巴西的符号

巴西的符号——构建一个新的巴西品牌形象

BRAZILIAN SYMBOLS Projecting a New National Brand Image of Brazil

Leonardo BOCCIA

论文摘要：

巴西的国家形象由符号和个性构建,这使它在国际社会中简单易识别。数十年来,这个拉丁美洲最大的国家因其繁盛的文化、大西洋海岸、亚马逊雨林、狂欢节、音乐、足球、咖啡、热带水果和可可而为世人所知。然而,在全球化时代,当需要与其他国家签订交易合同来确保双方的利益时,有保证的经济增长优势和更受欢迎的国家形象对国家来说很有必要。全球媒体合作带来了经济和文化霸权。媒体集团生产的内容服务于民族中心主义的自我形象、核心工业化国家以及他们的精英阶层。他们定期散布有关新兴国家(如巴西)相当于诽谤的负面消息。这种动作的结果是破坏性的。从最低程度上说,它们对巴西造成了普遍不信任。精英媒体集团生产的新闻描绘了(对巴西)负面的刻板印象,其中包含了犯罪、暴力、吸毒、腐败、安全问题、无惩罚机制和不尊重人权。除了国内的强势媒体,巴西在新闻方面还要依赖一些跨国新闻社。在拉美地区,这样的国际新闻大多增强了负面形象,尤其对巴西如是。美国的新闻管理政策给构建一个更加一致、受人喜爱的巴西国家形象带来了不可逾越的障碍。本文中,我将通过关注巴西的符号象征以及基调—视听,来反映巴西为赢得和保持其可信和崭新的巴西品牌形象而作出的努力和面临的挑战。

关键词：巴西　国家形象　媒介依赖　视听文化　基调视听　国家符号象征

1.Brazil,“A Giant Due its Own Nature”

Brazil is the fifth largest country in the world after Russia, Canada, the United States of America and China.“A giant due to its own nature”is a lyric in the Brazilian national anthem.Brazil is divided into 26 states and one federal district.Not surprisingly, given the size of its territory, the country has enormous regional and cultural diversity as well as significant climatic differences.Among the extreme aspects of Brazil is its deep poverty and chronic social inequality.Another exuberant extreme is its ability to stage cultural spectacles.

The birth of the Brazilian nation, so like most nations in the world, was extremely painful.According to Darcy Ribeiro, anthropologist and Brazilian’s politician(2003：447),“[Brazil] never has had a concept of the Brazilian people, encompassing all workers and conceding rights to them.The primacy of profit in Brazil has generated an unjust economic system in which great [international] businesses prosper and generalized local poverty persists.The two have always coexisted, especially in the North and Northeast regions.”

In the imperial period(1822-1888), artists and writers produced works inspired on nationalism, influenced mainly by the idea that the Brazilian government would be the fundamental agent in the formation of national identity.However, immigration has radically complicated such simplistic race concepts.Between 1872 and 1949, more than four and a half million immigrants came to Brazil, pouring into the ports of Santos in the State of Sao Paulo and into Rio de Janeiro.They brought in their baggage different native cultures and the need to create new identities.Despite a mask of multiracial tolerance, according to Jeffrey Lesser, a historian at Connecticut College, U.S.A.(2001：21),“‘Whiteness’remained one important component for inclusion in the Brazilian‘race,’but what it meant to be‘white’shifted markedly between 1850 and 1950.”

Reflecting a Euro-centric preference for culture and costumes, Brazilian political and cultural elites were looking for“pure”Europeans to reproduce the ideals of the old world in the new one.During the second half of the 19th century and the first decades of the 20^thcentury, white supremist ideology was translated into huge public investments to bring white colonists to Brazil to reproduce and“improve the race”(Ribeiro, 2003：404).At the beginning of the 20th century, Brazilian elites and political leaders pursued a“strategy”of allowing large new immigration flows into the country.Motivated by discriminatory beliefs, they didn’t permit Africans and Chinese to come to Brazil.They wanted handcraft workers to immigrate, but put restrictions on even Portuguese immigration.Despite the restrictions, large immigrant communities were established in Brazil between 1900 and 1939.

By the proclamation of the Republic on Nov.15,1889, to control national immigration, the Brazilian government prohibited the entry of Africans and Asians.According to Lesser(2001：45),“In the 1850s and 1860s, there were fewer than one thousand Chinese in Brazil, yet even this small number caused an outcry.”Nowadays,more than 200 thousand Chinese immigrants live and work in Brazil.According to its embassy^[1], the People’s Republic of China established diplomatic relations with the Federal Republic of Brazil on Aug.15, 1974.Since then, senior political leaders from both countries have realized reciprocal visits.

This full retrospective of Brazilian nation identity would include evidence of different immigration flows and their effects in molding a new national identity.However, in modern Brazil, achieving concordance among the multiplicity of groups, mentalities or ethnicities is difficult.Social inequality, racism, and regional diversity constitute high political and cultural borders.Since the beginning of Portuguese colonization,Brazilian identity has been officially based on the Brazilian people who represent the collision of three races：black Africans, white Europeans and the indigenous natives.The country experienced a number of waves of immigration as well as a variety of governmental plans and strategies.The government was not able to create or preserve an identity with a Europeanized culture and costumes.

2.Hyphenated ldentity

Although sometimes overt,racial prejudice and discrimination are usually veiled by a mask of racial tolerance.This element is essential to understanding the formation of Brazil’s national identity.The old ideal of“racial democracy”was to provide opportunities, and a social ambient to cultural minorities that differed from those that existed in the United States and Europe.The ideal never erased actual racial prejudice in Brazil.“It was in the 1950s, just as hyphenated Brazilians established in the middle and upper classes, that new immigrants from the Middle East and Asia began to enter in significant numbers,”according to Lesser(2001：168)：.

Brazilian national image was often represented as fantastic for the immigrants.Its qualities and symbols have inspired artists and writers since the colonial era, most of them foreign visitors.Since the beginning of the 20^thcentury,Japanese travelers and diplomats wrote books and poems based on Brazil.Emigration companies often paid for media coverage of their colonies.In 1932, “The bureaucrat-targeted journal Shimin(The People)noted that‘Brazil was still safer and more congenial for Japanese settlers’than Manchuria”^[2].However, there was no unanimity among the immigrant groups.For example, after the 1890s, Italian anarchists began arriving in Brazil ready to fight for labor rights.They advocated labor union organization and struggled to improve the living conditions to the workers in Brazil.In 1907, many leftist militants were deported back to Italy.In 1919, the anarchist and proletarian play writer Gigi Damiani was deported too, and in Italy he wrote the book The Countries in Which You Must Not Emigrate：The Social Matter in Brazil.According to Lesser：“Italians, the largest single national[minority] group, were first hailed for their help in transforming Brazil from‘black’to‘white.’Yet an inability to move out of impoverishment, and regular immigrant-led protests against labor and social conditions, convinced many in the[Brazilian]elite that a mistake had been made”.^[3]

Despite political turbulence, nowadays Italians are considered to have been the most influential immigrant group to contribute concretely to industrialization, transforming Sao Paulo into the wealthiest metropolis of Latin America.Sao Paulo also hosts the largest contingent of Italian descendents in Brazil.About 25 million Brazilians of Italian-descent reside mostly in the nine states in the Southeast and South regions of country.

3.Key-Sound-Visual Messages

However, because of the dynamics of international relations and the contemporary media world connections, Brazil’s national image has been constantly questioned.The speed with which new technologies can expose national images, publicize, and frequently damage it by powerful mass media delivery systems,imposes reflections and actions.The National image of each country is the distinctive brand which favors or prejudices a fair international exchange with the community of nations.The fragility of civilization is the main challenge for all nations.Separatist movements, mass immigration flows, race discrimination, civil wars for ethnic cleansing, social inequality, digital exclusion and, most of all, the socioeconomic crises recurrent in the contemporary world have proved it.In a transnational and global context, to support the creativity of the younger generation,the structures,infrastructures,and superstructures of society needed to be reevaluated and renewed.

In part, national images are composed of symbols or synthetic key-sound-visual messages, which communicate without translation all over the world.An intelligent and efficient symbols system makes it accessible to most people and cultures.Because of the supremacy of the world’s largest international multimedia corporations,many countries, especially in Latin America, are still dependent and subjugated to the hegemonic mass delivery media system.The global media are powerful instruments of ideological persuasion, and the financial news wires even influence and give support to monetary speculation：“Reuters and other financial agencies facilitate global financial transactions, markets, and many commodities(from money markets to oil to advertising space).”(Boyd-Barrett, 2000：300).

In the midst of the existing system in which images,symbols, or key-sound-visuals disseminate a new and more favorable national brand may be quite difficult.It may require negotiating intensively with companies in the most influential global markets.For example, the world’s megasport event is the Olympic Games.It may be possible to stage culturally specific symbols and characteristics of the national image of a certain country for a global media market.Such a spectacular mega-sport event is an opportunity to improve communication among cultures and nations.

In order to host the 2016 Olympic Games in Rio de Janeiro, the Brazilian government launched a campaign.President Lula has argued that Brazil is ready to host the Olympiads.To reinforce the global idol and symbol of Brazil football, Peléwas appointed as the ambassador of “Rio2016”.Can this enthusiastic effort be frustrated?

To change the international negative opinions about Brazil, new political, economic, cultural, and media investments are needed.To grasp the attention of, and achieve confidence in the international community,more social improvements,and new Brazilian’s sound-visuals keys are needed to be delivered to the worldwide audience.Recent political trends in Brazil have given the country a new opportunity to change social inequality.President Lula and the Workers’Party created affirmative action programs and relief packages for poor people.In the past six years, the middle class in Brazil has grown.However, it takes a long time to achieve social modernization and cultural improvements.Increased international cooperation between China, India, Russia, Brazil and the South American countries may provide many opportunities.A comparison of Brazil to the rest of these countries also reveals the huge social difficulties that have surrounded Brazil since its origins.Globalization and the mass media delivery system offer other opportunities to promote more intense cultural changes.Greater involvement of the people and the collective desire to improve the national image are actually the main challenges for those citizens who have hyphenated identities in large heterogeneous cultures.

In Brazil, the struggles over national identity continue.Brazilians need to expand their views beyond the limits of social and ethnic conflicts.The need to see and hear the new world, and be more unified in their will to help the Brazilians participate in the intense challenges of a globalized society.New political models have appeared in Brazil and may earn it a more favorable national image, but to deliver and preserve that image will probably be an expansive and difficult thing.

4.Global and National lmage’s Construct

“National reputation truly cannot be constructed；it can only be earned,”wrote Simon Anholt,^[4]an independent member of the Foreign and Commonwealth Office Public Diplomacy Board of the United Kingdom.However, international esteem needs also to be renewed and preserved.The commercial mass media companies select and distribute key-sound-visuals, which essentially details what the rest of the world sees and hears.The construction of a national identity is the result of transnational news agencies with their junior national or regional partner.The audiovisual supremacy through film, video clips, Internet, and mobile multimedia devices can seduce the global audience.Many people associate sound-images and dreams of freedom with those countries that portray an alluring array of lifestyles.

Contemporary audiovisual productions announce the homogenization of global culture.Given the dominant cultural patterns, it’s quite difficult to avoid prejudices and wrong impressions about Eastern and Southern cultures.Western cultural background for international relations seems to be basically inspired by three main philosophical views.

Alexander Wendt, one of the most influential constructivist academics in the field of international relations, pointed out the relations among the three culture genres.(1) One relationship is when all nations can be considered as enemies(Hobbes).(2) Another kind of relationship is the substitute war by competition(Locke).(3) The third relationship defends the alliance between friends(Kant).Using these models to solve its internal problems, the European Union was itself inspired by Kant, but its foreign policy is based on Locke.

For Weil, the foreign policy of the United States is inspired by all three cultures：For allied English-language countries Kantian concepts are applied.In its relationship with the European Union, Locke’s theories are preferred, and for relations with other countries which qualify as bankrupt and corrupt, Hobbes is the model.

In contrast, the fundamental principle behind the Chinese cultural world view is summarized in the concept of“all-under-heaven,”which implies the possibility of transforming an enemy into a friend(Tingyang, 2008：54).This concept is little known in the West.Limits on knowledge and cultural exclusions create the deepest differences between East and West.Many interpretations on other nations fail and seem to be strictly related to culture-specific views and decisions.

Different culture genres cause conflicts, and a global culture is probably far from being a reality, and is probably not a priority for transnational media corporations.Even worldwide digital telecommunication networks have not been able to disseminate and achieve a global culture.News agencies can disseminate collective sound-visuals and capture huge audiences.Their strategy has been to operate on multiple media platforms and to take major shares in more than one media industry.For instance,“They contribute to the homogenization of global culture in their distribution of certain influential kinds of political, economic, and sport discourse, while greatly multiplying(through their‘wholesale’service for‘retaiI’clients)the quantity of such text that is available within these commodified discourse”(Boyd-Barrett, 2000：301).

Considering sound-visuals as a game scape—a practice to melt news, entertainment, and advertisement—several media productions can result as the workshop for arrangements of art fragments, not as an aesthetical compromise in the sense of‘art units’, or art Gestalt, but as a cultural trend that involves national and global points of audition/views.Beyond the traditional concepts of art, the attitude to transform art fragments into technological sound-visual games, serve to transmit, and for an“untutored audience”, a great part of world events as spectacle, fictionalizing reality.National identity depends on identifying with those symbols, sound-visual games and cultures.The ability of a people to re-create world media symbols is also a guaranty of cultural diversity.The mainstream media have a tendency to homogenize cultures, whereas national iconography tends to fix symbolic boundaries and identities, thereby ensuring a wide range of cultural choices.Media construct and deliver the national images of countries.The media can also change reality by enhancing the visibility and audibility of fictional appearances, by producing illusions of stability and global power, and even by creating sound-visual games that recreate the antagonism and competition based on actual human struggles and desires.The national images constructed by the mass media can be dynamic and fluid while the genuine and original symbols of a country remain buried deep inside.

5.Brazil Exotics

When Iberian navigators discovered the Americas, Europeans felt the event was a revelation of heaven on earth.The new territories were seen as lands where time was an eternal spring；a long life of pure innocence.An exuberant imagination feeds mythological desires of abundance, freedom and adventure.The names of Catholic saints were given to places and regions that were later infused with the myths and animistic myths from an African pantheon.From the beginning of the 16th century, Brazil was symbolically created, and those exotic and exuberant symbols have persisted as symbols of a Brazilian essence.

Image 1-　Americo Vespucci Waking America Up

a Tupinambáindigenous girl lying down on the hammock.Engraving by Theodor Galle(1589).

On May 29, 2008, the world’s news agencies spread images of an isolated indigenous group in the Amazonian forest of Acre, a Northwestern state in Brazil.The images show the village and a few indigenous men trying to hit the plane with arrows.Compared to other American countries (such as the United States, Canada, Bolivia or Peru), Brazil has the smallest indigenous population.However, the indigenous tribes in Brazil represent greater cultural diversity.

Image 2-　Isolated Indigenous Group

The images were released by Survival International—a movement of tribal peoples.^[5]Like the government agency, known as Brazilian National Indian Foundation(Funai), the indigenous movement seeks to defend isolated tribal enclaves which have never made contact with the modern world.The objective is to mark out the natural range of each tribe and leave it alone to survive as an independent society.

6.Fear of Brazil

On Oct.27, 2002, Luiz Inácio Lula da Silva was elected president of Brazil with a decisive victory.Lula—as he is known everywhere—won 61 peccent cent of the record total of 83 million votes cast.^[6]One headline seemed to summarize the significance of the event：“Lula said it best：‘Hope won over fear’”.Prior to the 2002 elections, however, campaigns against Lula and his Workers’Party(PT)were frequently launched.In 2003, one of the most beloved musicians in the country was appointed to be the Minister of Culture.Gilberto Gil is a symbol of Brazil.His long career and his many popular songs gave him instant recognition and access all over the world.Gil stepped down as the culture minister in August 2008.

Image 3-　Gilberto Passos Gil Moreira

Popular Musician and Minister of Culture(2003-2008)

The press campaign of fear against President Lula has diminished over the past six years.Lula has managed to transform distrust with a record of economic successes.A kind of“soft power”has characterized Brazilian government policies since 2002.Even so, certain social crises have continued—like extreme inequality and widespread poverty—and like old wounds, they are difficult to heal.In order to earn a national reputation that might ensure international cooperation, many social and economic improvements are still needed.Brazil’s cultural diversity and cultural heritage can be decisive in the upcoming future.

“When a country’s culture includes universal values and its policies promote values and interests that others share,it increases the probability of obtaining its desired outcomes because of the relationships of attraction and duty that it creates”(Nye,2004：11).An admirable social form to embody universal cultural values is the staging of popular manifestations of music and scenic arts.The Opening Ceremony of the 2008 Beijing Olympic, for example, was a brilliant way to demonstrate the universal values of Chinese culture.Cultural diversity marks distinct Brazilian regions, especially in the North and Northeast.Within Brazil, numerous musical and scenic traditions are manifest, each with its own originality and exuberance, each recurrently exhibiting and recreating a celebration of a way of life in a gigantic natural theater.The most exuberant celebrations are public events that take place in the streets.Since Brazil was founded as a Portuguese colony, its music, dance and scenic arts have been fundamental.Carnival is one occasion, but Boi Bumba,Forró,Samba,Frevo,and Maracatu are just few of the other occasions when tradition and culture are expressed in a fabulous celebration of the joy of life.

Yet the other side of Brazilian reality also affects its image.Drug use, corruption and impunity have pushed large segments of the population to live in the margins of the biggest Brazilian cities.Neighborhoods are transformed into dangerous places, out of control and marked by cruelty of under-employment, homelessness and poverty.Brazilian cities are characterized by“favelas,”urban agglomerates in which the Brazilian government has lost control.The big cities interface with the countryside because there is enormous internal migration to the state capitals.The crude reality of the Brazilian metropolis is more and more insecure and out of control.Even the Amazon rain forest with its biodiversity is marked by violent conflict and is far from being a revelation of heaven on earth.

7.Brazilian Symbols

Actually, 227 indigenous groups live in Brazil.They speak more than 180 languages.Most of the indigenous people live in the states of Amazonia and Para where many of them have been able to preserve their traditions and customs.For decades at least, the reality of the indigenous groups of Brazil has always been an experience of ethnic disrespect and genocide.In the early 1980s,a gold rush brought more then 40,000 men to the Amazon regions.The miners polluted the water with mercury.The consequences were catastrophic, especially for the Yanomami, among whom more than 10,000 died.

At the same time in the same region every year for decades, the city of Parintins has staged one of the greatest cultural manifestations of Brazilian popular culture；the Parintins Folklore Festival.Parintins is located on a fluvial isle, not far from Manaus, the capital of Amazon state.At the end of June, for three days, people recreate the Boi Bumbátale.Two groups dispute the festival；one the Caprichoso dressed in dark blue, the other the Garantido dressed in red.The event is an outdoor arena musical with colorful allegories and dance performances.It mixes ritual processions and profane celebrations inspired by the tale of Boi Bumbá.The Parintins Folklore Festival is an expression of Amazonian myths and legends, and is considered one of the most important popular festivals and symbols of Brazil.A cultural variation, known as Bumba-meu-boi, is put on by the states of Maranhão and Piauí, both in the North region of Brazil.

Meanwhile, the Northeast state of Pernambuco is the source of Frevo music and dance, and the folklore manifestations of Maracatu.

Still in the Northeast, the state of Bahia stages the largest street Carnival in the world with a million or more people dancing behind the Trio Elétricos, which are three-story 16-wheel lorries with a stage for a band on top and 90 to 100 outdoor loudspeakers on each truck.Each trio elétrico parades with groups of 800 to 5,000 dancers, all dressed in the same costumes, all parading and dancing behind it.The Trio Elétrico culture is popular all over Brazil, not only for Carnival, but for political, religious and entertainment events.Each Trio has a powerful sound system that amplifies voices and musical instruments to high decibel limits of around 125dB.Without a doubt, an extremely loud symbol of Brazil.

Image 4-　Trio Elétrico at the Farol da Barra in Salvador, Bahia

In Salvador, Bahia, carnival begins on Thursday, and finishes in the morning of the next Wednesday, in the middle of the summer,in the Southern hemisphere.It’s an organized,non-stop six-day event.It’s considered“secure”but also loud and intense.Tourists arrive from all over to enjoy the catharsis of the most popular festival in Brazil.Unlike the Carnival in Rio de Janeiro,it is not a staged event for spectators.It’s the street carnival in Salvador where everyone can participate.The city center prepares for people by blocking off the carnival parade circuit, more than 19 kilometers around, where they can dance and walk.In 2008, the state government of Bahia expects to invest more than US$ 35 million.However, private companies benefit the most from the public investment by selling products and advertising their logos.

At the end of June in the middle of winter in Brazil, the Northeast states stage one huge and incredible popular fest.The festivals of São João or St.John include millions of people in the countryside and smaller cities.The dance music is Forró.Bonfires and fireworks are abundant.Many people take advantage of the school holidays to leave the cities.Participating in the festival of São João is traditionally a regional, not a national, celebration.

Popular music is perhaps the greatest intangible patrimony that Brazil has.Brazilian songs have reached many countries in the world.The Bossa Nova earned great musical success.Born in Rio de Janeiro in the 1959s, this music genre was created by Tom Jobim and Vinicius de Moraes although many talented musicians adopted the style.The Garota de Ipanema by Tom Jobim was for a long time the second most played song in the world.(The most played at the time was Yesterday by the Beatles.) The enchantments of Rio de Janeiro as a“marvelous city”were sung and heard everywhere.The paradise myth surrounded Rio as the most beautiful city in the world, and the Bossa Nova became a symbol of Brazil.

Symbols of Brazil are constantly emerging and renewing.However, the haphazard development would not be not enough to create a new brand image for Brazil.Many factors divide the rich countries from the emergent and poor ones.Exposure within the new world media order is one factor.Even the Olympic Games and the Football World Cup—the two most popular megasports events in the world—may not be sufficient to impress every nation.

President Lula said that the Olympic Games should not be a privilege of the rich countries.Nevertheless, that seems to be the norm.So, which other channel might be open to deliver the new brand image of Brazil?How can the country overcome the imaginary or real walls that divide nations from each other?

Certainly, the speed with which the world has changed in the past 20 years has fractured the way countries manage international relations and establish reciprocally advantageous exchanges.In many instances, media propaganda and persuasive campaigns are successful.The mass media have become the“real time”delivery systems, and mass communications include many monetary transactions.Old agreements don’t allow flexibility and reciprocal advantages.New partners are distrusted or don’t know how to deal with other cultures.Persuasion is today a commodity like any other.To stage a spectacular and trustful image requires huge investments, not only monetary ones.So,the sense of value has changed profoundly.More persuasion means more investment.It also means creating an opportunity to heal the old wounds of a country’s image.Meanwhile, new wounds are being inflicted by the parallel power of drugs, corruption,impunity, or crimes.Using ‘hard power’and military aggression can be the wrong way to counteract weakness or incompetence in relation to the new world order.To negate the other nations could be the end of all chance for negotiations.To compete in the globalized world, new strategies need to be developed for a game in which antagonism is the basic rule, and the spirit of competition dignifies the participants.To prepare such a creative new generation, the areas of sports and arts, especially scenic arts and music, can be influential aids.Workshops of creativity are the basis for artistic languages and a great way to attract huge audiences.What Brazil may choose to use is a spectacular plot, and the melodies and rhythms of its cultures.

8.Concluding Remarks

A new brand image of Brazil could be constructed by national media agencies that can take on that “housework”(meaning), and play an extremely influential role.So far, the national, private and governmental media agencies allied to the most influential TV networks in Brazil have not attempted to renew and‘measure the keys’by which the country is widely known.What we see and hear every day from the Brazilian national mass media is an awful landscape of bad news.Part of that news is transmitted to international audiences in countries that are Brazil’s trading partners.Negative news and scandals about emergent countries are spread by a mass media delivery system.The themes of countries being bankrupt and corrupt are renewed.On the other hand, corruption and bankrupcy scandals in the rich countries are sometimes portrayed as the opportunities to congratulate presidents and governments for saving the world from“monetary catastrophes.”

The reality presented by the mass media seems to be more and more a great audiovisual spectacle.Facts are fictionalized by praiseworthy ideas of preserving money markets and regulating monetary speculation.Emergent countries,meanwhile, don’t invest in international mass media campaigns.When they try to earn trust, they do fair somewhat better.However, social gaps persist, and so fragile national images are vulnerable to negative exposure.

Since 2002, President Lula has argued that the most acute problem in Brazil is the cultural one.During the past six years, Gilberto Gil, acting through the cultural ministry has implemented new projects and created centres of culture in more regions and in the countryside.The idea of cultural involvement brings new hope and results.Even after Gil stepped down, the new cultural minister,Juca Ferreira, promised to continue the projects.But how long will it take to produce effective changes and to create national unity and trust?Is it possible to take a shortcut to solve the urgent need of a new brand image for Brazil?This question and others need to be answered.

Recently, Brazilian government has demonstrated its willingness to undertake long-term projects to unify the country through social and cultural policies.The desire to earn an image as a powerful nation of beauty, science and technology is a collective one.The popularity of President Lula has remained high over the past six years.He remains a symbol of renewed hope to most of the Brazilian population and a positive symbol of Brazilian nationality.

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(Leonardo BOCCIA,Professor,Department of Music, Federal University of Bahia, Brazil)

【注释】

[1]See http://www.embchina.org.br/por/zbgx/t150686.htm accessed on 07/07/2008.

[2](Ibid.97)

[3](Ibid.82)

[4]See http://www.fco.gov.uk/en/about-the-fco/publications/publications/pd-publication/national-reputation, accessed 27/07/2008.

[5]See also：http://www.survival-international.org/accessed on 16/09/2008.

[6]See also：http://www.zmag.org/znet/viewArticle/11465 accessed on 06/09/2008.