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Bahia

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The Tropicalia Movement

The Tropicalia was one of the most important cultural revolutions in Brazilian culture. (according to Tate) It was a creative movement that originated in the late 1960’s, covering many disciplines but was most known as a music movement.

Jill Drower describes Tropicalia as ‘a creative explosion and a political movement wrapped into one’.

Tropicalia was specifically coined by artist Helio Oiticica when describing his exhibit in Rio de Janeiro in 1967, and was also famously used as an LP name from a collection of experimental Brazilian musicians in 1968.

During the 1950s and early 1960s there was optimism amongst Brazil as new president Juscelino Kubitschek had just been elected. There was promise for stability in a country that had been unstable for decades. At this time artists were blossoming into new creative approaches with interactive art and abstraction.

But in the late 1960s the western world was also going through a cultural change, the US was at war with Vietnam.

But a military coup backed by the USA brought an oppressive right wing government into power. The US began cracking down on the rise of socialism within Brazil, the military dictatorship censored and froze certain kinds of artistic production, especially that which opposed the regime. The dictatorship lasted 21 years, had 5 military mandates and instituted 16 new institutional acts (laws).

But in doing so sparked an ever bigger revolt within the Brazilian leftist community, leading artists and musicians to fight for freedom of expression through creativity. But at the same time Rock music had begun to enter Brazil from North America, many Brazilians saw it as a threat to Brazilian culture, and were also critical of the role of the US government supporting the dictatorship. Some artists even took part in a march against the electric guitar, which they saw as a symbol of american imperialism. (source: https://medium.com/@ruoso/to-understand-brazilian-music-the-march-against-the-electric-guitar-8e7ed615724)

Tropicalia sought to unify Brazilian culture and stand against being white washed and silenced by the US government. This development of the movement was instigated by Caetano Veloso, who created a manifesto for Tropicalia in the form of the album “Tropicalia: ou Panis et Circencis”

Tropicalism completely redefined Brazilian music, which up until this point had its peak with the jazzy samba genre Bossa Nova. Tropicalism extended into fashion, defying the norms of masculinity and morality.

Sources:

https://blog.pimsleur.com/2020/09/03/history-tropicalia-music/

https://medium.com/@ruoso/to-understand-brazilian-music-the-march-against-the-electric-guitar-8e7ed615724

https://www.tate.org.uk/art/artists/helio-oiticica-7730/story-helio-oiticica-and-tropicalia-movement#:~:text=Tropic%C3%A1lia%20was%20a%20creative%20movement,regime%20of%20the%20military%20government.

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Artists Hélio Oiticica, Lygia Clark, Rogério Duarte and Antonio Dias used anthropophagia in the sense of a cultural and musical cannibalism of other societies.

Embracing the writings of the poet Oswald de Andrade (1890-1954), who wrote the Manifesto Antropófago ( Cannibal Manifesto) in 1928, they argued that Brazil's history of cannibalising other cultures was its greatest strength and had been the nation's way of asserting independence over European colonial culture. The term also alluded to cannibalism as a tribal rite that was once practised in Brazil. The artworks made as a result of this concept stole their influences from Europe and America but, ultimately, were rooted in the cultural and political world of 1960s and 1970s Brazil.

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Artists Hélio Oiticica, Lygia Clark, Rogério Duarte and Antonio Dias used anthropophagia in the sense of a cultural and musical cannibalism of other societies. Embracing the writings of the poet Oswald de Andrade (1890-1954), who wrote the Manifesto Antropófago ( Cannibal Manifesto) in 1928, they argued that Brazil's history of cannibalising other cultures was its greatest strength and had been the nation's way of asserting independence over European colonial culture.

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abi - biography

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Scannable Document on 14 Mar 2023 at 11_59_34 am

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Amelie AW

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"Tropicália began in the late 1960s. The entire Western world was going through cultural change."
"In South America, Brazilian popular culture was going through a more drastic upheaval, as the country’s democratically elected president was overtaken by the military. Soon after taking control, the military dictatorship censored and froze certain kinds of artistic production, especially those it saw as critical of the regime."
"Tropicalism redefined Brazilian music—which, until 1967, seemed to have had its peak with Bossa Nova, a mix of jazz and samba. With a completely new style, Tropicalists like Caetano Veloso and Gilberto Gil mixed psychedelia with Maracatu, samba, pop, and Capoeira. In doing this, they saw themselves as confronting the elitist musical genres and the more conservative roots of Bossa Nova."
"Tropicalism became a cry for freedom in the midst of a repressive culture and the most tyrannical regime in Brazil’s history. "

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Ramsay Lewis

[Total: 5 Average: 5/5]

Learn Portuguese While Discovering Tropicália - Brazil's Legendary Musical Revolution

Portuguese is the fifth most spoken language in the world, with almost 200 million native speakers in Brazil alone. It's spoken in over 10 other countries across 4 continents.

Map of the Portuguese language in the world" from Wikipedia (License Creative Commons)

There are a ton benefits from learning Portuguese: it could improve your job prospects in an increasingly globalized world, it could enrich your travel experiences... or it might simply allow you to watch your favorite Brazilian Netflix shows and not miss anything in translation!

But, in addition to all that, learning Portuguese can also give you the opportunity to connect with a number of cultures all over the world in a much richer and more authentic way. And, the converse is true, too: experiencing the cultures of Portuguese-speaking people can give you a unique insight into the language.

In this article, I want to introduce you to one of the most important cultural revolutions that you probably haven't heard of: Tropicália or "Tropicalism". Knowing a little about the Tropicalist movement can bring you closer to Brazilian Portuguese and give you a better understanding of Brazilian culture.

What is the Tropicália Movement?

Tropicália or "Tropicalism" was a rich multicultural revolution that erupted over Brazil through music. Photo via Tumblr

Tropicália hasn't made it to many museums, but it was a revolution so strong that Brazilian music-and politics-would never be the same after.

You may never have heard that name before, but you might have come across some of the art that came out of the Tropicalism movement, or some of the music influenced by it. Tropicalism has been cited as an influence by rock musicians such as David Byrne, Beck, The Bird and the Bee, Arto Lindsay, Devendra Banhart, El Guincho, Of Montreal, and Nelly Furtado.

How Did Tropicália Begin?

Tropicália began in the late 1960s. The entire Western world was going through cultural change. The U.S. was engaged in a war in Vietnam, while young people were flocking to the hippie movement and endorsing peace and love.

In South America, Brazilian popular culture was going through a more drastic upheaval, as the country's democratically elected president was overtaken by the military. Soon after taking control, the military dictatorship censored and froze certain kinds of artistic production, especially those it saw as critical of the regime.

The military dictatorship in Brazil lasted 21 years, had 5 military mandates, and instituted 16 institutional acts-legal mechanisms that were created on top of the constitution. During this period there were restrictions on freedoms, repression of opponents of the regime, and censorship of cultural material. Photo by: Evandro Teixeira

At the same time as this important political change, Rock music began to enter Brazil from North America. Many Brazilian artists were concerned about the arrival of Rock in Brazil, seeing it as an invasion of foreign music and a threat to Brazilian culture. These people were also critical of the role of the US government in supporting the dictatorship. Some artists even protested in a march against the electric guitar -what they saw as a symbol of American imperialism.

It was during that time that one of Brazil's most famous singers, Caetano Veloso, performed at the Festival Record de Música Popular Brasileira (the "Popular Music of Brazil Record Festival")-with the song Alegria, Alegria ("Joy, Joy"), which mixed Brazilian rhythms with electric guitar rock.

Caetano Veloso

The performance shocked the audience, as Veloso intended. Gilberto Gil, another of Brazil's most famous musicians, supported Veloso with a rock version of his song Domingo no Parque("Sunday in the Park"). These performances marked the beginning of Tropicália-a kind of fusion of the rebellious rock'n'roll from the United States with the native rhythms of Brazil's traditional music.

Tropicália Sought to Unify Brazilian Culture

Tropicália was initiated by Caetano Veloso and also elaborated by him. The lyrics to his song Tropicália describe this melding of the people and cultures into one Brazilian, multicultural identity. The song demonstrates this, blending the influence of African rhythms, with American and English guitars and drumming in a pop-rock style. Ultimately Caetano and his collaborators created a "manifesto" for the movement in the form of an album: Tropicália: ou Panis et Circencis.

Tropicalism redefined Brazilian music-which, until 1967, seemed to have had its peak with Bossa Nova, a mix of jazz and samba. With a completely new style, Tropicalists like Caetano Veloso and Gilberto Gil mixed psychedelia with Maracatu, samba, pop, and Capoeira. In doing this, they saw themselves as confronting the elitist musical genres and the more conservative roots of Bossa Nova.

Tropicalism became more than simply a musical revolution, but an aesthetic one. With necklaces, dresses, and makeup-symbols that flew in the face of the norms of the time about masculinity and morality-Tropicalist artists like Caetano Veloso had very rich visual references.

Arnaldo Baptista, from the rock group Os Mutantes, wore Romeo and Juliet-style clothes with a traditional northeastern Brazilian hat and a haircut that imitated the Beatles. His bandmate, Rita Lee, dressed in colorful clothes, witch hats, wedding dresses, and symbols of the American flower power movement. Their visual influences ranged from Brazilian icon Carmen Miranda to Andy Warhol's pop art, always aiming to be exaggerated, colorful, flashy, and strong-like Brazilian culture.

A Critique of Brazilian Mainstream Culture-and Politics

The Tropicalist movement caused transformations not only in music, but also in film, theatre, and poetry. The movement aimed to challenge the restrictive and conservative traditions of the past and challenged popular norms of morality and behavior. Through it, the hippie counterculture was brought into Brazil, including the symbols of peace, the fashions of long curly hair, and brightly colored clothes.

More than simply a cultural criticism, it was a political one. One song of Veloso's, É Proibido Proibir ("It's Forbidden to Forbid") was a very direct criticism of the dictatorship's censorship. The Tropicalist performances and shows fed a fire of resistance against the military dictatorship. In response, the government responded by trying to censor the Tropicalists.

At the end of 1968, Caetano Veloso and Gilberto Gil were awoken by police and taken to prison. They were arrested without charge, held in solitary confinement for months, and finally exiled to England until the early 1970s when they were allowed to return to Brazil.

Tropicalism became a cry for freedom in the midst of a repressive culture and the most tyrannical regime in Brazil's history. But this cry lasted only a year before it was being repressed by the military dictatorship. Still, it's short life had long-lasting effects: it started the embers of the counterculture that would eventually end the dictatorship and changed Brazilian music forever.

The 5 Best Artists and Albums to Discover Tropicália

Interested in discovering the music at the center of this cultural and political revolution? I've collected some of the classics here; just choose an artist, start listening, and learn a little more Portuguese. Here are five of the best artists and albums to discover Tropicália.

1. Various Artists: Tropicalia ou Panis et Circensis [1968]

The album represents the apex of the Tropicalist movement and gathers the greatest names of Tropicalism: Caetano Veloso, Gal Costa, Gilberto Gil, Nara Leão, Os Mutantes and Tom Zé. Listen to Panis et Circensis (by Os Mutantes) as a good starting point.

2. Os Mutantes: Os Mutantes [1968]

Try the classic Baby for a taste of Os Mutantes ("The Mutants").

3. Tom Zé - A Grande Liquidação (1968)

One of the most popular tracks from this album by Tom Zé is São São Paulo and is a great place to start.

4. Gal Costa: Gal Costa (1969)

Check out especially Baby on this classic album by Gal Costa.

5. Novos Baianos: Acabou Chorare (1972)

The Novos Baianos were among the most famous bands in Brazil. Check out their track Mistério do Planeta (Novos Baianos) for some of their work that comes directly from the Tropicália movement.

Understanding Brazilian Culture Will Help You Learn Portuguese

Brazil is more than soccer, the rainforest, and Carnival. The culture of this country that is the size of a continent is a rich fusion of European, Asian, and African cultures together with the various indigenous communities. Brazil has created something unique from bringing all these influences together. Tropicalia was powerful in that it did that in a new way; it merged popular American rock music with its own language and sounds to create something completely new.

Language and culture are interconnected; understanding one helps you understand the other. The Tropicália movement had a massive effect not just on the art of the 1960s, and not just on politics, but on how Brazilians saw themselves.

If you are learning Portuguese and want to learn more about this period of Brazilian history, check out this documentary. You can activate Portuguese subtitles to further improve your learning, or, if you prefer, you can activate machine translation in English.

If you haven't already, get your free lesson from Pimsleur to start learning Portuguese. The Pimsleur method is one of the most effective ways to learn a language. But also, don't forget that learning a language can be much easier and more fun when you build in some real contact with culture! The music of Tropicália might be just the thing to get you motivated to properly learn Brazilian Portuguese.

Thinking about learning Portuguese? Try a FREE LESSON on Pimsleur.

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Tropicália: The Most Important Musical Movement You've Never Heard Of | The Pimsleur Language Blog

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Ramsay Lewis [Total: 5 Average: 5/5] Portuguese is the fifth most spoken language in the world, with almost 200 million native speakers in Brazil alone. It's spoken in over 10 other countries across 4 continents. There are a ton benefits from learning Portuguese: it could improve your job prospects in an increasingly globalized world, it could enrich your travel experiences...

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another link to a biography on allmusic

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Tom Zé Biography, Songs, & Albums | AllMusic

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Tom Zé biography and history on AllMusic including birthday, best songs, existing and new album information, and more.

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Tropacalia movement:
-was in revolution of Brazilian dictatorship in the 60s
-lots of the artists were disconnected from the government, many went into exile due to the political motivations of the movement
-took lots of influence from western culture as well as Brazilian subcultures in the 20s and 30s
-Skip to 9mins for mention of Tom Ze
-Tom Ze was from Salvador, the same as other influential Tropicalia artist
-Was a movement to go against dictatorship, censorship and embraced freedom

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Useful and short introduction to Toms life and musical influences/ movements

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Tom Zé is a Brazilian songwriter, multi-instrumentalist and composer. Zé was one of the pioneers of the South American Tropicalismo Movement of the 1960s, and he, like Caetano Veloso, Gilberto Gil and Gal Costa, was highly influential during that time.

Tom Zé was born on October 11, 1936 in the Bahia Hinterlands of Brazil. As a child, he was highly influenced by the local folklore and the Brazilian Sambas de Roda. He also cited Jackson do Pandeiro and Luiz Gonzaga as great influences, and other artists that he regularly listened to on the National Radio. In 1951, Zé moved to Salvador to further his education. However, he soon joined the "CPC", where he researched Brazilian folklore. Soon, Zé joined the "Music College of Bahia", where he studied the violin and the cello with Walter Smetak, the piano with Aida Zolinger, instrumentation with Lindembergue Cardoso, orchestration with Sergio Magnani, and composition with Ernst Widmer. He also took classes in harmony and counterpoint with Jamari Oliveira and Yulo Brandao respectively.

His involvement with the Tropicalismo movement started in 1963 when he met Gilberto Gil and Caetano Veloso at a meeting that was being held by Maria Muniz (a Brazilian Actress). Zé agreed to star in a musical which was to be directed by Veloso and was to feature Gal Costa, Maria Bethania, Perna Froes, as well as Gil Gilberto. The musical was an immense success and it led to recording contracts for almost all of the artists involved, including Zé. He then went on to release the singles " Maria do Colegio de Bahia" and " Parque Industrial". During this time, Zé was also a part of the Nova Bossa Velha group.

Zé wrote his first LP somewhere in the 1960s, but he had it recorded and released in 1972. The self-titled LP was highly successful and it attracted plenty of attention. In 1973, Zé released " Todos os Olthos", which was followed by " Estudando o Samba" in 1976 and " Correio da Estacao do Bras" in 1977. His tours in the 1970s were sparse; they included a university circuit with Vicente Barreto in 1976, and a few Gal Costa shows at Sao Paulo. However, Zés popularity suffered at the hands of his exceptionally complex musical ideas, and by 1987 he had returned to his hometown to work at his nephew's gas station.

In 1989, David Bryne, a Scottish Musician who was at the time a songwriter for "Talking Heads", discovered Zé's 1976 record " Estudando de Samba ". Bryne was tremendously impressed by the record and he set out to Brazil to look for Zé. Bryne then signed Zé as his first artist for his 'Luaka Bop Label', and in 1991, Zé released a compilation album titled "The Best of Tom Zé". The album got positive reviews from the Rolling Stones, New York Times, and Billboard and also won a creativity award at Telluride, Colarado. Zé followed his success with another release titled "Hips of Tradition" in 1992.

Zé spent the rest of the decade touring the United States, the United Kingdom, and Brazil. He continued his collaboration with Luaka Bop and released several records with them. His total records after 1997 number well over thirteen. His most recent record was a compilation album from his Tropicalismo days titled " Tropicalia Lixo Logico".

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Tom Zé - Composer Biography, Facts and Music Compositions

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Tom Zé is a Brazilian songwriter, multi-instrumentalist and composer. Zé was one of the pioneers of the South American Tropicalismo Movement of the 1960s, and he, like Caetano Veloso, Gilberto Gil and Gal Costa, was highly influential during that time. Tom Zé was born on October 11, 1936 in the Bahia Hinterlands of Brazil.

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Irara (Ze's hometown) and Sau Paulo (residence during music career)

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“Whistle” i found on the British museum online collection. Found in Brazil, Goias. Made by Kraho

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Scannable Document on 14 Mar 2023 at 11_10_31 am

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eden b

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eden b

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3. instrumental and song structure (Eden L)

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3. instrumental and song structure (Eden L)

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Music of "street and street riot".
Zé's unique creativity as a modern troubadour is a fascinating outgrowth of formal musical education with a concentration in classical cello. He began his musical life with songs of prosaic streetlife and pastoral paeans to his tiny home town, Irara. Later, he became known as one of the most ironic Brazilian Tropicalistas with songs of satire and politics, songs loaded with dense metaphorical content. By the mid '70s, he took the experimental route by creating music with blenders, floor polishers, radios, typewriters and "prepared" acoustic guitars.

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(Eden L)

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A successful Brazil vacation thrives on good accompanying music. Brazilian music is extremely versatile and immediately captivates even non-professionals with its sense of rhythm. This is mainly due to the characteristic instruments used in samba and co. These instruments have widely ramified roots: they originally come from Africa, Portugal, or other European countries. What is special about the Brazilian instruments is that they have evolved over the centuries to accommodate the different musical styles in Brazil.

Most Brazilian instruments can be categorized as percussion. They have mainly - but not exclusively - African roots. Slaves from various African countries introduced them to Brazil along with their cultures and religions. These are percussion instruments such as bells, drums, or rattles, whose traditional functions were refined and adapted to Brazilian musical styles. Very special instruments of percussion in Brazil are:

The iron bells are typical of all Afro-Brazilian cultures. They give structure to the music and are struck with a stick. Depending on where the stick hits, different sounds are heard.
The classical samba agogô consists of two bells, which are connected by an elastic round iron and can be pressed together. In this way, the characteristic click of the samba is heard.
A special form are four-bell agogôs with four bells attached next to each other. They can be used to play more extensive melodies, such as those regularly heard in the sambodrome at the carnival in Rio de Janeiro.

These large drums are usually played by hand and are used in every samba session as well as in the martial art capoeira. Here, the atabaques often take on an accompaniment role for other Brazilian (percussion) instruments. In samba rounds in Bahia, the traditional drums are used at will, depending on which instruments are available.

The sound bow with calabash is the leading instrument in capoeira and determines the rhythm and playing speed. The berimbau is held with the weaker hand and bent in front of the body. Depending on the tone the player wants to produce, whether clear or buzzing, he strikes the string or the sounding calabash with a stick at different heights, changing the grip position if necessary.

One of the most popular Brazilian instruments is the shell tambourine, which was brought to Brazil by the Portuguese colonizers. It is played with the fingers and the ball of the hand. If the pandeiro is held horizontally, the sound of the bell is particularly effective. The instruments can be covered with synthetic or natural skins, the latter sounding more subtle.

It is impossible to imagine the street carnival in Recife without these drums, as they form the center of the maracatu groups. Especially for this Brazilian music style, they are indispensable. The Alfaias come in three sizes, each with a different playing function. Skilled players stand with bent knees above the drum and hit the head with their stick near the center. Only after long practice do they succeed in the dexterous hand movements necessary to control this Brazilian instrument.

Shaking instruments like the xequeré have the task of combining all other instruments into one unit. In the natural version, the rattle is made from a hollowed-out calabash gourd covered with a net full of seeds, beads, or shells. In modern form, a fiberglass body is used. When the calabash is played, the net strikes against the sounding body and produces the desired sounds. The instrument is usually held with the weak hand, moved rhythmically back and forth, and struck. The xequeré is involved in many Brazilian musical styles. It is used in samba as well as in maracatu and Salvador's axé.

Today's Brazilian stringed instruments date back to the Portuguese conquerors. They include the seven-string guitar, the guitar, the mandolin, and the cavaquinho (small guitar). The latter is one of the characteristic Brazilian instruments and has an exceptional position in the samba as the only melodic instrument that completes the sound picture with its harmonies.

Maybe you would like to try playing Brazilian instruments yourself after reading this? As part of a trip to Brazil, the opportunity to do so is sure to arise. The team of Aventura do Brasil is looking forward to advise you and to plan your musical dream trip with you!

Source: Aventura do Brasil

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Michael Krämer und das Aventura do Brasil Team

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Special Instruments of Brazilian Music | Aventura do Brasil

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A successful Brazil vacation thrives on good accompanying music. Brazilian music is extremely versatile and immediately captivates even non-professionals with its sense of rhythm. This is mainly due to the characteristic instruments used in samba and co. These instruments have widely ramified roots: they originally come from Africa, Portugal, or other European countries.

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instrumentals/ song structure: wave visual of song with colour interpretation

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instrumentals/ song structure: wave visual of song with colour interpretation

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https://wavevisual.com/editor?id=GCPwAuw4gWTzspfg2X8u - link for the site

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jade

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Amelie AW

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celina

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Amelie AW

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Amelie AW

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Amelie AW

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Barrel

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eden b

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Barrel

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Scannable Document on 14 Mar 2023 at 10_11_33 am

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Upload the outcome of your research task - label it with your name and the activity you selected. Connect it to either Primary or Secondary!

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Part of his 1976 album “Estudando o somba”

Growing up he was influenced by Brazilian musicians, listening to the radio. He was influential in the Tropicalia movement in the 1960s but began to move away from the genre due to the military dictatorship in Brazil (1964). - led to his experimentation with music - instruments & style

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https://youtu.be/UJdXrL4nYOQ

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Film/documentary
- Tom creates his own instruments
- makes electro-acoustic instruments using local materials
- uses calabash gourds to increase the sound resonance and uses a one string instrument

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Tom Zé - Menina Amanhã de Manhã + Explicação sobre história da música

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Post you Secondary research below

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Post your primary research below

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https://www.youtube.com/watch?v=5XwxvmyNVsg

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Please upload your visual research result as a pdf here
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