Tropical ginsberg

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18 definida, o tropicalismo introduziu a fratura.” 18 Even though the Tropicália emerged as a musical movement, it became a cultural phenomenon, having manifestations in the realms of fine arts, theatre, literature, and cinema, as I will later on point out in chapter 5, “Tropicália, or Panis et Circensis.” Intrinsic with the Tropicália, was the ‘marginal’ culture of Brazil. Glauco Mattoso caracterizes the “marginal” as, “tudo que não se enquadrasse num padrão estabelecido[...] cabelo comprido, sexo livre, gibi, gíria, rock, droga e outras bandeiras recentes que tipificam um fenômeno de rebeldia das novas gerações ocidentais denominado justamente contracultura.” 19 This “marginality” which many fine art artists, movie and theatre directors, thinkers, musicians, and artists in general had, was a peculiar trait of Brazilian counterculture. Hélio Oiticica, self-acclaimed marginal, even did a montage with a picture of a famous drug lord of the time, the picture showed the drug lord’s dead body, and Oiticica wrote on top of the picture: ‘Seja marginal, seja herói,’ 20 Considering that the military dictatorship that ruled the country viewed anything that did not fit the established pattern as dispensable, these artists were definitely very audacious to have affirmed their marginality. Much like the engageé counterculture which Ginsberg helped to create, the Tropicália also helped identify Brazilian counterculture. Both Ginsberg and the tropicalistas managed to challenge the “elite” artists of their time through their work. With their “marginal” art, Ginsberg and the tropicalistas entered into direct confrontation with a great number of critics and artists who made a clear distinction between refined art, and popular art. This distinction between the popular and the refined is well portrayed by Raymond Williams in his book, Keywords: A Vocabulary of Culture and Society. Williams defines popular as 18 Ibid. 11. Which reads “was born in a country hardened by manichaeisms which infiltrated the artistic sectors, restraining many forms of creation. In relation to this order, distinct and defined, the tropicalismo introduced the fracture.” Author’s translation. 19 Mattoso, Glauco. O Que É Poesia Marginal. São Paulo: Brasiliense. 1981. 8. Which reads “everything which did not fit in an established pattern[…]long hair, free sex, comic books, slang, rock, drug, and other recent flags which typify a phenomenon of rebellion of the new eastern generations exactly named counterculture.” Author’s translation. 20 Which reads, “Be a marginal, be a hero.” Author’s translation.
19 Originally a legal and political term, from popularis, Latin – belonging to the people[…]but there was also the sense of ‘low’ or ‘base’[…] Popular culture was not identified by the people but by others, and it still carries two older senses: inferior kinds of work (popular literature, popular press as distinguished from quality press); and work deliberately setting out to win favour (popular journalism or popular entertainment); as well as the modern sense of well-liked by many people, with which, of course, in many cases, the earlier senses overlap. 21 This was the sort of reasoning which Ginsberg and the tropicalistas were forced to argue against. By affirming their “marginal” side, and letting loose their countercultural ‘yawp,’ Ginsberg and the tropicalistas were not only confronting the establishment or status quo, but also affirming their political stance of “I will fight for my rights!” One of the most brilliant things about Ginsberg and the tropicalistas was their ability to mix different styles. The way they proposed their countercultural art was baffling for most artists, as it was obviously popular, but it also carried a highly elaborate criticism towards social structures with inherited flaws of the system, as well as arguable traces of well thought language application, as will be discussed later on in chapters 3, 4, and 5. Ginsberg’s ability to join T.S. Eliot with Walt Whitman in his verses, and the tropicalistas’ ability to unite the archaic bongo with the ultra-modern guitar distortion in their songs was something totally new, and left many artists and critics uneasy with the possibility of a revolution starting from the marginal part of society There is ample material published which discusses the anthropophagy performed by the tropicalistas, a cultural assimilation process, where the artist devours an entire culture and (re)produces something new. This cultural canibalism was inspired by two manifestos written by Oswald de Andrade. The first one was the “Manifesto da Poesia Pau-Brasil,” 22 published in 1924, and which Christopher Dunn considers a “suggestive metaphor for a ‘native’ cultural project informed 21 Williams, Raymond. Keywords: A Vocabulary of Culture and Society. London: Fontana. 1983. 236-237. 22 Which reads “Brazilwood Poetry Manifesto.” Author’s translation.
Page 1: UNIVERSIDADE FEDERAL DE SANTA CATAR
Page 4 and 5: 2 Catalogação na fonte pela Bibli
Page 6 and 7: 4 To the Empress, for reasons far b
Page 8 and 9: 6 ABSTRACT Through a dialogical rel
Page 10 and 11: 8 TABLE OF CONTENTS CHAPTER I Intro
Page 12 and 13: 10 Although Tropicália coalesced a
Page 14 and 15: 12 America people began to change t
Page 16 and 17: 14 CHAPTER II Defining Concepts The
Page 18 and 19: 16 poetry as a new “revolutionary
Page 22 and 23: 20 by contemporary international tr
Page 24 and 25: 22 relationship to the object (for
Page 26 and 27: 24 way, or no way. Americans entere
Page 28 and 29: 26 grounds of the world became even
Page 30 and 31: 28 did not want to risk a major con
Page 32 and 33: 30 3.4 Global Dominance Race Begins
Page 34 and 35: 32 Minh’s army, and a cease fire
Page 36 and 37: 34 However, America’s success was
Page 38 and 39: 36 As Kennedy was commemorating 100
Page 40 and 41: 38 that could not be asked, neither
Page 42 and 43: 40 and now controlled its will. For
Page 44 and 45: 42 States. To oppose war meant that
Page 46 and 47: 44 Alongside Day on all her struggl
Page 48 and 49: 46 economic, and political. Even th
Page 50 and 51: 48 bourgeois or aristocrats.” 97
Page 52 and 53: 50 Finally, there is also the biogr
Page 54 and 55: 52 Mass media was then a promising
Page 56 and 57: 54 them - proved to be quite a “n
Page 58 and 59: 56 later be summed up on Médici sl
Page 60 and 61: 58 between the artists prevailed ab
Page 62 and 63: 60 Oiticica’s art and ideas were
Page 64 and 65: 62 The first phase of the Cinema No
Page 66 and 67: 64 imported distinguished directors
Page 68 and 69: 66 artists of the highest caliber m
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68 songs of protest. The music itse
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70 instruments, and singers’ voic
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72 could have imagined that that se
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74 “repente” 166 of Tom Zé, co
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76 However, the onus of this mass a
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78 Deslocar a arte do espaço no qu
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80 Ginsberg and other beat writers,
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82 for older poets, but it was exac
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84 like Vicente Celestino, 193 Catu
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86 their poetry and songs. The atom
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88 “macumba.” In both cases the
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90 connection, only a stream of wil
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92 6.4. Poetic Bodies in Action The
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94 artists of the time were ignorin
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96 of the cool youth of the United
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98 which would bring freedom and ju
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100 into myths, Caetano repeatedly
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102 wrong to consider such artists
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104 Americans of the 1950s as a nob
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106 Primary Sources REFERENCE LIST
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108 Chomsky, Noam, and Herman, Edwa
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110 Mendes, Murilo. “Pirâmide,
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112 U.S. Department of State Online
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114 lightning in the mind leaping t
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116 who howled on their knees in th
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118 who were burned alive in their
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120 and who therefore ran through t
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122 Breakthroughs! over the river!
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124 “America” America I've give
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126 Bloor made me cry I once saw Is
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128 “Sunflower Sutra” I walked
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130 So I grabbed up the skeleton th
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132 The warm bodies shine together
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134 “Batmacumba” Batmakumbayêy
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136 “Geleia Geral” Um poeta des
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138 Sem lenço sem documento Nada n
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