E o modernismo chegou Pelo telefone?

Abstract

ABSTRACT

The 1922 Modern Art Week raised remarkable developments to artistic activities in Brazil that resulted in profound transformations that meant a definitive break with certain aesthetic standards of the 19th century. On the other hand, its organization counted on the active participation of members from São Paulo coffee elite, ideologically identified with racist theses and capitalist practices of social groups that had supported the monarchy. For these people, the idea of ​​modernization was limited to things that allowed them to display their accumulated wealth, and which concerned the defense of their economic and political interests to preserve the current order and the improvement of exclusionary practices. However, in Rio de Janeiro, black people assumed a prominent role in a form of artistic expression that was quickly consolidating, music, and in particular samba, while they conquered spaces in two sectors that were among the most important technological advances of the time, the recording industry and radio broadcasting. The present study develops from this parallelism with the objective of claiming the recognition of black people who became artists by resorting to a means of expression practically created by them, of great popular acceptance and which, from the perspective of the proposed approach, constitutes in one of the faces of Brazilian modernism. For this purpose, some moments are highlighted in which the concept of modern was debated in Brazil and reference is made to studies by researchers of Brazilian popular music history, Ricardo Cravo Albin, Jairo Severiano and José Ramos Tinhorão, among others.

Keywords: samba and history; black culture and history; samba and resistance.