Patativa do Assaré

Patativa was born in Serra de Santana, Assaré, a small town in the State of Ceará located in the Northeast of Brazil.

[2] This region is famous for being the place of origin of most Brazilian oral / folk traditions as well as for presenting one of the biggest social gaps in the country, with many disadvantaged communities living in extreme poverty in the backlands (sertão).

In one of those occasions he was heard by José Arraes de Alencar, a philologist, who convinced of his potential, gives him the support and the incentive for the publication of his first book of poems entitled Inspiração Nordestina (1956).

In 1970 he publishes a new collection of poems: Patativa do Assaré: novos poemas comentados; and in 1978 comes one of his most popular books: Cante lá que eu canto cá.

His first LP was recorded in 1979, the same year he received honours from SBPC (Sociedade Brasileira para o Progresso da Ciência) and also campaigned for the amnesty of those who were convicted of political crimes during the dictatorship.

In his last years, Patativa achieved national fame, not just in popular sectors, was constantly in the media and was even included as a subject of study in Sorbonne by Professor Raymond Cantel.

His poetry, though rooted in a specific context, is at the same time universal because it encompasses the feeling of a social class with the authenticity of someone who comes from and speaks to ‘the people’.

Memory, singing, poetic and intellectual skills, added to the fact that he was an excellent performer meant that he could transit into different fields of popular / oral arts.

When transcribed, it inevitably lost a significant part of the non-verbal meaning (expressed by the voice, intonation, pauses, rhythm, facial and body language, gestures), which highlighted certain elements that are conveyed only in the act of performing (such as irony, hesitation, boldness, etc.).

The complexity of his work is also evident in his capacity to create poems both in the ‘classical’ (sonnets, Camões’ metric) and in the popular styles (i.e. the décima and the sextilha).

Contrary to what is generally known, there are other dimensions to his work other than the socio-political / militant thread, including: the telluric, religious, philosophic, lyric, ironic / humouristic, and others.

That exposes flaws inherent in the parameters of judgement - in his case, based on presuppositions and prejudices that split his critique in two poles: the romanticised representation of the myth on one side and the ‘elitist’ on the other.

Verdes Mares, 2001; •Third Prize in the Cearense do Século Competition, 2001; •Patron of the IV Bienal do Livro do Ceará, 2000; •Received the Title of Cidadão do Rio Grande do Norte, 2000; •UniPaz Prize, VII Congresso Holístico Brasileiro, 1999; •Opening of the Memorial Patativa do Assaré (Museum dedicated to him and his work), 1999; •Homage from Associação dos Docentes da Universidade Federal do Ceará, 1998; •Homage in a Sessão Solene from Assembléia Legislativa do Estado de São Paulo, 1998; •Received the Medalha Francisco Gonçalves de Aguiar, from Governo do Estado do Ceará, 1998; •Opening of the Rádio Comunitária Patativa do Assaré, 1997; •Fernando Henrique Cardoso gives him the Prize Prêmio Ministério da Cultura, in the category of Popular Culture, 1995; •Nominated Honorary Member of the Museu do Gonzagão, 1994; •Opening of the Centro de Cultura Popular Patativa do Assaré, 1994; •Samba-enredo of the Escola Acadêmicos do Samba, 1991; •Opening of the Patativa do Assaré motorway by the Governor Tasso Jereissati, 1989; •Samba-enredo of the Escola de Samba Prova de Fogo, 1989; •Received the Medalha da Abolição, by the State of Ceará government, 1987; •Received the Title of Cidadão de Fortaleza, awarded by Câmara Municipal, 1982; •Received the diploma of Amigo da Cultura by the Secretaria da Cultura do Estado, 1982; •Homage by the Sociedade Brasileira para o Progresso da Ciência, 1979.