{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/0p0wp9td5x/manifest","type":"Manifest","label":{"en":["A Song for Lorenzo Dow Turner, from Mario"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Flávia Camargo Toni (Presenter)","Martin Fisher (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2016-05-12 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eMário de Andrade (1893-1945), celebrated as the “father of modern Brazilian culture”, was also known for his political and cultural actions towards the preservation of tangible and intangible assets, like it's demonstrated by one of his projects, the “Folkloric Research Mission” (1938). Thanks to him it was possible to photograph and record films and audio from songs and dances by people from the North and Northeast of Brazil. Still, no one had any record of his own voice, and he has never mentioned there being one in any of his writings. During World War II Mário was friends with several important people, such as Carleton S. Smith, W. Berrien, A. Lomax and Curt Lange, but he never left Brazil. Ironically, his voice crossed borders in 1940, in Lorenzo D. Turner's luggage, and it remained “hidden” until 2015, when Brazilian and American researchers helped locate and reveal these recordings at Indiana University’s Archives of Traditional Music. Listening to the voice of the writer and musicologist helps us to know more deeply his personality, but this specific recording also allows us to know more about his social circle, and it complements some aspects of his fundamental work, “Essay About Brazilian Music.” But that's not all. This revelation was celebrated by researchers at the University of São Paulo's Institute for Brazilian Studies, where Mário de Andrade's entire collection is held, and ARSC's 50th Annual Conference seems like the place for personally thanking IU and strengthening the bonds between Brazil and the U.S.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Nathan Georgitis"]}}],"summary":{"en":["\u003cp\u003eM\u0026aacute;rio de Andrade (1893-1945), celebrated as the \u0026ldquo;father of modern Brazilian culture\u0026rdquo;, was also known for his political and cultural actions towards the preservation of tangible and intangible assets, like it's demonstrated by one of his projects, the \u0026ldquo;Folkloric Research Mission\u0026rdquo; (1938). Thanks to him it was possible to photograph and record films and audio from songs and dances by people from the North and Northeast of Brazil. Still, no one had any record of his own voice, and he has never mentioned there being one in any of his writings. During World War II M\u0026aacute;rio was friends with several important people, such as Carleton S. Smith, W. Berrien, A. Lomax and Curt Lange, but he never left Brazil. Ironically, his voice crossed borders in 1940, in Lorenzo D. Turner's luggage, and it remained \u0026ldquo;hidden\u0026rdquo; until 2015, when Brazilian and American researchers helped locate and reveal these recordings at Indiana University\u0026rsquo;s Archives of Traditional Music. Listening to the voice of the writer and musicologist helps us to know more deeply his personality, but this specific recording also allows us to know more about his social circle, and it complements some aspects of his fundamental work, \u0026ldquo;Essay About Brazilian Music.\u0026rdquo; But that's not all. This revelation was celebrated by researchers at the University of S\u0026atilde;o Paulo's Institute for Brazilian Studies, where M\u0026aacute;rio de Andrade's entire collection is held, and ARSC's 50th Annual Conference seems like the place for personally thanking IU and strengthening the bonds between Brazil and the U.S.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/741/small/open-uri20200922-6764-1wwuhku_1600819968.jpg?1600805578","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29820/file/97741","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-1wwuhku.mp4"]},"duration":1297.408,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/741/small/open-uri20200922-6764-1wwuhku_1600819968.jpg?1600805578","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29820/file/97741/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29820/file/97741/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/741/original/open-uri20200922-6764-1wwuhku.mp4?1600805566","type":"Video","format":"video/mp4","duration":1297.408,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29820/file/97741","metadata":[]}]}],"annotations":[]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29820/file/255751","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2016_CamargoToni_audio.mp3"]},"duration":1277.50025,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29820/file/255751/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29820/file/255751/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/751/original/ARSC_conf_2016_CamargoToni_audio.mp3?1730750194","type":"Audio","format":"audio/mpeg","duration":1277.50025,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29820/file/255751","metadata":[]}]}],"annotations":[]}]}