Brasiliana

Black Ballet and Performance in the Transatlantic Circuit, 1949-1973

Abstract

The Brasiliana group debuted in January 1950 in Rio de Janeiro and played a fundamental, but under-recognized, role in the transposition of black or Afro-Brazilian music and ballet to the stage and in the development of “Brazilian ballet” and “folkloric spectacle”. The article examines the creation of the group as the Brazilian Folkloric Theatre, highlighting the role of its main protagonists, Haroldo Costa and Miécio Askanasy. In contrast to the teatro de revista, which used laughter and irony to expose everyday social and political issues, Brasiliana set out to stage “authentic” manifestations of popular culture without the sarcasm of the revue production. In opposition to the ballet of the “erudite” theater, it put black protagonists on stage and aimed to reach a wider audience. Its shows dialogued both with avant-garde theater and with the folklorist movement and other black modernisms in the Atlantic. However, the option for long international tours ended up causing splits and distancing the group from its initial objectives.