Literary Resonances in Clara Nunes´ Song - Macunaima, Rhapsody, Mario De Andrade

Beatriz Helena Ramos Amaral

doi:doi:10.11648/j.ijll.20231102.11

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Literary Resonances in Clara Nunes´ Song - Macunaima, Rhapsody, Mario De Andrade

Beatriz Helena Ramos Amaral

Published in International Journal of Language and Linguistics (Volume 11, Issue 2)

Received: 30 October 2022 Accepted: 28 December 2022 Published: 31 March 2023

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Abstract

The article aims to check the intersection of the musical, verbal, visual and body languages which are present in the art of Brazilian interpreter, research and composer Cara Nunes (1942-1983), focusing works recorded by her over the 70s, when the interpreter dedicates herself completely to the authentic Brazilian music, the folklore, affirmation of the African religious matrix and defense of equality and liberty. One of Clara Nunes’songs recorded by her in 1975 permits an dialogue with Brazilian Culture, mainly with Literature and the work of writer, professor and musicologist Mário de Andrade (1893-1945): Macunaíma, a samba composed by David Corrêa and Norival Reis, an inter-semiotic translation of the rhapsody romance of the modernist writer. One can visualize a bridge connecting the targeas and ideas of the two Brazilian artists, supported by strong links of similarities, including appreciating of “roof culture”. Clara Nunes developed a vast project including musical, visual and body interaction. Her clothing were specificallly designed according to the popular culture, composed of white dresses, generally laced material and typical acessories full of religious symbolism. Her singing altered in some respects, setting aside the imposture that characterizes the romantic or lirics interpretations, with reductions of the vibrato, maintaining its power and beauty. And the interpreter created her body language, which were developed during five years course of African dance with Mercedes Batista, the ballerina, teacher and choreographer of Rio de Janeiro Municipal Theatre, creator of Afro-Brazilian Ballet. Macunaíma (samba) is an excellent example of this Clara Nunes’s process of creation developed with interseccion of the three languages.

Published in	International Journal of Language and Linguistics (Volume 11, Issue 2)
DOI	10.11648/j.ijll.20231102.11
Page(s)	35-40
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Clara Nunes, Process of Creation, Interseccion of Languages, Mário de Andrade, Macunaima

References

[1]	STRAVINSKY, Igor. Musical Poetry (Poética Musical). Rio de Janeiro, Jorge Zahar, 1996.
[2]	AMARAL, Beatriz Helena Ramos. Clara Estrela, o filme. (Clara Star, the film) In: Germina – Revista de Literatura e Arte (Literature and Arts Magazine). Belo Horizonte, MG: Germina, 2020.
[3]	SALLES, Cecilia Almeida. Redes de Criação – construção da obra de arte. (Creation network – construction of a work) Vinhedo, SP, Horizonte, 2006.
[4]	ZUMTHOR, Paul. A letra e a voz (The words and the voice) Translation done by Jerusa Pires Ferreira, São Paulo, Companhia das Letras, 1993.
[5]	ANDRADE, Mario. Música, doce música (Music, sweet music).
[6]	NESTROVSKI, Arthur. Lendo música: 10 ensaios sobre 10 canções (Reading music: 10 essays about 10 songs). São Paulo, Publifolha, 2007.
[7]	SCHWARCZ, Lília M.; STARLING, Heloisa M. Brasil: uma biografia (Brazil: a biography). São Paulo, Companhia das Letras, São Paulo, 2015.
[8]	MEDAGLIA, Julio. Música, maestro (Music, conductor), São Paulo, Globo, 2008.
[9]	CAMPOS, Haroldo de. Morfologia do Macunaíma (Macunaima’s morphology, São Paulo, Perspectiva, 1973.
[10]	WISNIK, José Miguel.; SQUEFF, Enio. Música – o nacional e o popular na cultura brasileira (Music – the national and the popular presence of our culture). São Paulo, Brasiliense, 2004.
[11]	LOPES, Nei.; SIMAS, Luiz Antônio. Dicionário da História Social do Samba (Social History’s Dicionary of Samba), Civilização Brasileira, São Paulo, 2020.
[12]	SANTIAGO, Silviano. Nas malhas da letra. São Paulo, Companhia das Letras, 1989.

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APA Style

Beatriz Helena Ramos Amaral. (2023). Literary Resonances in Clara Nunes´ Song - Macunaima, Rhapsody, Mario De Andrade. International Journal of Language and Linguistics, 11(2), 35-40. https://doi.org/10.11648/j.ijll.20231102.11

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ACS Style

Beatriz Helena Ramos Amaral. Literary Resonances in Clara Nunes´ Song - Macunaima, Rhapsody, Mario De Andrade. Int. J. Lang. Linguist. 2023, 11(2), 35-40. doi: 10.11648/j.ijll.20231102.11

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Beatriz Helena Ramos Amaral. Literary Resonances in Clara Nunes´ Song - Macunaima, Rhapsody, Mario De Andrade. Int J Lang Linguist. 2023;11(2):35-40. doi: 10.11648/j.ijll.20231102.11

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@article{10.11648/j.ijll.20231102.11,
  author = {Beatriz Helena Ramos Amaral},
  title = {Literary Resonances in Clara Nunes´ Song - Macunaima, Rhapsody, Mario De Andrade},
  journal = {International Journal of Language and Linguistics},
  volume = {11},
  number = {2},
  pages = {35-40},
  doi = {10.11648/j.ijll.20231102.11},
  url = {https://doi.org/10.11648/j.ijll.20231102.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijll.20231102.11},
  abstract = {The article aims to check the intersection of the musical, verbal, visual and body languages which are present in the art of Brazilian interpreter, research and composer Cara Nunes (1942-1983), focusing works recorded by her over the 70s, when the interpreter dedicates herself completely to the authentic Brazilian music, the folklore, affirmation of the African religious matrix and defense of equality and liberty. One of Clara Nunes’songs recorded by her in 1975 permits an dialogue with Brazilian Culture, mainly with Literature and the work of writer, professor and musicologist Mário de Andrade (1893-1945): Macunaíma, a samba composed by David Corrêa and Norival Reis, an inter-semiotic translation of the rhapsody romance of the modernist writer. One can visualize a bridge connecting the targeas and ideas of the two Brazilian artists, supported by strong links of similarities, including appreciating of “roof culture”. Clara Nunes developed a vast project including musical, visual and body interaction. Her clothing were specificallly designed according to the popular culture, composed of white dresses, generally laced material and typical acessories full of religious symbolism. Her singing altered in some respects, setting aside the imposture that characterizes the romantic or lirics interpretations, with reductions of the vibrato, maintaining its power and beauty. And the interpreter created her body language, which were developed during five years course of African dance with Mercedes Batista, the ballerina, teacher and choreographer of Rio de Janeiro Municipal Theatre, creator of Afro-Brazilian Ballet. Macunaíma (samba) is an excellent example of this Clara Nunes’s process of creation developed with interseccion of the three languages.},
 year = {2023}
}

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TY  - JOUR
T1  - Literary Resonances in Clara Nunes´ Song - Macunaima, Rhapsody, Mario De Andrade
AU  - Beatriz Helena Ramos Amaral
Y1  - 2023/03/31
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DO  - 10.11648/j.ijll.20231102.11
T2  - International Journal of Language and Linguistics
JF  - International Journal of Language and Linguistics
JO  - International Journal of Language and Linguistics
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PB  - Science Publishing Group
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UR  - https://doi.org/10.11648/j.ijll.20231102.11
AB  - The article aims to check the intersection of the musical, verbal, visual and body languages which are present in the art of Brazilian interpreter, research and composer Cara Nunes (1942-1983), focusing works recorded by her over the 70s, when the interpreter dedicates herself completely to the authentic Brazilian music, the folklore, affirmation of the African religious matrix and defense of equality and liberty. One of Clara Nunes’songs recorded by her in 1975 permits an dialogue with Brazilian Culture, mainly with Literature and the work of writer, professor and musicologist Mário de Andrade (1893-1945): Macunaíma, a samba composed by David Corrêa and Norival Reis, an inter-semiotic translation of the rhapsody romance of the modernist writer. One can visualize a bridge connecting the targeas and ideas of the two Brazilian artists, supported by strong links of similarities, including appreciating of “roof culture”. Clara Nunes developed a vast project including musical, visual and body interaction. Her clothing were specificallly designed according to the popular culture, composed of white dresses, generally laced material and typical acessories full of religious symbolism. Her singing altered in some respects, setting aside the imposture that characterizes the romantic or lirics interpretations, with reductions of the vibrato, maintaining its power and beauty. And the interpreter created her body language, which were developed during five years course of African dance with Mercedes Batista, the ballerina, teacher and choreographer of Rio de Janeiro Municipal Theatre, creator of Afro-Brazilian Ballet. Macunaíma (samba) is an excellent example of this Clara Nunes’s process of creation developed with interseccion of the three languages.
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Author Information

Beatriz Helena Ramos Amaral

Literature and Literary Criticism, Postgraduate Studies Program in Communication and Semiotics, Pontifical Catholic University, Sao Paulo, Brazil

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APA Style

Beatriz Helena Ramos Amaral. (2023). Literary Resonances in Clara Nunes´ Song - Macunaima, Rhapsody, Mario De Andrade. International Journal of Language and Linguistics, 11(2), 35-40. https://doi.org/10.11648/j.ijll.20231102.11

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ACS Style

Beatriz Helena Ramos Amaral. Literary Resonances in Clara Nunes´ Song - Macunaima, Rhapsody, Mario De Andrade. Int. J. Lang. Linguist. 2023, 11(2), 35-40. doi: 10.11648/j.ijll.20231102.11

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AMA Style

Beatriz Helena Ramos Amaral. Literary Resonances in Clara Nunes´ Song - Macunaima, Rhapsody, Mario De Andrade. Int J Lang Linguist. 2023;11(2):35-40. doi: 10.11648/j.ijll.20231102.11

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@article{10.11648/j.ijll.20231102.11,
  author = {Beatriz Helena Ramos Amaral},
  title = {Literary Resonances in Clara Nunes´ Song - Macunaima, Rhapsody, Mario De Andrade},
  journal = {International Journal of Language and Linguistics},
  volume = {11},
  number = {2},
  pages = {35-40},
  doi = {10.11648/j.ijll.20231102.11},
  url = {https://doi.org/10.11648/j.ijll.20231102.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijll.20231102.11},
  abstract = {The article aims to check the intersection of the musical, verbal, visual and body languages which are present in the art of Brazilian interpreter, research and composer Cara Nunes (1942-1983), focusing works recorded by her over the 70s, when the interpreter dedicates herself completely to the authentic Brazilian music, the folklore, affirmation of the African religious matrix and defense of equality and liberty. One of Clara Nunes’songs recorded by her in 1975 permits an dialogue with Brazilian Culture, mainly with Literature and the work of writer, professor and musicologist Mário de Andrade (1893-1945): Macunaíma, a samba composed by David Corrêa and Norival Reis, an inter-semiotic translation of the rhapsody romance of the modernist writer. One can visualize a bridge connecting the targeas and ideas of the two Brazilian artists, supported by strong links of similarities, including appreciating of “roof culture”. Clara Nunes developed a vast project including musical, visual and body interaction. Her clothing were specificallly designed according to the popular culture, composed of white dresses, generally laced material and typical acessories full of religious symbolism. Her singing altered in some respects, setting aside the imposture that characterizes the romantic or lirics interpretations, with reductions of the vibrato, maintaining its power and beauty. And the interpreter created her body language, which were developed during five years course of African dance with Mercedes Batista, the ballerina, teacher and choreographer of Rio de Janeiro Municipal Theatre, creator of Afro-Brazilian Ballet. Macunaíma (samba) is an excellent example of this Clara Nunes’s process of creation developed with interseccion of the three languages.},
 year = {2023}
}

Copy | Download

TY  - JOUR
T1  - Literary Resonances in Clara Nunes´ Song - Macunaima, Rhapsody, Mario De Andrade
AU  - Beatriz Helena Ramos Amaral
Y1  - 2023/03/31
PY  - 2023
N1  - https://doi.org/10.11648/j.ijll.20231102.11
DO  - 10.11648/j.ijll.20231102.11
T2  - International Journal of Language and Linguistics
JF  - International Journal of Language and Linguistics
JO  - International Journal of Language and Linguistics
SP  - 35
EP  - 40
PB  - Science Publishing Group
SN  - 2330-0221
UR  - https://doi.org/10.11648/j.ijll.20231102.11
AB  - The article aims to check the intersection of the musical, verbal, visual and body languages which are present in the art of Brazilian interpreter, research and composer Cara Nunes (1942-1983), focusing works recorded by her over the 70s, when the interpreter dedicates herself completely to the authentic Brazilian music, the folklore, affirmation of the African religious matrix and defense of equality and liberty. One of Clara Nunes’songs recorded by her in 1975 permits an dialogue with Brazilian Culture, mainly with Literature and the work of writer, professor and musicologist Mário de Andrade (1893-1945): Macunaíma, a samba composed by David Corrêa and Norival Reis, an inter-semiotic translation of the rhapsody romance of the modernist writer. One can visualize a bridge connecting the targeas and ideas of the two Brazilian artists, supported by strong links of similarities, including appreciating of “roof culture”. Clara Nunes developed a vast project including musical, visual and body interaction. Her clothing were specificallly designed according to the popular culture, composed of white dresses, generally laced material and typical acessories full of religious symbolism. Her singing altered in some respects, setting aside the imposture that characterizes the romantic or lirics interpretations, with reductions of the vibrato, maintaining its power and beauty. And the interpreter created her body language, which were developed during five years course of African dance with Mercedes Batista, the ballerina, teacher and choreographer of Rio de Janeiro Municipal Theatre, creator of Afro-Brazilian Ballet. Macunaíma (samba) is an excellent example of this Clara Nunes’s process of creation developed with interseccion of the three languages.
VL  - 11
IS  - 2
ER  -

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