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Brasileiro profundo ("Profoundly Brazilian") - 2022

“My homeland is dead

they buried it

In the fire


I live

in the word

my homeland”


These verses were written byRose Ausländer (1901-1988). The German-speaking Jewish poet, who died the year I was born, is also the author of “Ninguém”, the poem that I set to music and ended up naming my previous album: “Rei Ninguém” (“King Nobody”) (2017).


Ausländer's life was marked by a period of persecution starting in 1941, when the Nazis invaded Czernowitz, in Bukowina, her hometown. She fortunately survived the Shoah and traveled to New York in 1946. The trauma made her seek exile not only from her homeland, but also from her mother tongue, leading her to write only in English for ten years.


I came into deeper contact with Rose Ausländer's work because of my friend, the poet Erick Monteiro Moraes, who dedicated himself to the work of translating it. In fact, the Portuguese versions of the verses with which I opened this text, as well as the lyrics of the song “Ninguém”, are the result of his work. In his studies, Erick explains that the Jewish element in Ausländer's work, in addition to an inherited identity, is also a “permanent construction, the refusal of all fixed identity, the eternal search for the non-identical”. Just as the cultural history of the Jewish people has been marked, since the Babylonian exile, by survival despite dispersion, Ausländer's work is characterized by a perpetual “Unterwegssein” (be-on-the-way).


Just like Paul Celan, Jewish poet and her contemporary, Rose Ausländer crossed the deserts with poetry as her north. More than her return to the devastated land, the return to the German language preserved despite barbarism was the most important aspect of her work.“I am King Nobody / I carry my no man’s land / in my pocket”, says the poem I set to music. Ausländer, with this surname that means “foreigner”, found her no man's land in poetry written in German. 


In Brazil in 2020, if an ignoble government and its praise of violence were not enough, we were locked at home, dealing with a deadly virus. Home exile, so to speak, enlightened by the experience of poets, pushed me to compose. With the homeland in ruins, I was led to write, to face the blank page, blending in with it and freeing myself through it. 


As said by my partner in the title song “Brazilian profound”, Antonio Cicero, a country is the greater “the more it is capable of guaranteeing the coexistence of the greatest possible number of differences”. It is not conceivable, especially in Brazil, a political project that does not affirm differences as riches. In this sense, we support the State's affirmative actions, which, opposing prejudices of different natures, fight in favor of the plurality of the Brazilian people, protecting each individual's right to diversity.

I am not the profound Brazilian, it's all of us, everyone and everyone who values: the complexity of our individualities; the exuberance of our differences; the commonality of our freedoms; the open world, like the bottomlessness of a blank page. 

Arthur Nogueira



Watch the video for "Valente":

            For the first time in 15 years of career, Arthur Nogueira considers himself a poet of songs, by releasing an album whose lyrics were written mainly by him. Continuing his musical work focused on the intersections between poetry and popular songs, the singer and composer makes an exception on the album for only two new partnerships with prominent poets-lyricists of Brazilian pop music: Antonio Cicero and Jorge Salomão.

            Five years after the praised "Rei Ninguém" (2017), the album "Brasileiro profundo" continues Arthur Nogueira's original work with 12 new compositions. The tracks were recorded between December 2020 and December 2021, under the record production by Leonardo Chaves and the participation of instrumentalists from all over Brazil. 

             The arrangements came from the guitar, in order to preserve the way the songs were composed by Arthur Nogueira. As the work progressed, several elements were added, such as percussion, guitars, pianos, strings and winds. 

              Musical co-producer alongside Arthur Nogueira of the album "Só", by Adriana Calcanhotto, Leonardo Chaves plays several instruments in "Brasileiro profundo", such as electric bass, fretless, guitar, electric piano, synthesizers and programming.

               The team of guest musicians, which Nogueira considers "as diverse as Brazil", brings together, for example: Renato Torres (guitar), Luiz Pardal (violin and viola) and Leonardo Venturieri (viola), in Pará; Diogo Gomes (winds) and Thomas Harres (percussion), in Rio de Janeiro; Richard Ribeiro (drums), in São Paulo; Allen Alencar (guitar), in Aracaju;  and Zé Manoel (acoustic piano), in Recife. Most of the musicians worked from their respective homes, during the social isolation imposed by the Covid-19 pandemic.

               Unlike Arthur Nogueira's other works, the sound of "Brasileiro profundo" is based on percussion, instead of drums or electronic programming. These are ballads that rely on tambour, in order to celebrate not only the music of Pará that has accompanied him since childhood, but mainly the combination of rhythms, instruments and musical paradigms inherited from African and indigenous peoples.

Watch the video for "Voo e mansidão":

          The album "Brasileiro profundo" unfolds into a video album, including a clip for each track directed by Vitor Souza Lima, and a book namesake, which brings together the lyrics written by Arthur Nogueira over a 15-year career

Listen to the full album "Brasileiro profundo":

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Produced by Leonardo Chaves.

Mixed and mastered by Rodrigo Sanches at Rootsans Studios (São Paulo).

The instrumental theme "Pássaro" was mixed and mastered by Mateus Estrela (Belém).


The participation of the guest musicians took place during the Covid-19 pandemic, between December 2020 and December 2021. Everyone worked from their respective homes, except for the recordings of voices, acoustic piano and drums, made at Midas studios (Belém), Carranca (Recife) and 12 Dollars (São Paulo).


Art direction and graphic design: Elisa Arruda

Photography: Ana Alexandrino

Video direction: Vitor Souza Lima

Communication: Dobra Comunica - Julianna Sá and Wagner Rodolfo

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