Synopses & Reviews
Brazil, a country that has always received immigrants, only rarely saw its own citizens move abroad. Beginning in the late 1980s, however, thousands of Brazilians left for the United States, Japan, Portugal, Italy, and other nations, propelled by a series of intense economic crises. By 2009 an estimated three million Brazilians were living abroadandmdash;about 40 percent of them in the United States.
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Goodbye, Brazil is the first book to provide a global perspective on Brazilian emigration. Drawing and synthesizing data from a host of sociological and anthropological studies, preeminent Brazilian immigration scholar Maxine L. Margolis surveys and analyzes this greatly expanded Brazilian diaspora, asking who these immigrants are, why they left home, how they traveled abroad, how the Brazilian government responded to their exodus, and how their host countries received them. Margolis shows how Brazilian immigrants, largely from the middle rungs of Brazilian society, have negotiated their ethnic identity abroad. She argues that Brazilian society abroad is characterized by the absence of well-developed, community-based institutionsandmdash;with the exception of thriving, largely evangelical Brazilian churches.
and#160;and#160; and#160;Margolis looks to the future as well, asking what prospects at home and abroad await the new generation, children of Brazilian immigrants with little or no familiarity with their parents' country of origin. Do Brazilian immigrants develop such deep roots in their host societies that they hesitate to return home despite Brazil's recent economic boomandmdash;or have they become true transnationals, traveling between Brazil and their adopted lands but feeling not quite at home in either one?
Review
andquot;Articulate and thorough in considering the reasons so many Brazilians have left their country, the diverse challenges and obstacles that different kinds of Brazilians face when they move abroad, and the cultural and social adaptations that occur as they seek a better life in their host countries or return to Brazil.andquot;andmdash;James N. Green, author of We Cannot Remain Silent: Opposition to the Brazilian Military Dictatorship in the United States
Review
andquot;A significant, unique contribution to our understanding of recent and contemporary transnational migration, diasporas, and the mechanics of globalization.andquot;andmdash;Conrad Kottak, author of Assault on Paradise: The Globalization of a Little Community in Brazil
Review
"Home to the most extravagant carnival celebrations in the world, stunning visual cultures, exuberant dance traditions, and famously groovy music, Brazil has long been recognized for its performative vocation. This collection of essays offers fresh insights into well-known performance practices, while casting a spotlight on neglected phenomena. A model of multidisciplinary inquiry, Performing Brazil invites readers to consider the performative meanings of a broad range of actions, events, objects, sounds, stagings, and texts."and#151;Christopher Dunn, Tulane University
Review
and#147;
Performing Brazil bravely attends to the need for multi-disciplinary volumes as our humanistic and area-studies curricula continue to diversify in the new millennium. Contributors of varied provenance explore usefully an engaging array of roles and sites of investigation.and#8221;and#151;Charles A. Perrone, University of Florida
Review
andldquo;Accessible and recommended for general and specialized readers interested in patterns of global migration as understood through study of Brazilian culture and the Brazilian diaspora.andrdquo;andmdash;
Library JournalReview
andldquo;Almost Home seamlessly weaves a narrative of history, sociology, and autobiography and opens the door to an entirely new genre to the study of American immigration. . . . A must-read book.andrdquo;andmdash;James Olson, author of The Ethnic Dimension in American History
Review
andldquo;Cavalcanti successfully compares his own experiences and perceptions of American life with those of other Brazilian immigrants and interweaves the findings of scholars who have written about this migration stream with his own experiences as a Brazilian in this country. He convincingly describes the difficulties of adjustment and accurately contrasts the life and values of Brazil with those of the U.S.andrdquo;andmdash;Maxine L. Margolis, author of Little Brazil: An Ethnography of Brazilian Immigrants in New York City
Review
andldquo;A wise and humane book that illuminates the modern Brazilian immigrant experience with vigor and clarity.andrdquo;andmdash;
Kirkus ReviewsReview
andldquo;Extremely informative and thoroughly researched, this is a bravura performance.andrdquo;andmdash;
Choiceand#160;Review
andldquo;This is a gem of a book! Margolis has skillfully woven a colorful fabric here, with global snapshots of the Brazilian diaspora supported by data from other researchers as well as her own. It is easy to see its use in university undergraduate or graduate courses, and it is both of great interest and accessible to the general public, especially because Margolis writes so clearly and cohesively.andrdquo;andmdash;
Americas JournalSynopsis
These essays on Brazilian performance culture comprise the first English-language book to study the varied manifestations of performance in and beyond Brazil, from carnival and capoeira to gender acts, curatorial practice, and political protest.
Synopsis
A field-shaping anthology by top cultural critics and practitioners representing a wide range of disciplines and art forms,
Performing Brazil is the first book to bring together studies of the many and varied manifestations of Brazilian performance in and beyond their country of origin. Arguing that diverse forms of performance are best understood when presented in tandem, it offers new takes on better-known forms, such as carnival and capoeira, as well as those studied less often, including gender acts, curatorial practice, political protest, and the performance of Brazil in the United States.
and#160; and#160; and#160; and#160; and#160; and#160; The contributors to the volume are Maria Josand#233; Somerlate Barbosa, Eric A. Galm, Annie McNeill Gibson, Ana Paula Hand#246;fling, Benjamin Legg, Bryan McCann, Simone Osthoff, Fernando de Sousa Rocha, Cristina F. Rosa, Alessandra Santos, and Lidia Santos.
Synopsis
In
Almost Home, H. B. Cavalcanti, a Brazilian-born scholar who has spent three decades working and living in the United States, reflects on his life as an immigrant and places his story within the context of the larger history of immigration.
and#160;and#160; and#160;Due to both his family background and the prevalence of U.S. media in Latin America, Cavalcanti already felt immersed in U.S. culture before arriving in Kentucky in 1981 to complete graduate studies. At that time, opportunities for advancement in the United States exceeded those in Brazil, and in an era of military dictatorships throughout much of Latin America, Cavalcanti sought in the United States a nation of laws. In this memoir, he reflects on the dynamics of acculturation, immigrant parenting, interactions with native-born U.S. citizens, and the costs involved in rejecting his country of birth for an adopted nation. He also touches on many of the factors that contribute to migration in both the andldquo;sendingandrdquo; and andldquo;receivingandrdquo; countries and explores the contemporary phenomenon of accelerated immigration.
and#160;and#160; and#160;With its blend of personal anecdotes and scholarly information, Almost Home addresses both individual and policy-related issues to provide a moving portrait of the impact of migration on those who, like Cavalcanti, confront both the wonder and the disorientation inherent in the immigrant experience.
About the Author
Severino J. Albuquerque is a professor of Portuguese and Brazilian studies at the University of Wisconsinand#150;Madison. His books include
Violent Acts: A Study of Contemporary Latin American Theatre and
Tentative Transgressions: Homosexuality, AIDS, and the Theater in Brazil. Kathryn Bishop-Sanchez is a professor of Portuguese and gender and women's studies at the University of Wisconsinand#150;Madison. They are coeditors of the
Luso-Brazilian Review.
Table of Contents
Introduction: Why
Performing Brazil?
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Severino J. Albuquerque and Kathryn Bishop-Sanchezand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
1 On the (Im)Possibility of Performing Brazil
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Kathryn Bishop-Sanchezand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
2 Biting the Meat, Spitting It Out: Twenty-First-Century Cannibalism
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Fernando de Sousa Rochaand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
3 Performing Brazilianness through Dance: The Case of Grupo Corpo
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Cristina F. Rosaand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
4 Staging Capoeira, Samba, Maculeland#234;, and Candombland#233;: Viva Bahia's Choreographies of Afro-Brazilian Folklore for the Global Stage
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Ana Paula Hand#246;flingand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
5 Global Identities of Capoeira and the Berimbau: Keeping It Brazilian Overseas
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Eric Galmand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
6 Performing Cultural Visibility: Brazilian Immigrants, Mardi Gras, and New Orleans
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Annie Gibsonand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
7 Maurand#237;cio Einhorn: Musical Crossings
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Bryan McCannand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
8 Playing with Realism(s): Narrating the Morro through Performance and the Visual Arts
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Lidia Santosand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
9 The Bicultural Sex Symbol: Sand#244;nia Braga in Brazilian and North American Popular Culture
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Benjamin Leggand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
10 Body Language and Embodied Spaces: Performing the Public and the Private in Arnaldo Antunes's Nome
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Alessandra Santosand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
11 Post-Periphery Performances: Reclaiming Artistic Legacies, Histories, and Archives
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Simone Osthoffand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
12 Performative Devices in Clarice Lispector's Texts
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Maria Josand#233; Somerlate Barbosaand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
and#160;
Contributorsand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;
Index