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Building on an analysis of the first three songs of the 1972 album Transa, by Caetano Veloso, this article intends to explore how the artist’s political exile set him in an ambiguous situation characterized by pain for the expatriation and the learning about inadequacy. His situation resulted in a reflective viewpoint of the African diaspora experience, whether in Notting Hill, a district of West London, or in the tradition of Brazilian musical poetry. Based on this, this article intends to apprehend how musical and poetic images of resistance and contestation are organized throughout the album, making a reassessment of the usual hierarchies of Brazilian literate culture, while also highlighting the Afro-Brazilian oral culture.
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Elzimar Fernanda Nunes Ribeiro (2023) studied this question.
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