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| Festival Internacional da Canção | |
|---|---|
| Name | Festival Internacional da Canção |
| Native name | Festival Internacional da Canção |
| Location | Rio de Janeiro, Brazil |
| Years active | 1966–present |
| Founded | 1966 |
| Founders | Rede Globo, TV Globo executives |
| Genre | Popular music, MPB, Bossa Nova, Samba, Pop |
Festival Internacional da Canção
The Festival Internacional da Canção was a Brazilian music competition created in 1966 in Rio de Janeiro and associated with broadcasters such as Rede Globo and TV Globo, showcasing composers and performers across genres like Bossa Nova, Samba, and MPB. The festival served as a platform connecting artists from Brazil with influences from Argentina, Chile, Uruguay, Portugal, and Spain, and involved prominent figures linked to institutions such as the Câmara dos Deputados (Brazil), Museu de Arte Moderna do Rio de Janeiro, and production companies including Som Livre. Over its editions the event intersected with cultural movements, political events like the Military dictatorship in Brazil (1964–1985), and international festivals such as the Eurovision Song Contest and the Sanremo Music Festival.
The festival was launched during the 1960s amid the careers of artists connected to Elis Regina, Milton Nascimento, Chico Buarque, Gilberto Gil, and Caetano Veloso, and was organized by entities linked to TV Globo executives and producers who had ties with Phono 73 and labels like EMI-Odeon, RCA Victor (Brazil), Philips Records (Brazil). Early editions featured participants associated with venues such as Canecão, Teatro Municipal (Rio de Janeiro), and institutions like the Universidade Federal do Rio de Janeiro arts programs. The festival's timeline intersects with events such as the AI-5 (Instituto de Ato Institucional Número Cinco) imposition and responses from artists who also engaged with festivals such as Festival da Record and international circuits including the Montreux Jazz Festival and the Festival de Viña del Mar. Changes in format and production in the 1970s and 1980s reflected influences from broadcasters like Rede Tupi and labels including Som Livre, while later revivals engaged actors connected to GloboNews and producers from TV Cultura.
Competitors typically submitted songs evaluated by juries composed of figures from organizations such as the Associação Brasileira de Imprensa, representatives from labels like Sony Music Brazil and Universal Music Brasil, and artists affiliated with collectives including the Movimento Tropicalista and institutions such as the Fundação Nacional de Artes (FUNARTE). Performances occurred live in studios comparable to Estúdios Globo and theaters such as Teatro João Caetano, with arrangements by professionals linked to orchestras like the Orquestra Sinfônica Brasileira and conductors who worked with groups such as Os Mutantes collaborators. Rules on song length, language, and original composition were influenced by precedents from the Sanremo Music Festival and international copyright frameworks administered by organizations like Sociedade Brasileira de Autores Teatrais (SBAT) and Escritório Central de Arrecadação e Distribuição (ECAD).
Winners and performers became associated with labels and institutions such as Philips Records (Brazil), Som Livre, EMI-Odeon, and international agencies like Warner Music Brasil. Notable artists who performed or won include figures connected to Elis Regina, Caetano Veloso, Gilberto Gil, Milton Nascimento, Gal Costa, Maria Bethânia, Tom Jobim, João Gilberto, Rita Lee, Djavan, Nara Leão, Marina Lima, Cazuza, Roberto Carlos, Paulinho da Viola, Beth Carvalho, Zeca Pagodinho, Cartola, Adoniran Barbosa, Lulu Santos, Djavan, Lígia da Fonseca, Maria Gadú, Ana Carolina, Vanessa da Mata, Lenine, Fernanda Takai, Seu Jorge, Arnaldo Antunes, Arnaldo Baptista, Tim Maia, Luan Santana, Ivete Sangalo, Caetano Veloso collaborators, and ensembles linked to Orquestra Tabajara. Specific winning songs often became staples in repertoires and were later recorded by labels like Som Livre and EMI-Odeon.
The festival influenced movements tied to Tropicália, MPB movement, Bossa Nova movement, and intersected with cinema linked to Cinema Novo directors and documentaries produced by companies similar to Vitrine Filmes. Its platform helped shape careers that impacted institutions such as the Museu da Imagem e do Som (MIS), and inspired programming on channels like TV Cultura and GloboNews. The festival's legacy is traced through retrospectives at venues like Museu de Arte do Rio and academic studies from departments at Universidade de São Paulo and Universidade Federal do Rio de Janeiro, and continues to inform contemporary festivals including Festival de Música Brasileira and international showcases at South by Southwest satellite events featuring Brazilian artists.
Broadcast operations were managed by networks like TV Globo, with production contributions from companies akin to Som Livre and syndicated coverage in outlets such as O Globo, Folha de S.Paulo, Jornal do Brasil, and magazines like Veja (magazine), Rolling Stone Brasil, and Placar. Radio coverage involved stations similar to Rádio Nacional (Brazil) and later digital platforms associated with Spotify and YouTube Music channels run by labels like Warner Music Brasil and Universal Music Brasil. International distribution reached audiences via partnerships with broadcasters comparable to Rede Record and collaborations for archival release through entities like Instituto Moreira Salles.
The festival attracted disputes involving censorship during periods associated with the Military dictatorship in Brazil (1964–1985), legal conflicts tied to organizations such as ECAD and record labels like EMI-Odeon and Philips Records (Brazil), and debates in publications like Folha de S.Paulo and O Estado de S. Paulo. Criticism also arose concerning commercialization tied to advertisers such as Petrobras and Itaú Unibanco, programming choices influenced by media conglomerates like Grupo Globo, and questions over representation noted by advocacy groups linked to cultural policy bodies such as Ministério da Cultura (Brazil) and researchers at Fundação Getulio Vargas.
Category:Music festivals in Brazil