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CELEBRAÇÃO DO 25to ANO DE RELAÇÕES DIPLOMÁTICAS ENTRE O BRASIL E A REPÚBUCA POPULAR DA CHINA

MÁSCARA BRASILEIRA - Clóvis

No contexto das celebrações do 25to ano de relações diplomáticas entre o Brasil e a República Popular da China, comemorado em 1999, as Administrações Postais dos dois países lançam uma emissão conjunta de selos com os motivos “Máscara Brasileira e Boneco Chinês”. Essa parceria corrobora a singular importância dessa comemoração, uma vez que o relacionamento entre os dois países, formalizado em 15 de agosto de 1974, tem progredido extraordinariamente. O Brasil e a China são os dois maiores países em desenvolvimento em suas respectivas regiões e têm exercido relevante cooperação, tanto no plano científico-tecnológico, como nos planos político e econômico.

O enfoque dos temas selecionados é cultural, retratando-se elementos presentes em manifestações populares das culturas de ambos os países. Assim como o selo chinês retrata o Sun Wukong (boneco chinês), um símbolo da ópera de marionetes da China, o selo que retrata a cultura brasileira nesta Emissão Conjunta e marca o congraçamento da cooperação e amizade existentes entre Brasil e China, tem como tema a Máscara, urn símbolo do Carnaval brasileiro.

O Brasil é um pais carnavalesco, cujo povo é alegre e tem no Carnaval, a maiorfesta popular do país, a forma plena de extravasar esta alegria espontânea. São quatro dias de muita animação, que terminam na quarta-feira de cinzas, início da quaresma cristã. Durante a festa, as pessoas usam máscaras e fantasias e vão para as ruas para dançar, cantar, tocar e festejar.

O Carnaval, como é visto hoje no Brasil, teve seus primórdios numa festa chamada “Entrudo”, onde a grande façanha era jogar água limpa ou suja uns nos outros. Valia de tudo: baldes, bacias e grandes seringas serviam para esse fim. O limão de cheiro foi uma evolução dessa brincadeira que, por sua natureza agressiva, foi proibida por diversas vezes, sem sucesso, até que acabou desaparecendo por completo, dando lugar a outras manifestações mais prazerosas como blocos e cordões formados por famílias vizinhas, que cantavam e dançavam nas ruas. Isso não significa que não existissem os bailes.

O Carnaval era assim dividido: a rua para o povo e os salões para os mais abastados. Nos bailes elegantes, usava-se máscaras importadas da Europa, que eram anunciadas nos jornais como requisito indispensável para se brincar o Carnaval. Na sua maioria, eram disputadas pelos foliões exigentes que frequentavam a então sofisticada Rua do Ouvidor, centro fervilhante do comércio no século XIX.

Mas as máscaras também eram usadas pelo povo. Não as de cetim e veludo, com plumas e bordados, mas as de papelão com pinturas bem vivas ou de tela. As mais populares eram as de morcego, diabo. morte, Clóvis, burro e outros animais.

Supõe-se que a palavra Clóvis seja uma corruptela de “clown” ou palhaço. Os clóvis têm, realmente, uma semelhança com os palhaços: as bochechas vermelhas, as sobrancelhas arqueadas, os cabelos de lã arrepiados e as cores berrantes de seus trajes. A roupa é uma espécie de macacão bem fofo, com bordados em paeté, uma capa e uma bexiga de boi atada a um cordão, que éatirada contra o chão fazendo urn barulho muito grande. Andam geralmente em grupos, batendo as bolas com força no chão Por essa característica, essa fantasia também é conhecida como bate-bola.

 ROSA MAGALHÃES Professora da Escola de Belas-Artes da Universidade Federal do Rio de Janeiro Cenógrafa, Figurinista e Carnavalesca

CELEBRATION OF THE 25Th ANNIVERSARY OF THE ESTABLISHMENT OF DIPLOMATIC RELATIONS BETWEEN BRAZIL AND THE POPULAR REPUBLIC OF CHINA

 BRAZILIAN MASK - Clóvis

 

In the context of the celebrations of the 25th Anniversary of the Establisher of Diplomatic Relations between Brazil and the Popular Republic of China, i 1999, the Postal Administrations of both countries release a joint stamp issue with the motives “Brazilian Mask and Chinese Doll”. This partnership corroborate the singular importance of this commemoration, since the relationship between these two countries, formalized on August 15, 1974, has been progressing in an extraordinary manner. Brazil and China are the two biggest developing country. in their respective regions and have maintained relevant cooperation, not only ii the scientific-technological field, but also in the political and economic fields.

The approach of the selected themes is cultural, illustrating elements that are present in popular cultural manifestations of both countries. Whereas the Chinese stamp portraits the Sun Wukong (Chinese Doll), a symbol of Quanzhou’s Puppy Show and the Chinese opera, the stamp that represents the Brazilian culture ii this joint issue portraits the Mask, a symbol of the Brazilian Carnaval.

Brazil is a country devoted to the Carnaval. The people are joyful and see the Carnaval (the biggest popular festival of the country) as a vein to fully outflow their spontaneous merriment, It consists of four continuous holidays of great liveliness, which end with the Ash Wednesday that starts the Christian Lent During the festival, people wear masks and costumes and go to the streets to dance, sing, play and party.

The Carnaval, as it is seen today in Brazil, has its origin in a festivity called “Entrudo”, where the great fun was to throw water clean or dirty in on another. Anything would do: buckets, basins and big syringes served for that purpose. Rubber balls filled with perfume were used in another version of such game, which was forbidden many times due to its aggressive nature, but without success. Later such practice was completely substituted by other more pleasant manifestations, such as parades of Carnaval groups formed by neighbor families, who sang and danced on the streets. This doesn’t mean that there were no Carnaval balls,

The Carnaval was divided in two places: the streets for the common people and the ballrooms for the wealthy. In the elegant balls, people wore masks imported from Europe, which were announced on the newspapers as an essential requirement to play the Carnaval. Most of them were disputed by the most demanding Carnaval revelers, who had the habit of buying at the sophisticated Ouvidor Street, a hectic commercial center in the 1 9th century.

But the masks were also worn by the common people. Not those in satin o silk, with feathers and embroideries, but those in cardboard or cloth painted with flashy colors. The most popular motives were bat, devil, death, clovis, donkey and other animals.

It is said that the word “clovis” is a Portuguese adaptation of the English word “clown”. Clovises bear, indeed, a similarity with clowns: the red cheeks the arched brows, the fuzzy wool hair arid the gaudy colors of their clothes. The clothes are a kind of baggy jumper embroidered with spangles and an overcoat They also carry a big rubber balloon tied to a string, which makes a blaring noise when thrown onto the floor. They usually go out in groups, thumping the bal strongly on the floor. Due to this practice, this costume is also known as ball thumper.

 ROSA MAGALHÃES Teacher of the School of Fine Arts University of Rio de Janeiro Cenographer, Costume Designer and Carnaval expert

SUN WUKONG (REI MACACO)

Por volta de 1570, em meados da Dinastia Ming, o escritor chinês Wu Chengen escreveu um romance mitológico chamado “Jornada para o Oeste”, baseado na integração do folclore e baladas antigas com experiências pessoais em sociedade. Daí em diante, Sun Wukong (Rei Macaco), o protagonista do romance, conquistou grande popularidade e tornou-se um nome familiar na China e em outras partes do mundo.

Wu Chengen descreveu Sun Wukong como uma figura legendária com poderes extraordinários, tais como transformar-se em setenta e duas imagens diferentes e viajar dez mil quilômetros com uma simples cambalhota. Através de narrativas maravilhosas como “Uma luta no Paraíso”, “Desafiando o Inferno”, "O Tesouro da Coroa do Reino de Netuno”, “Lutando com Erlang (um poderoso general do Paraíso)”, ‘Três batalhas contra Bai Gujing (o monstro de esqueleto)” e “Roubando leques de palmeira três vezes”, Sun Wukong é exaltado por sua bravura, sabedoria, otimismo e humor, bem como sua coragem contra o Poder, sua perseverança e espírito de resistência. A imagem artística de Sun Wukong tem sido o admirável herói nas mentes do povo chinês por séculos.

A proteção de Sun Wukong na viagem de Tang Sanzang para o Oeste em busca do Sutra — o livro sagrado do Budismo — contra monstros e demônios é um tema constante nas óperas chinesas.

O teatro de marionetes de Quanzhou, na costa sudeste da China, tem uma tradição de encenar a estória de Tang Sanzang que remete ao tempo anterior àprópria publicação do romance (1271 a 1368 d.C.). Nos últimos 50 anos, o teatro de marionetes de Quanzhou fez uma adaptação de alguns capítulos do romance e colocaram em cartaz os espetáculos “Montanha em Chamas”, “Caverna da Nuvem de Fogo” e “Três Batalhas contra Bai Gujing (o monstro de esqueleto)”, que possuem Sun Wukong como protagonista. “Montanha em Chamas” recebeu vários prêmios. Em 1979, foi encenado em Pequim, durante as comemorações do 30o Centenário da Fundação da República Popular da China”, e foi agraciado com o título de Melhor Espetáculo. Desde então, tem estado em turnê pelas Filipinas, Japão, Holanda, Cingapura, Taiwan, Hong Kong e Macau. “Montanha em Chamas” tornou-se um trabalho representativo de “Jornada para o Oeste” e um tesouro da ópera chinesa, com Sun Wukong no papel principal, tanto na China como no exterior.

 

 ADMINISTRAÇÃO POSTAL DA CHINA

In the 1570s, the Chinese author Wu Chengen in the mid of the Ming Dynasty wrote a mythical novel named Journey to the West, based on the integration of the ancient folklore and ballad together with personal social experiences. From then on, Sun Wukong (Monkey King), the protagonist of the novel, has gained great popularity and became a household name in China and in other parts of the world.

Wu Chengen depicted Sun Wukong as a legendary figure with extraordinary powers, such as transformation into seventy-two different images and traveling ten thousand kilometers by a single somersault. Through the wonderful narration of stories like “A Fight in the Heaven" “Braving the Hell", “Borrow the Crown Treasure of the Neptune Kingdom”, “Fighting Erlang (a powerful general in the heaven)" ‘Three Battles against Bai Gujing (the monster of skeleton)”, and “Stealing Paimleaf Fans for three times”. Sun Wukong is praised for its braveness, wisdom, optimism and humor, as well as his dauntlessness against the Power, and his perseverance and spirit of resistance. The artistic image of Sun Wukong has been the admirable hero in the minds of the Chinese people for centuries. Sun Wukong’s protection of Tang Sanzang’s trip to the West for the Sutra, the Buddhist Holy Book, against monsters and demons is the everlasting subject of Chinese operas.

The Quanzhou Puppet Show in the southeast of China coastline has a history of playing Tang Sanzang’s story that could be dated back to the time before the composition of the novel itself (1271 A.D. to 1368 A.D.). For the past 50 years, Quanzhou Puppet Show has adapted some chapters of the novel and put on the shows of “Flame Mountain”, “Fire Cloud Cave”, and “Three Battles against Bai Gujing (the monster of skeleton)”, which have Sun Wukong as the protagonist. “Flame Mountain” has scored several awards. In 1979, it was shown in Beijing for the celebration of the 30th Anniversary of the founding of the People’s Republic of China, and was awarded with the Best Show. Then it has been on a road show in the Philippines, Japan, the Netherlands, Singapore, Taiwan, Hong Kong and Macau. “Flame Mountain” has become a representative work of “A Travel to the West”, a treasure of the- Chinese opera, with Sun Wukong as the subject at home and abroad.

 


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Last updated: 12/22/11.


Home | Brazilian Regions | This is Brazil | What is new | Search Help | Contact Information

 Copyright 2012 notice: Please note that most material on this site is copyrighted, if pieces and bits of this site is found in other locations without proper authorization there are happy lawyers that would be glad to contact you. If you would like to use some pictures, contents of this site, please contact author first
For problems or questions and advertising regarding this Web site contact email vivabrazil.
Last updated: 12/22/11.


Home | Brazilian Regions | This is Brazil | What is new | Search Help | Contact Information

 Copyright 2012 notice: Please note that most material on this site is copyrighted, if pieces and bits of this site is found in other locations without proper authorization there are happy lawyers that would be glad to contact you. If you would like to use some pictures, contents of this site, please contact author first
For problems or questions and advertising regarding this Web site contact email vivabrazil.
Last updated: 12/22/11.


Home | Brazilian Regions | This is Brazil | What is new | Search Help | Contact Information

 Copyright 2012 notice: Please note that most material on this site is copyrighted, if pieces and bits of this site is found in other locations without proper authorization there are happy lawyers that would be glad to contact you. If you would like to use some pictures, contents of this site, please contact author first
For problems or questions and advertising regarding this Web site contact email vivabrazil.
Last updated: 12/26/11.