This is the tenth and final segment of a series of articles on the relationship between jazz and comic books. Go to Part 1 , Part 2, Part 3, Part 4, Part 5, Part 6, Part 7, Part 8 or Part 9

In this segment we focus on the intersection of jazz with rhythms that are the basis for the construction of what is understand as Brazilian “popular music”. We will also talk about the frst Brazilian caricaturist Nair de Teffé.

‘Choro’ ou ‘Chorinho’ is a musical genre that is at the genesis of what would become Brazilian popular music. It means ‘little lament’, and encompasses an extensive repertoire of musical styles and compositions, showcasing a diversity of rhythms and melodies. It traditionally features a small ensemble of musicians, including a cavaquinho (a small string instrument), guitar, flute, and pandeiro (tambourine).

While it shares some similarities with the Argentine Tango in terms of emotional depth and virtuosity, Chorinho maintains its distinct characteristics, reflecting the fusion of African and European musical influences, as it happens in jazzz (remember the jazz tree?). The syncopated rhythms and soulful melodies resonated with audiences,an at the end of the 19th century, choro livened up the popular parties, the forrobodós, celebrated by Chiquinha Gonzaga, in Rio de Janeiro.

Chiquinha Gonzaga, born as Francisca Edwiges Neves Gonzaga, was a Brazilian composer, pianist, and conductor. She played a crucial role in the development of Choro music, and

She was also known for her efforts in promoting and legitimizing Brazilian popular music and in the fight for copyright, after suffering from seeing her songs inappropriately appropriated, without having the support of the law to be able to protect her. 1917 Chiquinha Gonzaga founded the Brazilian Society of Theatrical Authors (Sbat, by its acronym in Portuguese), a pioneering entity in the defense of the copyright of theater writers and musical composers in the country.

And what did the first choro musicians play? Polkas, lundus, mazurkas, habaneras (a Cuban genre also called ‘tango-habanera’) and maxixes.

The term “maxixe” has a double meaning, as it refers not only to a popular urban dance style, but also to the music that accompanies this dance, considered immoral by high society at the time.

Because of this discrimination, some composers of the period avoided calling their works maxixe, using other names to classify them. For example, the term ‘Brazilian tango’, was preferred by pianist and composer Ernesto Nazareth to describe his songs. It served both to hide the unwanted kinship with maxixe and to highlight the particularity of his compositions.

This strategic choice not only reflected the desire of Nazareth to distance himself from the maxixe genre, but also emphasized the unique qualities of his musical creations. By associating his music with the tango, Nazareth positioned it within a broader, internationally recognized genre, potentially expanding its appeal and reaching a wider audience.

Maxixe and jazz share several similarities despite their different cultural origins and contexts. Both musical genres emerged from a fusion of various influences and styles, blending traditional elements with innovative improvisation. They are both characterized by syncopation, the offbeat notes, which add a lively and dynamic feel to the music, but the connection between maxixe and jazz runs deeper than just their musical similarities. Both genres have served as outlets for cultural expression and societal change.

Maxixe, a popular dance that gained popularity in the late 19th and early 20th centuries, provided a platform for social interaction and the expression of Brazilian identity. Similarly, jazz, with its roots in African American communities, became a means of voicing the struggles and triumphs of a marginalized group.

A historical event highlights the prejudice faced by popular cultural productions. The episode, known as “A Noite da Corta Jaca” (“The Night of Corta Jaca”), had an unavoidable protagonist: the former first lady Nair de Teffé, who made history by scandalizing parts of the country by performing on the guitar ( an instrument associated with the popular classes and stigmatized as a symbol of vagrancy and marginality) a popular composition.

Born on June 10, 1886 in Petrópolis, Rio de Janeiro, Nair de Teffé von Hoonholtz was an extraordinary talented lady, fluent in six languages. A true Renaissance woman, she was a painter, musician, actress, and a writer.

She was a representative of the aristocracy, and received a humanist education from her father, Baron de Teffé, which gave her the veneer of classical studies. She had a great interest in theater and music, as well as painting and frequented the most elegant circles of the belle époque in Rio de Janeiro.

On October 26th, 1914 she organized a gala party at the government headquarters. The musical selection of such events until then included only classical music pieces. but Nair boldly performed in the guitar the maxixe “Gaúcho (O Corta-jaca)” by Chiquinha Gonzaga.

Despite the applause of those present at the soirée, the performance of the Corta-jaca aroused the ire of the renowned Rui Barbosa, widely considered one of the most eminent jurists in Brazilian history. Barbosa wrote an extensive article severely condemning the performance of popular music at gala events and disqualifying the “popular” music (understood as poor and black) produced in the country at the time.

The extensive critique of Barbosa reflects the complex social dynamics and cultural clashes that permeated the emerging Brazilian society. As a prominent figure in both politics and law, his views carried substantial weight and influence, shaping public opinion.

His stark condemnation of popular music (and, even more scandalous, performed by a woman, who happened to be Fisrt Lady of the country at the time!) is a robust example of deep-seated prejudices, gender and class distinctions prevalent in the Brazilian society. It also shows the challenges faced by marginalized communities in gaining recognition and respect for their artistic expressions.

The criticism did not shake Nair, who was used to controversy. Her talents and accomplishments they were far from being hindered by the Night of Corta-jaca.

A good example of her legacy is her work as a cartoonist. Under the pen-name “Rian”, Nair is also the first female caricaturist in Brazil and possibly one of the pioneers in the field in the world.

The pen-name “Rian” not only obscured her identity, but also masqueraded as a male name, strategically allowing her work to transcend the institutionalized sexism prevalent at the time. It is also ineresting to notice that at the age of 24, Nair de Teffé was already a renowned caricaturist, but she kept her pen-name even after her authorship was revealed.

With the inspiring figure of Nair de Teffé who, in a way, represents the bridge between popular music and the visual arts, we close our series of articles on the intersections between jazz and comic art.

Be seeing you!

G.F.

p.s. This is our 150th blog post. Hurray! Thank you very much for your company!