Literary Resonances in Clara Nunes´ Song - Macunaima, Rhapsody, Mario De Andrade

Abstract

The article aims to check the intersection of the musical, verbal, visual and body languages which are present in the art of Brazilian interpreter, research and composer Cara Nunes (1942-1983), focusing works recorded by her over the 70s, when the interpreter dedicates herself completely to the authentic Brazilian music, the folklore, affirmation of the African religious matrix and defense of equality and liberty. One of Clara Nunes’songs recorded by her in 1975 permits an dialogue with Brazilian Culture, mainly with Literature and the work of writer, professor and musicologist Mário de Andrade (1893-1945): <i>Macunaíma, </i>a samba composed by David Corrêa and Norival Reis, an inter-semiotic translation of the rhapsody romance of the modernist writer. One can visualize a bridge connecting the targeas and ideas of the two Brazilian artists, supported by strong links of similarities, including appreciating of “roof culture”. Clara Nunes developed a vast project including musical, visual and body interaction. Her clothing were specificallly designed according to the popular culture, composed of white dresses, generally laced material and typical acessories full of religious symbolism. Her singing altered in some respects, setting aside the imposture that characterizes the romantic or lirics interpretations, with reductions of the <i>vibrato, </i>maintaining its power and beauty. And the interpreter created her body language, which were developed during five years course of African dance with Mercedes Batista, the ballerina, teacher and choreographer of Rio de Janeiro Municipal Theatre, creator of Afro-Brazilian Ballet. <i>Macunaíma </i>(samba) is an excellent example of this Clara Nunes’s process of creation developed with interseccion of the three languages.