Modernity and revolution in Monólogo ao Pé do Ouvido, by Chico Science & Nação Zumbi

Abstract

In order to investigate Chico Science & Nação Zumbi’s multi-aesthetic thinking of, we present an analysis of Monólogo ao pé do ouvido, the opening track of Da lama ao caos (1994). In his text, Science draws the principles of mangue thinking, in which Music presents itself as a point of convergence between musicalities, discourses and ideologies. As Bakhtin (2003), Volóchinov (2019) and Candido (1989a, 1989b, 2006) demonstrate, the track by Chico & Nação materializes itself in the world from a specific socio-historical context and, furthermore, through an expressively unique structure. The recovery of revolutionary discourses from Latin America, intoned by “brave” (Chico Science & Nação Zumbi, 1994) and defeated heroes, helps to compose the thematic scope of the track. From this South American framework, we seek in Ludmer (2013), Santiago (2000) and Canclini (2008) a clearer panorama of Latin American thought on modern artistic production at the turn of the century. This contribution reveals in the track an aesthetic discourse of a revolutionary tone that seeks to affect the social, aesthetic and political dimensions through music.