“A palavra corta”: a doutrina de Segurança Nacional e os trâmites político-jurídicos utilizados para silenciar a música popular brasileira no período ditatorial civil-militar

Abstract

Censorship in Brazil marks not only the dictatorship polity we lived last century, once it is presente in the colonial, imerial and republica cycles. The legal essence of censorship in the military regime is the Act n.20.493 de 1946, set of articles and norms that for 42 years ruled the artistic activities. All the posterior legislation to the cited decree had as ideological background the Doctrine of National Security, wich proposed the thesis that the dispute of the Motherland was not external but internal. Based on this doctrine, the successive National Security Laws were decreed in Brazil to give legal coverage to the repressive climbing. It is within this strategy that the State of National Security identified the music as a possible area of action of the infiltrated agents of communism, understanding that it would be vital for the maintenance of the regime to control cultural production made for the general public. At the same time these events were evolving, here was in Brazil the period of intense musical production later recognized as “The Festivals Era” marked mainly by poetic resistance to the regime established. Since the IA-5, the censorship was intensified, the moral transgression of the music of the period represented for the Dictatorship a communication with communist doctrines and to a part of civil society, the end of the ethical rules under which the social structure of the nation had been established, generating thus a civil instance of censorship.