Pra não dizer que no falei das flores by Geraldo Vandré: analysis of music
The music "Pra não dizer que no falei das flores" was written and sung by Geraldo Vandré in 1968, winning second place in the International Song Festival of the year. O theme, also known as "Caminhando", became a two major resistance to the military ditatorial system that was in force at the time.
A composition was censored by the regime and Vandré was persecuted by the military police, he had to flee from the country and opt for exile to avoid retaliation.
Music lyrics
Walking and singing and following the song
We are all equal braços dice ou não
Nas escolas, nas streets, fields, construções
Walking and singing and following the songCome on, let's go, what to expect, I don't know
That knows face to hour, does not expect to happenPelos fields has fostered large plantations
Pelas ruas marching undecided cordões
Ainda fazem da flor seu mais forte refrão
And accredit the flowers expiring or canhãoCome on, let's go, what to expect, I don't know
That knows face to hour, does not expect to happenThere are armed soldiers, loved ones or not
Quase all lost of arms na mão
Quartéis us ensinam uma antiga lição
De morrer pela pátria e viver sem razãoCome on, let's go, what to expect, I don't know
That knows face to hour, does not expect to happenNas escolas, nas streets, fields, construções
We are all soldiers, armed or not
Walking and singing and following the song
We are all equal braços dice ou não
I love each other in the mind, as flowers no chão
To certainty in front, to history in mine
Walking and singing and following the song
Learning and teaching uma nova liçãoCome on, let's go, what to expect, I don't know
That knows face to hour, does not expect to happen
Analysis and interpretation
Com a sonoridade de um hino, or theme follows a simple rhyme scheme (A-A-B-B, ou seja, or first verse rhymes as a second, or third as a fourth and assim by diante). It also uses a current linguistic register, as a letter that is easy to memorize and transmit to other people.
Also, it seems to be a reference to the songs that were used in rallies, protests and demonstrations against the regime, which were spread to the country in the year 1968. Music was, then, used as a combat instrument, which was intended to disseminate, in a direct and concise way, ideological and rebellious messages.
Walking and singing and following the song
We are all equal braços dice ou não
Nas escolas, nas streets, fields, construções
Walking and singing and following the song
At the first stanza assinala isso, with the verbs "walking and singing", which he refers directly to the image of a passeata or a public protest. Lá, os cidadãos são "all the same", just as there is no relationship with each other ("braços dice ou não").
Referring to "schools, streets, fields, construções", Vandré tried to show that we all Social extracts with different occupations and interests were together and marched together cause. It is evident due to the need for union that it is summoned and the agreement that everyone wants the same thing: freedom.
Come on, let's go, what to expect, I don't know
That knows face to hour, does not expect to happen
Or saying, repeated several times ao long gives music, é um I appeal to ação e à união. Geraldo goes directly to music, calling for Luta: "Vem." As I use the first weight of the plural (em "let's go embora"), it prints a collective aspect to ação, indicating that staying together does not fight.
Ao affirm that “wait and don't know”, or subliminal author who is aware of the reality of the country cannot wait for crossed arms that thus mude. A move and a revolution will not deliver a tray for any, it is necessary to quickly stir ("that knows face to time, it does not expect to happen").
Pelos fields has fostered large plantations
Pelas ruas marching undecided cordões
Ainda fazem da flor seu mais forte refrão
And accredit the flowers expiring or canhão
Nesta stanza, and denounced to misery In that farmers and Campesinos lived and exploração to which we were subject ("fome nas large plantations"). There is also a strong criticism of the pacifist years that tried to resolve a political crisis with diplomacy and a common agreement, organized in "undecided cordons".
You think of "peace and love" promoted by the counterculture movement hippie, or flower power, são symbolized by the flowers (or "mais forte refrão"). It is subordinated to his insufficiency against or "canhão" (to force and to violate the military police).
There are armed soldiers, loved ones or not
Quase all lost of arms na mão
Quartéis us ensinam uma antiga lição
De morrer pela pátria e viver sem razão
Embora as military forces symbolize or inimigo, or ditatorial power, to music does not dehumanize the soldiers. Contrary hair, lembra that we are "quase all lost of arms na mão", ou seja, use of violence, kill, but nem eles same know why. They barely obeyed my orders blindly, for the sake of brain lavagem que sofriam: a "old lição / De morrer pela pátria e viver sem reason".
You soldiers, raised by um spirit of false patriotismWe must dedicate their lives and many times to die in the function of the system that protects those who were also victims.
Nas escolas, nas streets, fields, construções
We are all soldiers, armed or not
Walking and singing and following the song
We are all equal braços dice ou não
I love each other in the mind, as flowers no chão
To certainty in front, to history in mine
Walking and singing and following the song
Learning and teaching uma nova lição
In the last stanza, it is reinforced by a message of equality between all those who are citizens and the urgency of partirem together for Luta, because only through the organized movement would it be able to bring about the revolution.
Lembrava music that deviates as "loves in the mind", thinking of the people who love the victims of military repression. To be victorious, it was necessary to deixarem "as flowers no chão", ou seja, abandonrem as pacifist approaches.
This was more than "history", with the possibility of changing the reality of the country and the future for all Brazilians. Deveriam continue "walking and singing" and "learning and teaching a nova lição", transmitting or seu knowledge, awakening other people for a militancy.
Meaning of music
"Pra não dizer que nao falei das flores" é um invitation to radical political resistance, a chamamento for all the forms of luta necessary to demolish at the same time.
Geraldo Vandré wore flowers to try to show that it is not enough to use "peace and love" to fight arms and canhões, sublining that the only way to win was a union and an organized movement.
Historic context
1968: repression and resistance
In 1968, Brazil faced two previous moments of political repression, the institution of AI-5: a set of laws that conferred almost unlimited powers on the regime.
Faced with authoritarianism and various episodes of police violence, university students come to se mobilize, making public protests that were received as aggresões, prison orders and, at times, assassinations.
In few years, these protests were going back to the country and other groups will join the movement: artists, journalists, parents, supporters, more, etc.
Censorship
Despite the censorship that ameaçava, prohibited and persecuted, music became a two artistic vehicles used to transmit messages of a political and social nature.
I interpret you, we are aware of the fact that I run when we publicly disclose your opinions, more arriscavam your life to challenge or instituted power and pass a message of force and courage for you Brazilians.
Many years after the International Song Festival of 1968, two jurors have confessed that "Pra do not say that I do not fail flowers" had been the winning theme. I will rank second due to political pressures that organize the event and TV Globo, broadcast network or program, sofreram.
Geraldo Vandré: exile and afastamento da public life
Thus, you have the consequences to be able to challenge or military power was to be imprisoned, to death or to escape, or to exile.
Because of "Do not say that you do not fail flowers", Geraldo Vandré began to be watched by the Department of Political and Social Order and had to flee.
I traveled through various countries such as Chile, Algeria, Germany, Grécia, Áustria, Bulgaria and France. When she returned to Brazil, in 1975, she preferred to spend the day at Ribalta and dedicate herself to a career as an advocate.
His song and a political message that he transmitted, however, entered for the history of music and of Brazilian political resistance.
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