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Tropicália
Tropicália (Portuguese pronunciation: [tɾopiˈkaljɐ, tɾɔ-]), also known as tropicalismo ([tɾopikaˈlizmu, tɾɔ-]), was a Brazilian art movement that arose in the late 1960s. It was characterized by the amalgamation of Brazilian genres—notably the union of the popular and the avant-garde, as well as the melding of Brazilian tradition and foreign traditions and styles. Today, tropicália is chiefly associated with the musical faction of the movement, which merged Brazilian and African rhythms with British and American psychedelia and pop rock. The movement also included works of film, theatre, and poetry.
The term tropicália (tropicalismo) has multiple connotations in that it played on images of Brazil being that of a "tropical paradise". Tropicalia was presented as a "field for reflection on social history". The movement was begun by a group of musicians from Bahia notably Caetano Veloso, Gilberto Gil, Gal Costa, Tom Zé, and the poet-lyricist Torquato Neto. Later the group moved from Salvador (the capital of Bahia) to São Paulo where they met with collaborators Os Mutantes and Rogério Duprat among others. They went on to produce the 1968 album Tropicália: ou Panis et Circencis, which served as the movement's manifesto.
Tropicália was not only an expression in analyzing and manipulating culture but also a mode of political expression. The tropicália movement came to fruition at a time when Brazil's military dictatorship and left-wing ideas held distinct but prominent amounts of power simultaneously. The tropicalists' rejection of both sides' version of nationalism (the military's conservative patriotism and the ineffectual bourgeois anti-imperialism) was met with criticism and harassment.
The dissolution of the movement by the early 1970s gave rise to a new wave of soloists and groups identifying as “post-tropicalist”. The movement has inspired many artists nationally and internationally. Additionally, tropicalia continues to be a main feature in the original Bahian group and their fellows’ work.
A dominant principle of tropicália was antropofagia, a type of cultural "cannibalism" that encouraged the consumption of disparate influences, both temporal and geographic, as well as categorical, out of which could be created something uniquely Brazilian. It was a blurring of lines and preexisting conceptions of high and low art forms, as well as prestigious and marginalized artistic and political expressions. The idea was originally put forth by poet Oswald de Andrade in his Manifesto Antropófago, published in 1928, and was developed further by the tropicalistas in the 1960s.
While concrete poets were not an initial influence upon the group's works, the two groups, particularly Veloso, Gil, and Augusto de Campos, would go on to share an intellectual partnership in São Paulo. This partnership would help the tropicalistas to form connections with other artists around the city, most notably Rogério Duprat.
Helio Oiticica’s 1967 work “Tropicalia” shares its name and aesthetic with the movement. The movement also utilized Carmen Miranda, a Brazilian/Portuguese international star, who in Brazil had come to be viewed as inauthentic. The use of Carmen Miranda's image and motifs became synonymous with the movement. Veloso in particular would imitate the icons gestures and mannerisms during performances. This usage was intentionally done as a means to address the concept of "authenticity". Miranda was seen as presenting a caricature of what true Brazilian-ness was by Brazilians while international audiences saw her as a representative of Brazil and its culture. This dichotomy provided the means by which the tropicalistas could address the concept of authenticity in such a fashion that it was striking to their audiences.
The 1968 album Tropicália: ou Panis et Circencis is regarded as the musical manifesto of the tropicália movement. Although it was a collaborative project, the main creative forces behind the album were Caetano Veloso and Gilberto Gil. The album experimented with unusual time signatures and unorthodox song structures, and also mixed tradition with innovation. Politically, the album expressed criticism of the coup d'état of 1964. Key artists of the movement include Os Mutantes, Gilberto Gil, Gal Costa and Caetano Veloso.[citation needed] According to Maya Jaggi, "Gil was partly inspired by Jorge Ben Jor, a Rio musician on the fringes of the movement, who mixed urban samba and bossa nova with rhythm and blues, soul and funk."
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Tropicália
Tropicália (Portuguese pronunciation: [tɾopiˈkaljɐ, tɾɔ-]), also known as tropicalismo ([tɾopikaˈlizmu, tɾɔ-]), was a Brazilian art movement that arose in the late 1960s. It was characterized by the amalgamation of Brazilian genres—notably the union of the popular and the avant-garde, as well as the melding of Brazilian tradition and foreign traditions and styles. Today, tropicália is chiefly associated with the musical faction of the movement, which merged Brazilian and African rhythms with British and American psychedelia and pop rock. The movement also included works of film, theatre, and poetry.
The term tropicália (tropicalismo) has multiple connotations in that it played on images of Brazil being that of a "tropical paradise". Tropicalia was presented as a "field for reflection on social history". The movement was begun by a group of musicians from Bahia notably Caetano Veloso, Gilberto Gil, Gal Costa, Tom Zé, and the poet-lyricist Torquato Neto. Later the group moved from Salvador (the capital of Bahia) to São Paulo where they met with collaborators Os Mutantes and Rogério Duprat among others. They went on to produce the 1968 album Tropicália: ou Panis et Circencis, which served as the movement's manifesto.
Tropicália was not only an expression in analyzing and manipulating culture but also a mode of political expression. The tropicália movement came to fruition at a time when Brazil's military dictatorship and left-wing ideas held distinct but prominent amounts of power simultaneously. The tropicalists' rejection of both sides' version of nationalism (the military's conservative patriotism and the ineffectual bourgeois anti-imperialism) was met with criticism and harassment.
The dissolution of the movement by the early 1970s gave rise to a new wave of soloists and groups identifying as “post-tropicalist”. The movement has inspired many artists nationally and internationally. Additionally, tropicalia continues to be a main feature in the original Bahian group and their fellows’ work.
A dominant principle of tropicália was antropofagia, a type of cultural "cannibalism" that encouraged the consumption of disparate influences, both temporal and geographic, as well as categorical, out of which could be created something uniquely Brazilian. It was a blurring of lines and preexisting conceptions of high and low art forms, as well as prestigious and marginalized artistic and political expressions. The idea was originally put forth by poet Oswald de Andrade in his Manifesto Antropófago, published in 1928, and was developed further by the tropicalistas in the 1960s.
While concrete poets were not an initial influence upon the group's works, the two groups, particularly Veloso, Gil, and Augusto de Campos, would go on to share an intellectual partnership in São Paulo. This partnership would help the tropicalistas to form connections with other artists around the city, most notably Rogério Duprat.
Helio Oiticica’s 1967 work “Tropicalia” shares its name and aesthetic with the movement. The movement also utilized Carmen Miranda, a Brazilian/Portuguese international star, who in Brazil had come to be viewed as inauthentic. The use of Carmen Miranda's image and motifs became synonymous with the movement. Veloso in particular would imitate the icons gestures and mannerisms during performances. This usage was intentionally done as a means to address the concept of "authenticity". Miranda was seen as presenting a caricature of what true Brazilian-ness was by Brazilians while international audiences saw her as a representative of Brazil and its culture. This dichotomy provided the means by which the tropicalistas could address the concept of authenticity in such a fashion that it was striking to their audiences.
The 1968 album Tropicália: ou Panis et Circencis is regarded as the musical manifesto of the tropicália movement. Although it was a collaborative project, the main creative forces behind the album were Caetano Veloso and Gilberto Gil. The album experimented with unusual time signatures and unorthodox song structures, and also mixed tradition with innovation. Politically, the album expressed criticism of the coup d'état of 1964. Key artists of the movement include Os Mutantes, Gilberto Gil, Gal Costa and Caetano Veloso.[citation needed] According to Maya Jaggi, "Gil was partly inspired by Jorge Ben Jor, a Rio musician on the fringes of the movement, who mixed urban samba and bossa nova with rhythm and blues, soul and funk."