Quatro vezes Lindonéia

Da nova figuração e do tropicalismo nos anos 1960 à poesia dos anos 1970

Abstract

This article traces the visual, audiovisual, musical and poetic manifestations of the character Lindonéia in four moments: her conception in Lindonéia, a Gioconda do subúrbio, a work by Rubens Gerchman (1966); her presence in Ver ouvir, a short film by Antonio Carlos da Fontoura (1966); her reinvention in "Lindonéia", a song by Gilberto Gil and Caetano Veloso sung by Nara Leão (1968); and her mention in "Cidade maravilhosa", a poem by Armando Freitas Filho (1979). Despite this fruitful intertextuality between the so-called new figuration and the musical Tropicalism, Lindonéia's figure has been scarcely addressed by critics. Drawing on insights from Celso Favaretto's (2007) and Marcos Napolitano's (2018) readings of the Tropicalist song, the interpretation developed here observes that Lindonéia sprawls across these works as a figure encapsulating both the diffuse hopes for Brazilian economic modernization and the disappointment of these expectations, turned into a mirage for the black suburban character who dies young and beautiful, devoid of a future.