Carlos Panek

From Ipanema Across the Ocean – Brazil’s Image Abroad Through Music

Introduction

From ipanema across the ocean – brazil’s image abroad through music. Discover how Brazilian music shapes Brazil's global image as soft power. This study explores national identity through Villa-Lobos, Carmen Miranda, bossa nova, and heavy metal.

Abstract

Brazilian music carries strong characteristics of its people and has become one of the most recognizable features of the country abroad. In this study, I analyze how Brazil is pictured overseas by the means of music as an element of soft power of the country. Nonetheless, I bring attention to the importance of self-awareness of the Brazilian identity and its relations with the image that the country has abroad. I address the issue through analysis of the cases of Heitor Villa-Lobos, Carmem Miranda, bossa nova, and heavy metal. In this analysis, the role of the Brazilian Ministry of Foreign Affairs is also taken into account. I suggest that Oswald de Andrade’s anthropophagic idea can apply to the reflections of Brazilians towards their image abroad.

Review

The paper, "From Ipanema Across the Ocean – Brazil’s Image Abroad Through Music," presents an intriguing exploration of Brazilian music as a potent vehicle for national branding and soft power projection. The author posits that music serves as a highly recognizable feature of Brazil overseas, analyzing how these sonic expressions shape international perceptions while simultaneously underscoring the importance of national self-awareness in this dynamic. This study promises a valuable contribution to understanding cultural diplomacy and the intricate relationship between national identity and global image, with music at its core. A significant strength of this proposed work lies in its ambitious scope and the diverse range of case studies selected. The examination of figures like Heitor Villa-Lobos and Carmem Miranda alongside musical genres such as bossa nova and heavy metal offers a rich tapestry through which to trace the evolution and multifaceted nature of Brazil's musical projection. Furthermore, the abstract highlights an interdisciplinary approach, integrating concepts of soft power, national identity, and cultural policy, notably through the inclusion of the Brazilian Ministry of Foreign Affairs. The suggested application of Oswald de Andrade's anthropophagic idea to the reflections of Brazilians towards their image abroad introduces a unique and theoretically sophisticated dimension that could yield profound insights. While the abstract outlines a highly promising study, future readers might benefit from a clearer articulation of the methodology, particularly concerning how "soft power" will be analyzed within the musical context and how the diverse case studies will be cohesively linked under this framework. Given the breadth of cases – from classical to popular, historical to contemporary – the depth of analysis for each might be a consideration, ensuring a thorough exploration rather than a superficial overview. Nevertheless, the paper's central premise and the intellectual tools it intends to employ suggest a robust and thought-provoking contribution to cultural studies and international relations.

Full Text

Comments

You need to be logged in to post a comment.