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ultural origins late 1960s southeastern brazil derivative forms mpb 1 pós tropicalismo other topics jovem guarda samba rock part of a series on psychedelia arts psychedelic art algorithmic art cyberdelic diffraction fractal art liquid light show lsd art paisley phosphene replication psychedelic music acid house acid jazz acid rock acid techno acid trance chillwave cloud rap hypnagogic pop italian occult psychedelia krautrock madchester neo psychedelia palm desert scene peyote song post noise p funk psychedelic folk psychedelic funk psychedelic pop psychedelic rock psychedelic soul psychedelic trance space rock stoner rock trip hop toytown pop psychedelic scenes bosstown sound san francisco sound tropicália zamrock uk underground texas psychedelia woodstock nation new age travellers la onda freak scene mánička psychedelic film acid western hippie exploitation films stoner film psychedelic literature culture counterculture entheogen freak out microdosing psychedelicism smart shop trip sitter drugs 25i nbome 2c b ayahuasca cannabis dmt ibogaine ketamine lsd mescaline peyote psilocybin mushrooms san pedro cactus list of psychedelic drugs list of psilocybin mushrooms psychoactive cactus trip killer experience bad trip cannabis induced psychotic disorder contact high ecology ego death hallucinogen induced psychotic disorder hallucinogen persisting perception disorder therapy treatments for trauma related disorders trip report history acid tests albert hofmann alexander shulgin counterculture of the 1960s peacock revolution david e nichols history of lsd list of psychedelic chemists owsley stanley psychedelic era summer of love timothy leary william leonard pickard law decriminalize nature drug liberalization drug policy of the netherlands drug policy of oregon drug policy of portugal drug policy reform legality of cannabis legal status of psilocybin mushrooms legal status of psychedelic drugs neurolaw psilocybin decriminalization in the united states psilocybin in colorado psilocybin in oregon timeline of psychedelic legalization and decriminalization related topics addiction cannabis cognitive liberty drug checking flower power flower child harm reduction hippie mdma neuroenhancement neuroethics philosophy of psychedelics psychonautics prohibition of drugs rave recreational drug use regulation of therapeutic goods self experimentation surrealism war on drugs lsd in czechoslovakia drug use in music v t e 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 2 contemporarily tropicália became primarily 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 3 the term tropicália tropicalismo has multiple connotations in that it played on images of brazil being that of a tropical paradise 4 tropicalia was presented as a field for reflection on social history 5 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 6 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 2 background edit 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 2 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 2 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 2 musical movement edit gilberto gil founding member of the movement 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 7 caetano veloso performing at the third popular music festival october 21 1967 brazilian national archives the anarchistic anti authoritarian musical and lyrical expressions of the tropicalistas soon made them a target of censorship and repression by the military junta that ruled brazil in this period as did the fact some of the collective including veloso and gil also actively participated in anti government demonstrations the tropicalistas passionate interest in the new wave of american and british psychedelic music of the period most notably the work of the beatles also put them at odds with marxist influenced students on brazil s left whose aesthetic agenda was strongly nationalistic and oriented towards traditional brazilian musical forms this leftist faction vigorously rejected anything especially tropicalismo which they perceived as being tainted by the corrupting influences of western capitalist popular culture the politico artistic tensions between leftist students and the tropicalistas reached a climax in september 1968 with caetano veloso s watershed performances at the third international song festival held in the auditorium of rio s catholic university where the audience not surprisingly included a large contingent of left wing students gal costa in 1969 brazilian national archives veloso had won a major song prize at the previous year s festival when he was backed by an argentinian rock band and although his unconventional performance caused some initial consternation he managed to win over the crowd and was feted as a new star of brazilian popular music by late 1968 however veloso was fully immersed in the tropicalia experiment and his performances which were expressly intended as provocative art happenings caused a near riot in the first round of the competition on 12 september veloso was initially greeted by enthusiastic applause but the mood quickly changed when the music started veloso came on dressed in a bright green plastic tunic festooned with electrical wires and necklaces strung with animal teeth and his backing band os mutantes were also dressed in similarly outlandish attire the ensemble launched into a barrage of psychedelic music played at high volume and veloso further outraged the students with his overtly sexual stage movements the crowd reacted angrily shouting abuse at the performers and booing loudly and their fury was only exacerbated by the surprise appearance of an american pop singer john dandurand who joined veloso on stage and grunted incoherently into the microphone os mutantes 1969 brazilian national archives after such a powerful negative reaction veloso was unsure whether to appear in the second round on 15 september but his manager convinced him to go on and this chaotic performance was recorded live and later released as a single the students in the audience began hissing as soon as veloso s name was announced even before he had even taken the stage wearing the same green costume minus the wires and necklaces veloso came on with os mutantes amid a storm of catcalls and the group launched into a provocative new song veloso had written for the occasion é proibido proibir it is forbidden to forbid the title of which he had taken from a photo of a parisian protest poster which he had seen reproduced in a local magazine the booing and jeering was soon so loud that veloso struggled to be heard over the din and he again deliberately taunted the leftists with his sexualised stage actions within a short time the performers were being pelted with fruit vegetables eggs and a rain of paper balls and a section of the audience expressed their disapproval by standing up and turning their backs to the performers prompting os mutantes to respond in kind by turning their backs on the audience infuriated by the students reaction veloso stopped singing and launched into a furious improvised monologue haranguing the students for their behaviour and denouncing what he saw as their cultural conservatism he was then joined by gilberto gil who came on stage to show his support for veloso and as the tumult reached a crescendo veloso announced he was withdrawing from the competition and after deliberately finishing the song out of tune the tropicalistas defiantly walked offstage arm in arm 4 8 on december 27 1968 veloso and gil were arrested and imprisoned by the military government over the political content of their work after two months the two were released and subsequently forced to seek exile in london where they lived and resumed their musical careers until they were able to return to brazil in 1972 in 1993 veloso and gil released the album tropicália 2 celebrating 25 years of the movement and commemorating their earlier musical experiments 9 critiques edit tropicália s controversy can be traced to the uncertain and unfriendly relationship the members of the movement had with the mass media the movement s emphasis on art clashed with the media s need for mass appeal and marketability tropicália additionally had an image of sensuality and flamboyance this was a protest to the reinstated oppression of brazil s military rule in the 1960s and an additional cause for media pushback in 1968 tropicália events at clubs music festivals and television shows attracted media attention and aroused tension between caetano veloso and gilberto gil and their critics this widespread interest attracted the attention and suspicion of the military who feared tropicália s influence of protest in the cultural realm near the end of 1968 tropicália experienced a shift to a more overt association with international countercultures and movements most notably that of african american black power in the united states the movement was becoming increasingly leftist and pushed for artistic output 10 at a later tropicália concert in the same year during a performance by caetano veloso a riot erupted in the auditorium between tropicalists and supporters of nationalist participant music the nationalists were primarily college students and the uproar culminated with screams and hurling garbage at veloso the nationalist participant group s resistance of the movement was nothing new but this incident was the tipping point of their opposition at the nightclub sucata tropicália shows became increasingly resistant to brazil s military run society due to veloso s refusal to censor the shows to government wishes the military began to monitor tropicália events on december 27 1968 at the peak of government repression caetano veloso and gilberto gil were arrested detained and exiled to london for two and a half years 2 modern critic roberto schwarz addresses tropicália s hand in solidifying the idea of the absurd as a permanent evil of brazil and its issues with an ideological mentality however the approaches of the movement were ever shifting and did not stick to one central idea 11 influence edit carmen miranda in 1950 throughout the 1940s until her death in 1955 the singer and actress carmen miranda made hollywood musicals and performed live before first appearing on broadway in 1939 she had a successful career in brazil throughout the 1930s and was known as the queen of samba yet after she gained international success in the united states many brazilians regarded her elaborate costume and performance as a caricature of brazilian culture 12 in caetano veloso s 1968 song tropicália the musician references carmen miranda whose vulgar iconography were an inspiration caetano veloso has said carmen miranda was a culturally repulsive object for his generation scholar christopher dunn says that by embracing carmen veloso treats her as an allegory of brazilian culture and its reception abroad 2 many tropicalistas have maintained a presence in brazilian popular culture specifically through mpb brazilian pop music gilberto gil and caetano veloso are both respectively popular nationally and around the globe tom zé a tropicalista who had largely faded into obscurity at the end of the movement saw a resurgence of critical an...
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