Essay On Brazil Identity

The following letter written by Pero Vaz de Caminha to D. Manuel, the king of Portugal at the time, illustrated a detailed account of the discovery of Brazil. This document is of great significance, as it demonstrates some of the intentions of the Portuguese, to what they thought about this new land and what would come from the land in later years. Specifically, it demonstrates the meeting between the two worlds and emits the theme of otherness; the fact of being different, where superiority and inferiority are constructed. In Caminha’s letter, his description after the first encounter with the natives on the beach changed his perspective from the description of the land to its people. The first description of these natives is as follows: “They were brown, all naked, with nothing to cover their shame.

Do Americans lack significant understanding of Brazilian immigrant values? Which immigrants within the community are willing to speak out about religion, family, and economics and how does this ethnographic data shape the discourse on the Brazilian immigrant community in the United States? Too many Americans have a fragmented knowledge of the Brazilian immigrant experience in the U.S. A limited number of American-edited songs, films, and news headlines and articles skew American awareness of Brazilian culture, and this limited media lens excludes the Brazilian point of view. Brazilian immigrants have said that beyond The Girl From Ipanema, produced by Creed Taylor, an American, and the 20th Century Fox-produced film Rio, many Americans are

Mariann Klimczuk Cultural Anthropology Prof. Wegilian Essay4 Change in the lives of a Brazilian Indigenous People I chose this essay “Change in the Lives of a Brazilian Indigenous People “because the tittle itself caught my attention, for I’m always interested as to how the lives of others change. I’m especially interested in people who have struggled in their lives, yet somehow change occurs or someone comes along and makes a difference, just as the anthropologist William Crocker did in the lives of the Brazilian Indigenous people.

The City of God depicts the lives of those living in poverty of the favelas outside Rio de Janerio, Brazil during the 60’s and 70’s. The City of God’s director, Fernando Meirelles, directed this film, based on a true story and his experience as a Brazilian youth to recreate the tale organically. Throughout the narration of the movie, life in the favelas seems to be average and an inconsequential experience that must be undergone in mainstream society. Meirelles follows the development of a generation of boys, and how the different paths they choose dictate whether these boys escape the favelas, and the poverty and violence associated with them.

Furthermore, both composers demonstrate a profound transformation of self as a ramification of the implementation of these renewed perspectives. In The Motorcycle Diaries, Guevara’s use of diary entries which segue linearly, chronicles the effects that his continued exposure to the widespread poverty had on his burgeoning social conscience and ideological awareness as it highlights the significant transformation from the laid-back youth who was “feeling uneasy…because…(he) was particularly jaded with medical school, hospitals and exams” to the powerful revolutionary who had become aware of the corruption in his society, evident in use of epistolary when he relays his discoveries to his mother, “ There is more repression of individual freedom… The atmosphere is tense and it seems a revolution may be brewing”. With growing socialist sensibilities, Guevara’s first-hand experiences of the US backed political oppression of the communists crystallised his desire to transform himself into a “sacred space within which the bestial howl of the proletariat can resound.” His animalistic imagery powerfully signifies his radicalised self-perception as the embodiment of the universal Marxist struggle against capitalism and his dedication to an improved future for the Latin American proletariat, thus indicating a profound transformation of identity and resolve.

‘Twas an ordinary Tuesday in the rural city of Rubiataba, Brazil. The people leaving for the plantations already left, and José, with his little picolé cart made the same trip up the road by my private school. As he walked he would belt out in Portuguese, “Ice cream, get your ice cream!” Students upon students watched as he walked by them in his dirty ragged clothes. Some looked upon him with the utmost disgust, while others simply ignored him.

(20). This wish for “understanding” and searching is due to the influence of modernism on Antonio's perspectives. Antonio has the need to “understand everything” and “ask all questions’’ before being sure about what he wants to become, revealing how big of an impact modernity really has on Antonio’s identity. This is an instance of how the modernism of Antonio’s surroundings alters his perspective on his sense of self. Antonio's experiences with Ultima, a curandera, represent how cultural and spiritual practices also take an equally pivotal role in creating Antonio’s identity.

" to the oppressed, and to those who suffer with them and fight at their side " By these few words, Paulo Freire chooses to dedicate his "Pedagogy of the Oppressed"; The book title that might be to some people a little deceptive, and to others a good deterrent from reading. One can set certain expectations from the book, then once the pages reveal themselves, it is possible to find yourself dislocated between what you are expecting and what you actually find out through reading. The book is detailed, full of theoretical analysis and technical terms. Nevertheless, its deep ideas are thought provoking, and they worth every single moment be spent on reading them or in figuring out what they would mean in relation to our realities. Paulo Freire 's thoughts in book that was first published in Portuguese on 1968, reflect his own experience of living in a neighborhood among the poor and oppressed, which had informally educated him about the possible kinds of relations between education, social-economics, oppression and liberation.

It is one of the essences of Dos Passos’s method here, and of his vision of modern life. The42nd Parallel established, Dos Passos as an unusually serious artist, serious with the seriousness that expresses itself in the propagandist spirit. He cannot be interested in individuals without consciously relating them to the society and the civilization that make the individual life possible. The artistic shortcomings of his work might be, not merely excused as inevitable, but praised as propagandist virtues: they are necessary to a work that exhibits the decay of capitalistic

Happening spontaneously, its execution took place indoors or outdoors, in gardens, bullfights, retreats, streets and alley, taverns, cafés de camareiras and casas de meia-porta. Evoking urban emergence themes, singing the daily narratives, Fado is profoundly related to social contexts ruled by marginality and transgression in a first phase, taking place in locations visited by prostitutes, faias, sailors, coachmen and marialvas. Often surprised in prison, its actors - the singers - are described in the faia figure, a fado singer guy, a bully of a rough and hoarse voice with tattoos and skilled with a flick knife who spoke using slang. As we will see, fado 's association to society 's most marginal spheres would definitely make the Portuguese intellectuals reject it

In 1888 the slavery in Brazil ha been abolished and many used Samba to survive, this music genre spread in Rio officially the 1889. The first real Samba star was Sinhô José Barbosa Silva born in the 1888, he wrote lyrics about the everyday life in Rio De Janeiro, in the meanwhile in Rio De Janeiro were built the first schools of Samba and then spreading in the major Brazil cities with the goal of creating a new kind of carnival groups. In South America not only was Samba a new introduced genre of music, in addition, another one was born.

SYSTEMIC FACTORS BEHIND MIGRANT IDENTITY: The Case of The Japanese Brazilian Background After Mexico(1880) and Peru(1899), an agreement signed between the state of Sao Paulo and one of the private emigration corporations in Japan, the Kokoku Shokumin Kaisha, set the precedent for enabling sustained immigration of rural Japanese workers to Brazil, which began in 1908 with the arrival of the first ship, the Kasato-maru. The Japanese Government established a strictly centralized, paternalistic and rationalized management system of emigration to Brazil. During the seclusion of the Tokugawa period (1603-1868), no emigration had been allowed.

Introduction South America is world’s fourth largest continent. It has an area of 17,840,000 km2 that covers one-eighth of the land area on Earth. South America is home to about 423 million people. There are 12 sovereign nations and other territories in the continent. South America contains natural wonders and unique cultures.

Although documentary reflexivity and the blurring of boundaries between the documentary genre and fiction were arguably present in Brazilian cinema from the outset—from the docudramatic travelogues of filmmaker-adventurer Silvino Santos (1886–1970) in the 1920s to Nelson Pereira dos Santos’s (1928-) urban chronicles of Rio in the 1950s, and the genre-bending work of the 1970s, such as Orlando Senna (1940-) and Jorge Bodanzky’s (1942-) Iracema, uma transa amazônica (Iracema, 1974), Aloysio Raulino’s (1947–2013) Tarumã (1975), or Glauber Rocha’s (1939–1981) own Di-Glauber (or Di Cavalcanti, 1977)—I would argue that it is only in the 1980s, with Eduardo Coutinho’s Cabra, that reflexivity becomes the dominant mode of documentary filmmaking. The historical experience of struggle and traumatic loss provides Coutinho a matrix for seeking formal

In a country where longing for the past qualifies as a dominant cultural trope - saudade, fado and the long wait for The Desired, D. Sebastian of Portugal are examples of this – the performance My Room / My Rum, premiered at the Condominium Festival, in Lisbon, explores and further unsettles the dynamic between memory and identity. Accordingly, collecting and archiving as necessary means to assert identity are subject to evaluation. It turns out that they both prove unable of determining one’s place in the world, merely disclosing loose traces of life experiences instead. It is fragmentary, non-linear and, altogether, unsatisfying. Seemingly, at a collective level, the Portuguese, still dwelling on the significance of overseas expansion