Last year, I wrote an essay on sound in contemporary Brazilian poetry that was published in Portuguese in Deslocamentos Críticos (Lisbon: Babel; São Paulo, Itaú Cultural, 2011). I am glad to share the English version of the essay here over the next several posts. My great thanks to Rumos Literatura do Itaú Cultural, the literary criticism program of Itaú Cultural, for their support of this research.
Brazilian Poetic Sound Work: 1980-2010
In the course of performing Um Ano Entre Os Humanos, poet Ricardo Aleixo (b. 1960) recites and sings.1 He plays guitar and bits of hardware. He dj’s from a laptop. Some of these sounds are scripted; others, improvised. All complement the visual aspects of the performance, which include video, a simple set of a chair and table holding just the laptop, a microphone, and percussion instruments, and Aleixo and his co-performer’s both choreographed and spontaneous movements. Sound contrasts, however, with the piece’s most striking visual symbol: the poemanto, a large black cloth emblazoned with white letters that Aleixo wraps himself in and animates for part of the performance, and that appears in a video that plays for part of the piece.
It may be that only cannibalism unites us, as Oswald insisted, socially, economically, philosophically. (“Só a antropofogia nos une. Socialmente. Economicamente. Philosophicamente.”) But what about geographically? It's winter in earnest up north (so I hear, some places) while in Rio we're readying for Carnaval at the height of summer. Listening to Lenine's “A Ponte/Embolada” (from his 1997 album O Dia Em Que Faremos Contato), I got to thinking about hemispheric exchange.