunday, meaning next year it can parade in the grande spectacle that takes place on Monday and Tuesday. Photos from the first night, including Salgueiro’s parade, can be found here.
And for those who think this is some random bacchanalian festival (a belief that the photos alone should demonstrate is otherwise), it’s worth noting that Portela had a change in its directory last year when it was revealed that the samba school was about US$7 million in debt. Such a figure reveals both the cost of participating on the grandest scale of Carnaval in Rio de Janeiro, and why winning is important not only for cultural pride (though that’s certainly the case), but also for economic reasons (via sponsorships, greater donations, etc.).
G.R.E.S. Mocidade – Celebrating the state of Pernambuco and its contributions to Carnaval
G.R.E.S. União da Ilha – A focus on the symbols and cultural products of childhood
G.R.E.S. Vila Isabel – A look at the cultural “DNA” of Brazil
G.R.E.S. Imperatriz Leopoldinense – A celebration and commemoration of Zico, one of Brazil’s best and most famous soccer players
G.R.E.S. Portela – The history and culture of the city of Rio de Janeiro
G.R.E.S. Unidos da Tijuca – Ayrton Senna, the renowned Brazilian racecar driver who died in a crash 20 years ago
It’s that time of year again in Brazil – Carnaval. Last night marked the first night of the major parades in Rio de Janeiro, where, beyond the stereotyped vision of women, there were remarkable floats, songs, dance, and pageantry. As in the past, below are some photos from the first night of the festivities (with the samba schools listed in the order they processed), along with the themes for each school. The photos demonstrate the richness and complexity of the design, floats, and costumes that mark Carnaval each year. [And for those who read Portuguese, you can learn more about all of the schools and here samples of their songs here.]
G.R.E.S. Império da Tijuca – The influence of African instruments in Brazil]
G.R.E.S. Grande Rio – Maricá, a coastal region in the state of Rio de Janeiro
G.R.E.S. São Clemente – Favelas and their cultural influence and creativeness
G.R.E.S. Mangueira – Popular festivals in Brazil
G.R.E.S. Salgueiro – Origin stories from a variety of cultures from around the world
G.R.E.S. Beija-Flor – José Bonifácio de Oliveira Sobrinho, a director of TV programs in Brazil
In an unusual story, rappers and hip-hop artists in Brazil are rallying in response to a law that seeks to regulate their art. Politician (and former soccer star) Romário proposed a bill that would regulate hip-hop professionals, including MCs, DJs, graffiti artists, and others, requiring them to take professional training courses in government-recognized technical schools. In response, hip-hop artists in both Rio de Janeiro and São Paulo (two of the main hubs of Brazilian hip-hop culture) have begun to meet to discuss ways to combat the law, and a group on Facebook has also formed in protest of the law.
The problems with the law are numerous. Brazilian hip-hop is inherently a cultural form of the favelas, the poorest areas of urban centers like Rio de Janeiro and São Paulo. Its lyrical content and production values reflect and relate the experiences of life in the favelas, where state violence, racism, and socioeconomic inequalities are tragic facts of life. By targeting just hip-hop, and not other Brazilian music forms (such as bossa nova, samba, or other styles), Romário’s law is inherently replicating prejudicial laws that disadvantage the favelas, in this case targeting both those from the favelas who produce art and the art that expresses life in the favelas itself. While Romário’s defense is that he just wants to let the “true artists” of hip-hop benefit, rather than just anybody claiming to be a hip-hop artist, there’s still the question of who gets to define authenticity among hip-hop artists; by requiring “legitimate” artists to receive governmental training, the law would attempt make the government the main legitimizing force in determining what constitutes “art” – a highly problematic proposition by any metric of artistic production or for cultural autonomy. Fortunately, Romário has accepted a group of hip-hop artists’ invitation to meet with them to discuss the law.
Hopefully, for the reasons outlined above, it will not pass, and right now at least, it’s hard to see why it would pass. Still, the fact that it exists reveals ongoing ways that favelas continued to be negatively targeted and persecuted in ways that other sectors of Brazilian society are not.
Anybody even remotely familiar with Latin America history is aware that indigenous peoples were subject to horrific processes of dispossession, repression, racism, and extermination throughout both the colonial and the national periods. Sadly, destroying native lands and communities in the name of greed remains a major issue in the twenty-first century:
In a rare encounter between the Ayoreo tribe, Paraguay’s Environment Minister, and a Brazilian rancher responsible for the large-scale destruction of the tribe’s ancestral land, the rancher has rebuffed the Ayoreo’s plea to stop destroying their forest, the last refuge of their uncontacted relatives. [...]
Ranching company Yaguarete Pora S.A., owned by Ferraz, has been illegally clearing the Ayoreo’s forest to make way for beef destined for the European, Russian and African markets, and was recently granted an environmental license to cut down more forest, causing global outrage.
Obviously, this is horrible on any number of levels. The blatant disregard for indigenous rights and the obviously anti-indigenous attitudes of the rancher and his company deny treating indigenous peoples as equals under the law, thus dehumanizing them and reinforcing structures of anti-indigenous racism that have operated in Latin America for centuries. And this is not just a South American problem, or an indigenous problem; that the land is being cleared to provide European markets with food really does make this a global issue, providing yet another reminder of the tragic roots that can and do rest behind much of industrial food production. And while our focus regularly (and not unfairly) falls on deforestation in the Amazon, a recent study found that the highest rate of deforestation in the world is in Paraguay’s Chaco, where the Ayoreo (and others) live. What’s happening in Paraguay is in many ways an old story – outside economic powers disregarding indigenous rights and threatening indigenous peoples while also destroying the environment, all in the name of global trade. That it is an old story, yet one we still see today, is yet another sad reminder of the ways that power structures dating back to colonial times insidiously persist well into the 21st century under new guises.
Well, this is both unsurprising and awful:
New research published in Nature adds further evidence to the argument that drought and fire are reducing the Amazon’s ability to store carbon, raising concerns that Earth’s largest rainforest could tip from a carbon sink to a carbon source.
While the government’s recent efforts to reduce the rate of deforestation have met with some mixed and relative successes in recent years, it has not stopped the process, and massive swaths of the forest continue to be destroyed with an all-too-familiar human disregard for the long-term consequences on the global scale.