By JANETHE FONTES: If today Chico's verses sound like a chronicle of a time gone by, it is because we are not listening properly: the 'shut up' still whispers in veiled censorship laws, the 'creative gagging' takes on new guises.
By DANIEL COSTA: Xênia, Liniker and Linn do not occupy spaces — they create universes. Their black and dissident bodies are beacons of a future that has already arrived: where Brazilian music finally recognizes itself as multiple, ancestral and insurgent.
By WALNICE NOGUEIRA GALVÃO: Bach's 300 years in Leipzig and Walter Lourenção's 95 years at Rádio Cultura reveal how both faced the musician's servile condition: Bach in the “lackey's livery” that humiliated artists until the
By HENRY BURNETT: The courage of the tragic placed Nana in the pantheon of great artists of the world. From where she will never leave
By VITOR MORAIS: Commentary on the film directed by Flávia Moraes, currently showing in cinemas
By FERNANDA CANAVÊZ: Despite all prejudice, forró was recognized as a national cultural manifestation of Brazil, in a law sanctioned by President Lula in 2010.
By MANUFACTURING MARIAROSARIA: A story that Pablo Larraín didn’t tell in the film “Maria”
By DILMAR MIRANDA: Commentary on the recently released book by Lucas Assis
By HELCIO HERBERT NETO: The helplessness of life in Seattle ran counter to the yuppies of Wall Street. And the disillusionment was not an empty performance.
By LICIO MONTEIRO: There on the avenue, Beija Flor created a moment to finally say goodbye to Laíla in a dignified way and with the gratitude she deserved. While the other schools were telling a story, Beija Flor was parading the
By DANIEL COSTA*: The characters of Vai-Vai are a synthesis of the Bixiga neighborhood, especially the part of the neighborhood that continues to resist the attacks that try to decharacterize the traditional region of São Paulo.
By JOTABÊ MEDEIROS: Commentary on the film, currently showing in theaters, by James Mangold.
By HOMERO VIZEU ARAÚJO & PEDRO BAUMBACH MANICA: Considerations on City of God, Surviving in Hell and Tropical Truth
By WALNICE NOGUEIRA GALVÃO: A look at the most memorable celebrations of January 25th
By RUBENS RUSSOMANNO RICCIARDI: The genres of the culture industry are not popular art and function as a colonization fetish as an ideology of domination
By OSWALD DE ANDRADE:
Unpublished article collected in the recently released book “1923: Brazilian modernists in Paris”.
By HELCIO HERBERT NETO: 1974 album, in partnership with Arnaud Rodrigues, is not limited to satire, but associates traits of popular culture such as football, music and irony with politics
By DANIEL COSTA: Nei Lopes and Leonardo Bruno tell in a non-linear way the story of an association that for more than seventy years has proven that it is neither better nor worse than its sisters, it is just a different school
By RUBENS RUSSOMANNO RICCIARDI: Redress to a worthy concertmaster, unfairly dismissed from the Goiás Philharmonic Orchestra
By OSNAN SILVA DE SOUZA: Black consciousness repudiates May 13th, because of May 14th, that is, the post-Abolition and its developments in our days
By JANETHE FONTES: If today Chico's verses sound like a chronicle of a time gone by, it is because we are not listening properly: the 'shut up' still whispers in veiled censorship laws, the 'creative gagging' takes on new guises.
By DANIEL COSTA: Xênia, Liniker and Linn do not occupy spaces — they create universes. Their black and dissident bodies are beacons of a future that has already arrived: where Brazilian music finally recognizes itself as multiple, ancestral and insurgent.
By WALNICE NOGUEIRA GALVÃO: Bach's 300 years in Leipzig and Walter Lourenção's 95 years at Rádio Cultura reveal how both faced the musician's servile condition: Bach in the “lackey's livery” that humiliated artists until the
By HENRY BURNETT: The courage of the tragic placed Nana in the pantheon of great artists of the world. From where she will never leave
By VITOR MORAIS: Commentary on the film directed by Flávia Moraes, currently showing in cinemas
By FERNANDA CANAVÊZ: Despite all prejudice, forró was recognized as a national cultural manifestation of Brazil, in a law sanctioned by President Lula in 2010.
By MANUFACTURING MARIAROSARIA: A story that Pablo Larraín didn’t tell in the film “Maria”
By DILMAR MIRANDA: Commentary on the recently released book by Lucas Assis
By HELCIO HERBERT NETO: The helplessness of life in Seattle ran counter to the yuppies of Wall Street. And the disillusionment was not an empty performance.
By LICIO MONTEIRO: There on the avenue, Beija Flor created a moment to finally say goodbye to Laíla in a dignified way and with the gratitude she deserved. While the other schools were telling a story, Beija Flor was parading the
By DANIEL COSTA*: The characters of Vai-Vai are a synthesis of the Bixiga neighborhood, especially the part of the neighborhood that continues to resist the attacks that try to decharacterize the traditional region of São Paulo.
By JOTABÊ MEDEIROS: Commentary on the film, currently showing in theaters, by James Mangold.
By HOMERO VIZEU ARAÚJO & PEDRO BAUMBACH MANICA: Considerations on City of God, Surviving in Hell and Tropical Truth
By WALNICE NOGUEIRA GALVÃO: A look at the most memorable celebrations of January 25th
By RUBENS RUSSOMANNO RICCIARDI: The genres of the culture industry are not popular art and function as a colonization fetish as an ideology of domination
By OSWALD DE ANDRADE:
Unpublished article collected in the recently released book “1923: Brazilian modernists in Paris”.
By HELCIO HERBERT NETO: 1974 album, in partnership with Arnaud Rodrigues, is not limited to satire, but associates traits of popular culture such as football, music and irony with politics
By DANIEL COSTA: Nei Lopes and Leonardo Bruno tell in a non-linear way the story of an association that for more than seventy years has proven that it is neither better nor worse than its sisters, it is just a different school
By RUBENS RUSSOMANNO RICCIARDI: Redress to a worthy concertmaster, unfairly dismissed from the Goiás Philharmonic Orchestra
By OSNAN SILVA DE SOUZA: Black consciousness repudiates May 13th, because of May 14th, that is, the post-Abolition and its developments in our days