In 1946, the intellectual and artistic elite of Rio de Janeiro witnessed Bidu Sayão's return to Brazil and asked the State for more resources for culture.
- Petition from Brazilian Social Action to the Mayor of the Federal District of Rio de Janeiro, with 45 signatures.
- 4 pages.
- 22.4 cm x 30.4 cm.
- In Portuguese.
- Rio de Janeiro, August 15, 1946.
- Good condition of conservation.
- Unique piece.
Brazilian Social Action
His Excellency Dr Hildebrandro de Góes, Mayor of the Federal District
The artistic movement of Rio de Janeiro, for its broad development, cannot do without one or two more large concert halls, and on the other hand, the visual arts urgently need suitable galleries for their exhibitions, artists, intellectuals and all those interested in Art, come to present to Your Excellency the request to favorably grant the just claim of AÇÃO SOCIAL BRASILEIRA, which by Law already has the right to a plot of land in the central area of the city.
This high-culture venue will be a relevant service to the city, exalting Rio de Janeiro in the eyes of all intellectuals in Brazil and abroad and placing our capital on a par with the great art centers of all the major cities in the world.
August 15, 1946
Bidu Sayao
Villa-Lobos
Burle Marx
and X other names.
In 1946, Bidu Sayão returned from the United States to Brazil for a period. She performed at the Theatro Municipal on August 15, 1946, in a production of Gounod's opera Romeo and Juliet, conducted by Jean Morel and the Theatro Municipal orchestra. This event was quite significant in the history of Brazilian music and culture, as Bidu Sayão was considered one of the best sopranos in the world at the time. Critics highly praised her performance, highlighting her crystal-clear voice and moving interpretation.
In the 1940s, Brazil was experiencing a period of great cultural and political turmoil, and the city of Rio de Janeiro was considered the country's cultural center. Many Brazilian artists and intellectuals became involved in social and political movements that defended democracy, workers' rights, and the valorization of national culture. Several important artistic and cultural movements emerged, such as modernism and the anthropophagic movement, which proposed a new way of thinking and creating art in the country.
It is likely that this petition was the first act of what would become, in 1948, the "Grupo dos Primitivos" (1), formed by artists, intellectuals and personalities of Brazilian culture brought together by Bidu Sayão, with the composer Villa-Lobos and the landscaper Burle Marx, among others whose signatures appear in this document. The group's objective was to promote national culture and value Brazilian roots, in contrast to the European influence that still predominated at the time.
The group held meetings, debates and cultural events at the Anchieta Building, which became an important meeting point for Brazilian culture in the 1950s. These initiatives were of great importance in the appreciation of Brazilian culture and the promotion of national art, and their influence can be felt to this day.
In short, we have here a petition marking a doubly historic moment for Brazilian culture. On the same page, we find the beautiful signatures of Bidu Sayão, Villa-Lobos, Burle-Marx and many others. I am very happy to present to you this unique document.
(1) "Bidu Sayão and the Primitive Group: Brazil in the visual arts and music in the 1940s" by Denise Mattar (book). "The Primitive Group: an art and an idea of Brazilianness" by Cauê Alves (academic article)
