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The article explores the Black political activism in Brazil under a military rule. Topics discussed include the military stance on the existence of racism in the society, the collective mobilization of African-Brazilians, and the participation of Black political actors in the events following the enactment of the Amnesty Bill and the Party Reform Bill.

This study analyses forms of political manifestations related to football (soccer), observed in Brazil in the course of the 1970s. The article observes, in the context of football, the outbreak of a dispute between conservative powers and left wing forces in the Brazilian political scene. In this period, different subjects, linked to opposition groups, also used the communicative space created around the sport in order to externalise their political ideals. Thus, the sport served the interests of both the state and the Brazilian leftists. These actions generated the involvement of football players, artists and the media in general. In this context, the sports press figured as the main mediator of the symbolic battles engaged amidst football players, coaches, managers and fans, and the official acts and actions of the state. [ABSTRACT FROM AUTHOR]

The aim of this article is to analyse and show in detail the influence of the National Security and Development Doctrine, the main ideological prop of the 1964 civilian–military coup, on the education policy implemented by the regime. Special attention is given to the MEC-USAID agreements, the setting up of the Meira Matos Commission and the reform of elementary, middle and high school education, which was put into effect by the enactment of Law 5692/1971. It purports to show that their overriding purpose was to adapt the education system to the economic and political model in place at that time, so as to transform it into a tool for the promotion of national security and development as perceived by that doctrine. The article concludes that the changes that took place in Brazilian education can only be fully comprehended in the light of their interaction with the processes that fostered the manifestation of the National Security ideology in Latin America as a whole and Brazil in particular. [ABSTRACT FROM PUBLISHER]

From 1978 to 1982, groups of college-age youth took to the streets of São Paulo and other Brazilian cities performing works of art that they referred to as ‘urban interventions’. Mixing aspects of performance, conceptualism and street art, they constituted a repossession of public space during the abertura, or opening period of Brazilian history, when the military regime that had been in power since 1964 made a slow transition to democracy. Newspaper articles constitute one of the most important sources of information on the urban interventions, however, at the same time these articles tend to criticise and dismiss them for their amateurism, effectively excluding them from the history of contemporary Brazilian art. Such an attitude reveals a lack of awareness of the fact that this generation, known loosely as the independents, created works that deliberately lacked polish as a way of criticising mainstream cultural production. This article outlines analyses the traits of the independent aesthetic through consideration of several urban interventions in the areas of visual arts, performance and literature. [ABSTRACT FROM PUBLISHER]

Brazil is traditionally regarded as having been distant from its Latin American neighbours. However, new documents show that it was actually very involved in the Cold War struggles that engulfed the Southern Cone during the early 1970s. In Chile, Bolivia and Uruguay, Brazil's military regime intervened to prevent or overturn left-wing gains. It also did its best to encourage the United States to play a greater role in fighting the region's Cold War. Finally, it served as the model that military leaders in the Southern Cone looked to as they plotted to seize power. Examining these direct and indirect forms of influence, with particular reference to the relationship between Brazil and Chile, this article argues that Brazil's experience after 1964 was a game changer when it came to the way in which the inter-American Cold War unfolded. [ABSTRACT FROM PUBLISHER]

This article expands on a little-known work by Paulo Fernando Novaes Correia, Boi Encantado (Enchanted Carcass) that created a stink by defying expectations of museum protocol when it was shown in 1972. By contextualizing Boi Encantado within the particular circumstances of Brazilian history, this article examines an artwork whose mephitic intervention into an institution crossed into the public arena, complicating the role of institutions as neutral interlocutors between artists and viewers. Boi Encantado, shown at the sixth Jovem Arte Contemporânea exhibition in São Paulo, brings to light the tensions generated between a museum's commitment to artistic freedom and the display of works probing the limits of institutional tolerance. Such tensions expose the challenges of promoting creative freedom while administering institutional authority, particularly in the context of increasing military repression in Brazil circa 1972. [ABSTRACT FROM PUBLISHER]

This essay focuses on television censorship during the last military regime in Brazil (1964-1985) by examining the performance of television censors employed by the Public Entertainment Censor Department (Divisao de Censura e Diversoes Publicas, DCDP). It challenges common perceptions about small-screen censorship during this period, pointing to the need to analyse the boundaries and the spaces of autonomy in each television genre. It focuses on the multiple tensions and struggles between the written procedures and codes, the censors' subjective interpretation of television texts and the negotiation process of the broadcast contents between censors and television producers. The recent opening of the Censor Division Archives (DCDP) and the deluge of biographies, autobiographies and testimonials of key television figures during the authoritarian regime, have opened up new perspectives to examine Brazilian TV history and the place television censors had within it. Annotated and censored scripts of telenovelas and comedy series, correspondence exchanged between the executives of Globo Television Network, the hegemonic TV station in Brazil at the time, and the regime's authorities, printed press reports, as well as audiovisual content that is now available to researchers, constitute some of the sources analysed in this article. [ABSTRACT FROM AUTHOR]