Rio de Janeiro (Brazil), 1944
By Alberto Ikeda
Composer, lyricist, and writer, Francisco Buarque de Holanda became notable in the 1960s and 1970s, mainly for his politically charged musical production, which contested the authoritarianism of the military dictatorship that Brazil experienced from 1964 to 1985. He was one of the main figures of the protest music of that time. However, his work goes far beyond political themes, being rich in various subjects, including giving voice to female personalities. The same dynamism occurs regarding the distinct musical genres with which he worked, where samba predominates, but waltzes, choros, frevos, fado, and marcha-rancho also appear.
His family environment was quite conducive to intellectual reflections and artistic experiences. He is the son of a prominent historian, Sérgio Buarque de Holanda, and his sisters Heloísa Maria Buarque de Hollanda (Miúcha), Cristina, and Anna de Hollanda are also involved with popular music. Chico interacted with intellectuals, writers, poets, and musicians, including Vinicius de Moraes and guitarist and composer Baden Powell.
Musical activities began in São Paulo, while he was still in high school and especially when he was studying at the School of Architecture and Urbanism (FAU) of the University of São Paulo (USP). His first album was recorded in 1965, featuring two songs: “Pedro Pedreiro” and “Sonho de um Carnaval,” the latter presented that same year by singer-songwriter Geraldo Vandré at the I National Festival of Brazilian Popular Music (MPB). Still that year, he released other impactful songs and composed the music for the theatrical adaptation of the poem “Morte e vida severina,” which offered a strong social critique by poet João Cabral de Melo Neto, a play that achieved great success in Brazil and later in France.
In the following year, Chico Buarque became a national celebrity, performing with singer Nara Leão (1942-1989) his composition “A Banda,” a march, at the II Festival of Brazilian Popular Music. He took first place in the competition, tied with another competitor, “Disparada,” by the duo Geraldo Vandré and Théo de Barros. “A Banda” topped the radio charts for months, appealing to children and the elderly alike and selling thousands of records in a matter of weeks. Then, the commitments of a national and international idol began to overwhelm his schedule, but the composer continued to submit songs to popular music festivals for a few years, achieving good rankings and responses with “Roda Viva” in 1967 in São Paulo and “Carolina” that same year in Rio de Janeiro. In 1968, he won first place at the III International Song Festival in Rio de Janeiro with the song “Sabiá,” in partnership with composer Tom Jobim. From then on, these contests began to lose public interest and were discontinued. Still, the so-called “festival era” launched reference names in the MPB scene, including, besides those already mentioned, others like Edu Lobo, Caetano Veloso, Gilberto Gil, Milton Nascimento, Paulinho da Viola, and singer Elis Regina, among many others.
Lyricism and Protest
The song “Roda Viva” marked a turning point regarding the political issues faced by the country at that time. The music was part of a play written by Chico Buarque and premiered in early 1968 in Rio de Janeiro. During the São Paulo staging in mid-year, one night, a group of unidentified individuals invaded the theater and, in addition to destroying the sets, beat the actors. Later, the repressors were identified as belonging to the right-wing group Comando de Caça aos Comunistas (CCC). By the end of that year, the composer was taken from his home and subjected to an interrogation session by the Army about the play “Roda Viva” and his activities. He was not imprisoned but was warned that he could not leave the city without permission. In January 1969, he participated in an event in France and then went on to Italy, where he was honored. He remained in Europe until the following year due to the repressive risks he faced in Brazil, despite his notoriety as a music idol.
Upon returning to Rio de Janeiro in March 1970, he faced significant difficulties in continuing his artistic work, as everything he did (as was the case with other less conventional artists) had to undergo severe censorship. An example occurred with the samba “Apesar de Você,” which initially received clearance from the censors and was then recorded. However, the song was later banned after achieving great success, and the records were removed from stores. Interrogations, prohibitions, and interference (cuts) in his creations continued, often causing television and radio stations, producers, and event organizers to impose restrictions on him for fear of reprisals from authoritarian control agencies. It is essential to remember that, during this period, many activists were imprisoned, tortured, and even murdered. As everything sent to the censors in his name was systematically vetoed, Chico experimented with a new strategy – he submitted some songs to censorship under the pseudonym Julinho da Adelaide. He was able to “release” some songs this way, including “Acorda, Amor” (1974). But this tactic could not be used for long. The situation was, in fact, challenging and perilous, as the composer had become a symbol of political resistance, which he did not appreciate. On the other hand, this brought him closer to engaged artists worldwide. This was the case after his visit to Cuba in 1978, where Chico began to promote some of the island’s composers in Brazil, including Silvio Rodríguez and Pablo Milanés.
Despite the restrictions, Chico was able to make himself understood through his mastery of language, using creative and subtle metaphors, ironies, allegories, and other writing techniques that were well understood by those closely following the political situation. His appearances and recordings were always eagerly anticipated, as for many, it was practically the only way to “speak” through the composer’s voice. However, given the situation, he chose to refrain from artistic performances for nearly ten years, from 1975 until the mid-1980s, appearing only on special occasions, such as at workers’ May Day celebrations, some political campaigns, and similar events. Upon returning to public performances, he co-hosted a television program with composer and singer Caetano Veloso (1986, “Chico & Caetano,” on Rede Globo) for some time.
Literary Production
In the 1980s and 1990s, with the country returning to democratic normalcy, Chico’s public activities decreased. He emphasized his literary production, publishing the novels “Estorvo” (1991) and “Benjamim” (1995), both later adapted into films. During this time, it is noteworthy that Chico became the theme of the plot of the traditional samba school Estação Primeira de Mangueira in Rio de Janeiro, with which the group won the 1998 carnival. In 2003, he published the novel “Budapeste,” in 2009, “Leite Derramado,” and in 2014, “O Irmão Alemão.”
Chico Buarque de Holanda is one of the most prominent artists and intellectuals in the history of Latin American culture, whose production unfolds in music, film scores, theater and ballet, theatrical plays, and literature, all mastered with recognized skill. His achievements have earned dozens of publications, including books and academic theses. Around them, one can certainly understand various aspects of Brazil’s and Latin America’s cultural and political history.
