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Brazilian culture in the hands of a twitterer

The current cultural policy in Brazil is being conducted by Twitter. It works like this: the duo Frias & Porciuncula seals 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” which Bolsonaro, God knows why, appointed as Special Secretary for Culture. Porciuncula is a Bahia Military Police captain who spent the day cursing people on the internet and someone (it seems that Eduardo Bolsonaro saw Alexandre Aleluia, son of the old Carlist José Carlos Aleluia) thought that it was a good idea to put him as National Secretary for Incentives and Promotion of Culture. Then, while both sides seal the seal, the Cinematheque catches fire and Brazil approaches the Bicentennial of Independence without any plans.

We already know that the left doesn’t care about culture – just see what the PSOL has done with the National Museum. The museum caught fire and the responsible official, the psolist dean Roberto Leher, blamed the firefighter. Nobody investigated any psolist, let alone punish. If the museum was purposely incinerated to conceal theft of heritage, we won’t find out anytime soon.

Lowering the parameters

From the fact the fact that we hate left-wing suckers cannot be followed by contentment with any alleyway that opposes pro forma1793 and lets go of the culture of hands. How is it possible that there is nothing scheduled for the Bicentennial of Brazil’s Independence? Apparently, the only living soul in the artistic sector to hit the drum against this disregard is the filmmaker Josias Teófilo.

What to do about it? The left will not join your choir, because it hates Brazil. He is not in the least moved by independence. For them, Brazil was not even discovered. All our miscegenation is rape; our whole history is oppression. Many “decolonials” would hand over the Amazon to France, as the European Union should fix these Brazilians who like to elect right-wing people. Josias won’t find help among his peers, because most are from an abject left that hates their country.

And on the right? Apparently, a frivolity reigns where culture is concerned. I understand that Culture is not being given much attention now for the sake of priorities. After all, we are being more and more coerced into taking an experimental vaccine of unknown lethality (see Bruno Graf, with a cause of death already recognized by the State) and, at the same time, receiving in our hearts lurid declarations from the Judiciary, which reveal that they have not even one. little shame in altering the country’s political system in the big hand. If the person doesn’t talk about Culture for being focused on these calamities, I understand. But if you talk about Culture and treat the duo of twitterers as serious people, you can’t understand.

Thus, the commissioned twitterers keep saying that Josias Teófilo is interested in being an artist, as if every artist was a public money-sucking bum. Frias & Porciuncula would deserve credit for ending the state incentive to culture, that is, “the mamata”. The right one claps his hands because he’s on “our side”, as if Josias Teófilo wasn’t there.

But is the mamata over?

Everyone minimally attentive 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 elaborate the policy; that the law arrived from Jandira Feghali’s office and thus passed. In fact, that’s what the deputy herself says on her official page, with no denial by Frias or Porciuncula.

They keep talking about auditing, and this 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 personal virtue of those who made them, and there are bad things in terms of watershed, since nobody controls anything and the money is public .

In the list of good things, I highlight the ebook site curated by Aninha Franco. She is an old culture monkey, she was already good and did a good thing with Aldir Blanc. Her website colecaoacbrasil.com.br/ brings the free digital edition of works that the curator considers essential for self-knowledge of Brazil. As the works are in the public domain and the reader can get to know some of them through other means, I would like to highlight that one has its first digital version. It is the “Memory about slaves and the slave trade between Costa D’Africa and Brazil” (1793), by the lawyer Luís Antônio de Oliveira Mendes.

On the other hand, I understood that in Cachoeira, Aldir Blanc served UFRB professors 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 behold, he hadn’t been able to open it either. I was indiscreet: I asked if they paid him. They didn’t pay; he did it because a professor at UFRB, seen as an authority, called him. It was supposed to be an exhibition with various artists from the countryside, people who are likely to be impressed by teachers. For me, this is a scam.

In addition, there was so much sealing poster with the Aldir Blanc symbol, that I didn’t even compute. Therefore, the claim that the mamata ended is false: 3 billion were “for the culture” and I doubt that half of that money was well spent. When the government activists are chatting away, sealing on Twitter (because you think it’s beautiful), all that’s left is to pick up the first project that someone put on the table.

Learning from the stingy government

One thing I heard from Josias, and that bothers him greatly, is that coming up with a project for the Bicentennial does not involve spending money. On the one hand, the government should use the structure it already has and already supports. On the other hand, I should get sponsorship, and the Bicentennial is not just anything for nothing, uninteresting.

Here with my buttons, I remembered my state government. The PT from Bahia is committed to taking every public resource and shoving it into their own pockets, or into the pockets of the Chinese, or into the pockets of a business friend. So he has to run the state itself with as little money as possible to increase the spurious profit margin. For example: it opens a temporary and unbureaucratic selection for teachers with low salary in the outback, instead of taking a public exam. As no one moves to the countryside for a temporary mix, they take on anyone to teach and PISA goes down. Anyone who thinks that reducing government spending is a good thing in itself has a lot to learn from the PT in Bahia.

In the pandemic, the government provided at least one good example of taking advantage of resources. Bahia has a large public theater that was closed (Castro Alves), as well as classical dancers and musicians who were not working due to lack of public. So the government took a Villa-Lobos (which is free, public domain) and used the theater to make a very beautiful video that achieved a fair number of views.

Now, of course, almost nothing of this was planted by the PT government. It comes from the golden period of Bahian culture, the years 50. At that time, Bahia had an erudite governor concerned with culture (Luiz Vianna Filho) and a dean (Edgard Santos) willing to give full support to European refugees. In addition, there were also native intellectuals of the kind of physician-anthropologist Thales de Azevedo.

High culture or bread and circuses?

Perhaps a demagogue says that financing Villa-Lobos is financing Leblon. Therefore, I emphasize that even the flattery of Chavismo could have had a positive effect. With conductor Ricardo Castro, the State of Bahia created Neojibá, a social project inspired by the great Venezuelan conductor Gustavo Dudamel. Neojibá worked (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 needy, to compose the orchestras and play classical music. There was a documentary about the project.

Now, if you want a popular project in both senses of the word, excluding the erudite, there was Dominggueiras, played by the experienced music producer Roberto Santana. He says it was a success and that it ended in political persecution. In my memory, the project was in fact popular in both senses of the word, and, on the Legislative Assembly website, it was not expensive. of the common man. What are you going to do? Ending orchestras? And what about the example of Neojibá? And what is it to bring culture closer to the common man? Is it playing Robyssão show instead of orchestra? It is expensive; the fees are high, and it’s the kind of thing that ACM Neto supports.

I don’t think it’s justified. First of all, Robyssão and co already pay for a ticket, while the orchestras don’t. Besides, some level of sophistication of the public, especially the youth, must be fostered by culture. Or by chance the “conservative” now finds it beautiful to exchange a “breastfeeder” Villa-Lobos for the author of the verse “I am Robyssão, box bed breaker”?

Inventive and inexpensive examples abound in Bahia . I take this liberty to allude to Bahian particularities because the PM is from Bahia and should know about the cultural policy of our state.

But not even to seal it off. The governor decided to sell the listed 16th century building that houses the Public Archives without saying where he will put the Archives and Porciuncula literally didn’t tweet. And you guys think it’s cute because he quotes Chesterton on Twitter.

1793

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