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Political Struggle, Ideology, and State Building
The collapse of the Portuguese empire in the Americas in the early nineteenth century did not immediately or easily translate into the formation of the independent nation-state of Brazil. While "Brazil" had geographic meaning, it did not constitute a cohesive political identity that could draw on basic loyalties. The tumultuous struggle to nationhood in Brazil was marked by the interplay of differing social groups, political parties, and regions. A series of violent revolts in Pernambuco, a large slaveholding, sugar-producing province in northeastern Brazil, exposed the tensions accompanying state and nation building. Political Struggle, Ideology, and State Building delves into the complex a...
Boletim
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After Palmares
In After Palmares, Marc A. Hertzman tells the rise, fall, and afterlives of Palmares, one of history’s largest and longest-lasting maroon societies. Forged during the seventeenth century by formerly enslaved Africans in what would become northeast Brazil, Palmares stood for a century, withstanding sustained attacks from two European powers. In 1695, colonial forces assassinated its most famous leader, Zumbi. Hertzman examines the remarkable ways that Palmares and its inhabitants lived on after Zumbi’s death, creating vivid portraits of those whose lives and voices scholars have often assumed are inaccessible. With an innovative approach to African languages, and paying close attention to place as well as African and diasporic spiritual beliefs, Hertzman reshapes our understanding of Palmares and Zumbi and advances a new framework for studying fugitive slave communities and marronage in the African diaspora.
Opera in the Tropics
Opera in the Tropics is an engaging exploration of theater with music in Brazil from the mid 1500s to the early 1820s. Author Rogério Budasz delves into the practices of the actors, singers, poets, and composers who created and performed Jesuit moral plays, Spanish comedias, and Portuguese vernacular operas and entremezes during the colonial period, as well as the Italian operas that celebrated the new independent nation in 1822. A Brazilian producer claimed in 1825 that the goal of music-theater was to instruct, entertain, and distract the population. Budasz argues that this threefold goal had in fact been present throughout the colonial period, in different combinations and with different...
