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Cantando a Revolução: O Papel das Canções e da Ópera na Disseminação do Comunismo na China de Mao Zedong
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O panorama musical da China de Mao Zedong, essencialmente constituído por música
cantada, ficara marcado por dois fenómenos distintos. O primeiro corresponderia à
disseminação de “canções revolucionárias,” melodias simples inspiradas nas tradições
ocidental e nativa, de conteúdo político acessível à generalidade das massas. O segundo,
em voga durante a Revolução Cultural (1966-1976), corresponderia aos “espetáculosmodelo” (yangbanxi), compostos, entre outros, por óperas de Pequim revolucionárias,
fundindo as tradições operáticas chinesa e ocidental para representação clara de heróis
e vilões. A sua popularização dependia de meios como a rádio, as equipas de
propaganda, o cinema e os cartazes, encorajando a participação ativa em eventos
relacionados e, assim, a assimilação eficaz das mensagens do Partido Comunista Chinês.
Na forma e conteúdo, canções e óperas refletem processos de significação diretamente
relacionados com o modus vivendi das massas, fundindo o ideário comunista com
sistemas de pensamento nativos com vista à interpretação correta da mensagem
propagandeada. Tal só seria possível pelo envolvimento nos dispositivos de propaganda
e atividades relacionadas, geradores de diversos graus de perceção e receção da sua
configuração e mensagem. Partindo deste pressuposto, a investigação pretende
explorar a simbologia presente na música e ópera revolucionárias para a representação
do ideário a disseminar pelo governo maoísta, bem como a sua influência sobre a perceção das massas das ideias representadas. Pretende-se, ainda, analisar a promoção
via meios de propaganda da participação popular na aprendizagem musical, assim como
a sua importância na construção da paisagem sonora da China de meados do século XX
e dos modos de visualização da música na sociedade da época.
The music scene in Mao Zedong's China, essentially consisting of sung music, was characterized by two distinct phenomena. The first was the spread of "revolutionary songs," simple melodies inspired by Western and native traditions with political content accessible to the masses. The second, in vogue during the Cultural Revolution (1966- 1976), consisted of "model plays" (yangbanxi), including revolutionary Peking operas, fusing Chinese and Western operatic traditions to represent heroes and villains clearly. Their popularization depended on media such as radio, propaganda teams, cinema, and posters, encouraging active participation in related events and, thus, the effective assimilation of the Chinese Communist Party's messages. In form and content, songs and operas reflect processes of signification directly related to the modus vivendi of the masses, fusing the communist ideology with native systems of thought to correctly interpret th4e propagandized message. This would only be possible through involvement in propaganda devices and related activities, which generate varying degrees of perception and reception of the message. Based on this assumption, this research aims to explore the symbolism found in revolutionary music and opera in the representation of the ideology to be disseminated by the Maoist government, as well as its influence on the masses' perception of the represented ideas. It also seeks to analyze the promotion via propaganda media of popular participation in musical learning, as well as its importance in the construction of the soundscape of China in the mid-20th century and how music was viewed in society at the time.
The music scene in Mao Zedong's China, essentially consisting of sung music, was characterized by two distinct phenomena. The first was the spread of "revolutionary songs," simple melodies inspired by Western and native traditions with political content accessible to the masses. The second, in vogue during the Cultural Revolution (1966- 1976), consisted of "model plays" (yangbanxi), including revolutionary Peking operas, fusing Chinese and Western operatic traditions to represent heroes and villains clearly. Their popularization depended on media such as radio, propaganda teams, cinema, and posters, encouraging active participation in related events and, thus, the effective assimilation of the Chinese Communist Party's messages. In form and content, songs and operas reflect processes of signification directly related to the modus vivendi of the masses, fusing the communist ideology with native systems of thought to correctly interpret th4e propagandized message. This would only be possible through involvement in propaganda devices and related activities, which generate varying degrees of perception and reception of the message. Based on this assumption, this research aims to explore the symbolism found in revolutionary music and opera in the representation of the ideology to be disseminated by the Maoist government, as well as its influence on the masses' perception of the represented ideas. It also seeks to analyze the promotion via propaganda media of popular participation in musical learning, as well as its importance in the construction of the soundscape of China in the mid-20th century and how music was viewed in society at the time.
Descrição
Palavras-chave
Canções revolucionárias Ópera Comunismo Propaganda Revolutionary Songs Peking Opera Mao Zedong Communism Propaganda Semiotics Musical Iconography Ópera de Pequim Semiótica Iconografia Musical