In Brazil between 1920 and 1945, the potential for professional advancement increased significantly among literate individuals in three main areas: the intellectual and academic field in São Paulo and the emergence of a university-based intelligentsia; the boom in the publishing industry and the rise of professional novelists; and the Vargas regime’s widespread and deliberate co-optation of intellectuals. The interpretation presented in this article links class dynamics to changes within the activities of intellectuals, some of whom are analyzed here in the context of political and institutional tensions produced by the collapse of the oligarchic Old Republic (1889–1930).
Short and stout in physical stature, Brazilian statesman Getúlio Dornelles Vargas (1882–1954) still stands as an outsize figure in modern Latin American history. The politician’s long political career began in the 1910s and spanned terms as state deputy, federal minister, state governor, chief of state four times over, and federal senator. Vargas spent nearly two decades in the presidential palace, the longest of any figure during the republican period. By the time his second democratically elected presidential term (and his life) ended on August 24, 1954, Vargas had been dragged down by personnel scandals, factionalism, and economic destabilization. He likened the political climate of the final months in office to a “sea of mud.” Yet in his sudden death the president was able to free himself from the muck. Among adherents of the Brazilian Labor Party and key sectors of the working poor, “Getúlio” was elevated to the status of civic sainthood. Even after military rule dismantled the Brazilian Labor Party and banished Vargas’s political heirs to exile, the Vargas state managed to endure. Forty years after Getúlio’s death-by-suicide, president-elect Fernando Henrique Cardoso imagined the state interventionism of the Vargas years to be finally over. In reality, Vargas and his era still survive in the enduring Brazilian vocation for statism. Reminders of Vargas and his era are found in the innumerable streets, plazas, and commemorative plaques that bear the name of a politician of enigmatic charms and confounding contradictions.
This complex, resilient legacy draws in part from the bold accomplishments and ambiguous outcomes of the robust cultural policies of Vargas’s successive terms as chief of the provisional government (1930–1934), president (1934–1937), and president-dictator (1937–1945). Federal cultural policies during these fifteen years collectively known as the “First Vargas Regime” were innovative and far-reaching. Reversing decades of elite reverence for imported standards of civilization, official culture after 1930 was unapologetically and self-consciously nationalist. Policymakers, culture critics, entertainment entrepreneurs, and key figures in the arts and letters associated with the first Vargas regime self-presented as advocates for the cultural needs, aptitudes, and aspirations of the Brazilian povo (people). The central state, correspondingly, played a principal role in consolidating a canon of artistic and architectural treasures that endure in global imaginaries of Brazil and Brazilianness.
Paradoxically, the democratizing impulses of cultural management during the first Vargas regime drew their legitimacy from state authoritarianism and anti-popular politics. Most notably during the Estado Novo dictatorship (November 10, 1937–October 29, 1945), cultural policy and programming worked in tandem with censorship and manufactured paranoia. State agents orchestrated acts of violence against ideas, symbols, and creative expressions branded inimical to national interests. “Subversive” books were burned; dissidents confronted silencing. Some authors went into exile and novelist Graciliano Ramos (1892–1953) spent ten miserable months on an island penal colony for unproven charges of participation in a Communist insurrection. The oppositionist newspaper O Estado de São Paulo was outright expropriated by the state. Although the Vargas era included the official elevation of Carnaval, samba, and capoeira as authentically national cultural idioms, Afro-Brazilian popular culture remained under the watchful eyes of local police. Numerous cultural expressions vaunted as organically democratic were, in fact, shaped by regime demagoguery, symbolic violence, and, ironically, internationalism. The bold, sometimes mystifying contours of state- and culture-making in Brazil during Vargas’s first regime are explored here.
Laura de Mello e Souza
Popular religiosity in colonial Brazil was marked by the process of colonization, which placed populations of differing ethnic and cultural origins together in dynamic and conflicting ways. On the one hand, the lived experiences of these various populations reflected the beliefs of their continent of origin: Europe, Africa, and America. On the other hand, they were unavoidably intertwined, giving rise to novel forms of religious practice. Heterodox behaviors were notable from the beginning of colonization, adding to the peculiarities of the slave system that constituted colonial life and defined its social relations. In a vast territory over which the surveillance and control of religious institutions—both ecclesiastical and inquisitorial—proved unworkable, daily experiences of religiosity became increasingly distinct from the more dogmatic and “official” traits sustained by the Catholic Church. A particular type of religiosity, as heterodox and mixed as the population itself, took shape within the limits of Catholicism while continuously escaping its confines. Catholicism endured from the earliest times as the guiding orientation of Brazil, supported by the Crown as well as regular and secular clergy alike. The education of the elites was Catholic, and many of the earliest writings about the new land of Brazil came from the quills of the pious, producing foundational images marked by religious metaphors. For these reasons, popular religiosity reveals a great deal about the nature of Brazilian culture, and it is necessary to analyze it within the context of broader dynamics that define popular beliefs that do not always fit within the orthodox guidelines of official Catholicism and erudition.
Maria Ligia Coelho Prado
This article presents diverse visions of the nation during Brazil’s Imperial period. These perspectives are manifested in a variety of cultural and intellectual occurrences: in the work of 19th-century historians who established long-lasting interpretations of Brazilian history; in the images of artists who were dedicated to portraying the monarchy, significant historical events, and the diversity of Brazilian social life; in the civil and religious festivals that placed a special emphasis on music and the participation of all people (women, men, slaves, the rich, and the poor); and in the writings of authors who cast their gaze upon the universe around them.