“I stopped in the wrong side of the road”: criss-crossed tracks in the invention of MPB
In the studies about 1960’s MPB, a hegemonic narrative was established, according to which MPB was a reactionary movement instituted “from above”, while Tropicália is idealized as the apex of musical evolution. Identifying in this narrative problems like evol...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2012 |
| País: | Brasil |
| Institución: | Fundação Getulio Vargas (FGV) |
| Repositorio: | Estudos Históricos (Rio de Janeiro) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.periodicos.fgv.br:article/3769 |
| Acceso en línea: | https://periodicos.fgv.br/reh/article/view/3769 |
| Access Level: | acceso abierto |
| Palabra clave: | MPB Tropicália 1960 |
| Sumario: | In the studies about 1960’s MPB, a hegemonic narrative was established, according to which MPB was a reactionary movement instituted “from above”, while Tropicália is idealized as the apex of musical evolution. Identifying in this narrative problems like evolutionism and the ideology of national identity, this essay proposes a revision of the history of the period through the historic and ethnographic methods, using document analysis, interviews, and ethno/musicological song analysis. The conclusion is that popular participation was important to MPB, a contradictory terrain that produced complex identities, and put into question the mestizo ideology and patriarchal domination. |
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