Brazilian culture in the hands of a twitterer – India press release
The current cultural policy in Brazil is led by Twitter. It works like this: the duo Frias & Porciuncula seal a lot by saying they cut the breast and the globals seal a lot by cursing the government.
Frias is an actor known for his work on “Malhação” that Bolsonaro, God knows why, appointed Special Secretary for Culture. Porcunculus is a Bahia military police captain who spent the day cursing people on the internet and someone (it seems Eduardo Bolsonaro saw Alexandre Aleluia, son of old Carlist José Carlos Aleluia) thought it was a good idea to appoint him national secretary for Incentives and promotion of culture. Then, as the two camps seal the seal, the Cinematheque catches fire and Brazil approaches the Bicentenary of Independence without any plan.
We already know that the left doesn’t care about culture – just see what PSOL has done with the National Museum. The museum caught fire and the manager, the psolist dean Roberto Leher, blamed the firefighter. No one has investigated a psolist, let alone punished. If the museum was intentionally cremated to cover up the theft of heritage, we won’t soon know.
From the fact that we hate left suckers cannot be followed by contentment with an alley that opposes pro forma1793 and abandons the culture of the hands. How is it possible that there is nothing planned for the bicentenary of the independence of Brazil? Apparently, the only living soul in the artistic sector to beat the drum against this contempt is filmmaker Josias Teófilo.
What to do about it? The left will not join your chorus, because they hate Brazil. He is not at all moved by independence. For them, Brazil has not even been discovered. All our interbreeding is rape; our whole history is oppression. Many “decolonials” would deliver the Amazon to France, because the European Union should repair these Brazilians who like to elect people on the right. Josiah will not find help among his peers, as most are from an abject leftist who hates their country.
And on the right? Apparently, a frivolity reigns in the matter of culture. I understand that Culture is not getting a lot of attention now for reasons of priorities. After all, we are increasingly forced to take an experimental vaccine of unknown lethality (see Bruno Graf, with a cause of death already recognized by the state) and, at the same time, to receive in our hearts sordid declarations of the judiciary, who reveal they don’t even have one. little shame in changing the country’s political system in the big hand. If the person is not talking about Culture for focusing on these calamities, I understand. But if you talk about Culture and treat the tweeting duo like serious people, you can’t get it.
Thus, the mandated tweeters keep saying that Josias Teófilo is interested in being an artist, as if every artist were a bum hungry for public money. Frias & Porciuncula deserve credit for having put an end to the State’s encouragement of culture, ie “la mamata”. The law claps its hands because it is on “our side”, as if Josias Teófilo were not there.
But is mom over?
Anyone who pays little attention to cultural policy knows that the federal government had the Aldir Blanc law to help artists. Josias Teófilo and his sociologist Eduardo de Alencar say that Frias & Porciuncula did not formulate the policy; that the law came from Jandira Feghali’s office and was therefore passed. In fact, that’s what the MP herself says on her official page, without any denial from Frias or Porciuncula.
They keep talking about auditing, and that is the universal justification for all their inaction. The question remains: was there an audit at Aldir Blanc? From my personal perception, it seemed to have been like everything that is done without control in this country: there are good things, thanks to the personal virtue of those who made them, and there are bad things in terms of watershed, since no one controls anything and the money is public.
In the list of good things, I highlight the eBook site organized by Aninha Franco. She is a monkey from the old culture, she was already good and did a good thing with Aldir Blanc. Her website colecaoacbrasil.com.br/ offers free digital publishing of works that the curator considers essential for self-knowledge of Brazil. As the works are in the public domain and the reader may know some of them by other means, I would like to point out that one of them has its first digital version. This is the “Memoir on slaves and the slave trade between the Costa D’Afrique and Brazil” (1793), by lawyer Luís Antônio de Oliveira Mendes.
On the other hand, I understood that in Cachoeira, Aldir Blanc was used by the professors of the UFRB to pocket more money (as if they needed it) and to do a dirty job. A small farmer who is also a photographer wanted to show me his photo selected for a virtual exhibition with the Aldir Blanc brand. He sent me the poster with a link that I couldn’t open at all. I told him, and lo and behold, he couldn’t open it either. I was indiscreet: I asked if they were paying him. They didn’t pay; he did so because a UFRB professor, considered an authority, called him. It was an exhibition with various artists from the countryside, people likely to be impressed by the teachers. For me it is a scam.
Also, there were so many sealing posters with the Aldir Blanc symbol, that I didn’t even calculate. Therefore, the claim that the mamata ended is false: $ 3 billion was “for culture” and I doubt that half of that money was well spent. When the government activists chat, seal on Twitter (because you find it beautiful), all that remains is to pick up the first project that someone has put on the table.
Learn from the stingy government
One thing I heard from Josiah that bothers him a lot is that proposing a project for the Bicentennial does not involve spending money. On the one hand, the government should use the structure that it already has and that it already supports. On the other hand, I should be sponsored, and the Bicentenary is not just anything for nothing, without interest.
Here with my buttons I remembered my state government. The Bahia PT is committed to taking all public resources and putting them in their own pockets, or the pockets of the Chinese, or the pockets of a business friend. He must therefore run the state himself with as little money as possible to increase the spurious profit margin. For example: it opens up a temporary, unbureaucratic selection for low-paying teachers in the outback, instead of taking a public exam. As no one moves to the countryside for a temporary mix, they hire anyone to teach and PISA goes down. Anyone who thinks cutting government spending is a good thing in and of itself has a lot to learn from PT Bahia.
During the pandemic, the government provided at least one good example of leveraging resources. Bahia has a large public theater which was closed (Castro Alves), as well as classical dancers and musicians who did not work for lack of audiences. So the government took a Villa-Lobos (which is free, public domain) and used the theater to make a really nice video that got quite a few views.
Now, of course, almost none of this has been planted by the PT government. It dates from the golden age of Bahian culture, the 1950s. At that time, Bahia had a scholarly governor concerned with culture (Luiz Vianna Filho) and a dean (Edgard Santos) ready to give all his support to the refugees. Europeans. In addition, there were also indigenous intellectuals of the kind of doctor-anthropologist Thales de Azevedo.
High culture or bread and circuses?
Maybe a demagogue says that funding Villa-Lobos is funding Leblon. Therefore, I insist that even Chavismo’s flattery could have had a positive effect. With the conductor Ricardo Castro, the State of Bahia created Neojibá, a social project inspired by the great Venezuelan conductor Gustavo Dudamel. Neojibá has worked very well (and as far as I know it works) very well. It consists of bringing children from all walks of life, with a focus on the most disadvantaged, to compose orchestras and play classical music. There was a documentary on the project.
Now, if you want a project that is popular in both senses of the word, excluding scholars, there was Dominggueiras, played by veteran music producer Roberto Santana. He says it was successful and ended in political persecution. In my memory, the project was actually popular in both senses of the word, and on the Legislative Assembly site it was inexpensive. of the common man. What are you going to do? End the orchestras? And what about the example of Neojibá? And what does it mean to bring culture closer to ordinary people? Does he play the Robyssão show instead of the orchestra? It is expensive; the fees are high, and that’s the kind of thing ACM Neto supports.
I don’t think it’s justified. First of all, Robyssão and co are already paying a ticket, while orchestras do not. In addition, a certain level of sophistication of the public, especially young people, must be fostered by culture. Or by chance does the “curator” now find it nice to exchange a “breastfeeding” Villa-Lobos for the author of the verse “I am Robyssão, bedbreaker in a club”?
Inventive and inexpensive examples abound in Bahia. I take this liberty to allude to Bahian peculiarities because the Prime Minister is from Bahia and should know the cultural policy of our state.
But not even to seal it. The governor has decided to sell the listed 16th century building that houses the public archives without saying where he will put the archives and Porciuncula literally did not tweet. And you think it’s cute because he quotes Chesterton on Twitter.