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Ceilândia’s Art in Adirley Queirós’s Branco sai, preto fica

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The Art of Brasília

Part of the book series: New Directions in Latino American Cultures ((NDLAC))

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Abstract

This chapter argues that Queirós’s 2014 film Branco sai, preto fica—using hyperbole and fantasy—portrays the Plano Piloto and Ceilândia at war with one another over the image of Brasília. The film represents Ceilândia as the soul of the city, a clandestine art hub resisting being quashed by a racist, elitist, dystopian Plano Piloto (the city without a soul). Slow, inscrutable, repetitive, and jarring, the documentary forgoes facts, explanations, narrative continuity, and extensive dialogue. The film’s emphasis on the visual and the aural prompts contemplation about where Ceilândia’s art—particularly music—is made. Branco Sai explores how Ceilândia’s spaces of counterhegemonic artistic expression are produced, regulated, and assigned value in ways that influence ceilandenses’ identity. These spaces are associated with low-income, black, and geographically peripheral citizens whose art is entwined in a struggle to be recognized as possessing a creative right to the city .

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Authors and Affiliations

  1. University of Minnesota, Minneapolis, MN, USA

    Sophia Beal

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  1. Sophia Beal
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Beal, S. (2020). Ceilândia’s Art in Adirley Queirós’s Branco sai, preto fica. In: The Art of Brasília. New Directions in Latino American Cultures. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-37137-1_5

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