Brazil, the largest country in South America, is renowned for its vibrant culture and rich history. One of the most significant cultural revolutions in Brazilian history is the Tropicalia movement, also known as Tropicália. Born in the 1960s, this movement was a charismatic and rebellious response to the military dictatorship in Brazil, influenced by American and English rock. Despite being relatively unknown outside of Brazil, Tropicália was a veritable cultural revolution that left a lasting impact on Brazilian society.
A movement born in an authoritarian political climate
The post-war years in Brazil were marked by rapid economic development. However, this boom primarily benefited the wealthy elite, leaving the majority of the population in both urban and rural areas unable to reap the rewards of these “glorious years.” In 1961, João Goulart was elected president and advocated for more social policies and rapprochement with the Soviet bloc. This stance, amid the Cold War, sparked significant tension. Supported by the United States, a military junta led by Marshal Castelo Branco overthrew Goulart, establishing a military dictatorship that would dominate all sectors of Brazilian life. What the coup leaders didn’t anticipate was the cultural revolt that would soon erupt, forever altering Brazil’s cultural landscape. Tropicália emerged as a notable force in this tumultuous era.
The “Summer of Love”, a trigger for Tropicalism
In the late 1950s, Brazilian society was rapidly evolving, both economically and artistically. In the realm of music, the traditional and frenetic samba was giving way to the smooth and sophisticated Bossa Nova, popularized by artists like Vinicius de Moraes, Antônio Carlos Jobim, and João Gilberto. The allure of Bossa Nova extended beyond Brazil, captivating American jazz musicians and making the genre known worldwide. The military coup, however, stifled the spread of Bossa Nova within Brazil. The new regime viewed the music as intellectual and left-leaning, suppressing its influence. The young artists of the time, including Gilberto Gil, Chico Buarque, and Caetano Veloso, quickly felt the oppressive regime encroaching on their creative freedoms. While they respected the legacy of Bossa Nova, they yearned to push boundaries and explore new artistic directions. During this period, the world was pulsating with the sounds of pop music from Europe. Artists like Gil, Veloso, and Buarque, hungry for creative freedom, were inspired by this revolutionary art form. They sought to embrace the rebellious spirit of pop culture and challenge the stifling regime in Brazil. In June 1967, the first-ever international Pop Music Festival was held in Monterey, California, making a global impact. Monterey not only marked the rise of a musical phenomenon but also symbolized a new way of life: rejecting consumer society and embracing a lifestyle centered around love, music, and, for some, drugs. This movement, epitomized by the Beatles’ album “Sgt. Pepper’s Lonely Hearts Club Band,” resonated with Brazilian musicians who were eager to make their mark. A few months later, the Globo Record festival took place in Brazil, featuring Caetano Veloso and Gilberto Gil. They aimed to create their own version of Monterey, making their revolutionary intentions clear.
A “tropical” musical and political protest
At the festival, Veloso performed his new song, “Alegria, Alegria.” Like Bob Dylan two years earlier, Veloso abandoned acoustic backing in favor of an electric group. Accompanied by the Beat Boys, a pop-influenced band, Veloso’s performance was amplified by loudspeakers. Much like Dylan at the Newport Folk Festival, Veloso faced boos and whistles from the audience, who rejected the blending of electric sounds with traditional Brazilian music. Undeterred, Veloso continued to sing, asserting his desire for change. The establishment, particularly the military, did not appreciate this “outrage against traditional culture.” This resistance only fueled the Tropicalia movement further. Young artists like Veloso and Gil aimed to incorporate traditional Brazilian elements into modern music, graphic art, and cinema, creating a syncretic blend of cultures that celebrated freedom of expression. Veloso famously criticized the festival jury as “incompetent” after they eliminated a Gilberto Gil song for vague reasons, highlighting the stifling atmosphere in 1960s Brazil. Revolt was in the air, and the movement was gaining momentum.
The Birth of Tropicalia
The name “Tropicalia” was officially adopted in 1968 with the release of the album “Tropicália: ou Panis et Circencis” by Caetano Veloso and Gilberto Gil. The album featured contributions from key figures like Os Mutantes, Tom Zé, Gal Costa, and Nara Leão, as well as poets José Carlos Capinan and Torquato Neto. The music was a fusion of popular Brazilian music (MPB), pop, and avant-garde ideas, incorporating North American psychedelic influences but retaining a strong political message. The album cover, designed by Rogério Duarte, drew inspiration from Pop Art, particularly the works of the Beatles and Frank Zappa. This provocative record appealed to the followers of the new movement but disgusted traditionalists. Tropicalists made enemies on both sides: the right-wing bourgeoisie accused them of absurdity and deviation, while some left-wing labor movement supporters accused them of using mass media for personal gain rather than proletarian struggles. Despite these criticisms, the movement continued to thrive.
The Establishment Strikes Back
In an attempt to quell the rising dissent, the Tropicalists articulated their rejection of conservative societal values and criticized the schematic views of traditional politics. They drew inspiration from the revolutionary movements of May 1968 in France, advocating for a more just and free society. The Brazilian military responded with increasing repression, culminating in the infamous AI-5 decree (Ato Institucional No. 5) in December 1968, which dissolved the congress and allowed the junta to take drastic measures against “subversive forces.” Tropicalia leaders, including Caetano Veloso, Gilberto Gil, and Chico Buarque, were imprisoned. To avoid international pressure, the military released them on the condition of immediate exile. Veloso and Gil went to England, while Buarque relocated to Italy. In London, considered the epicenter of pop culture, Veloso and Gil had the opportunity to collaborate with musicians they admired, continuing their creative endeavors.
Tropicalia’s Lasting Influence on Brazilian Society
Despite the exile of its leaders, the ideas of the Tropicalia movement endured. Through their audacity and creativity, the Tropicalists initiated a lasting cultural shift in Brazil. Upon their return, they continued to influence Brazilian culture, subtly circumventing censorship until the fall of the dictatorship in 1985. Tropicalia’s impact extends beyond music, affecting cinema, literature, and poetry. However, its most profound influence remains in the musical landscape. The diverse musical currents that define contemporary Brazilian music owe their existence to the revolutionary efforts of the Tropicalists. These young artists, driven by a love for creativity and freedom, paid a high price to align Brazil with the cultural upheavals that shaped the world in the 1960s. Tropicalia was more than just a musical movement; it was a cultural revolution that defied an oppressive regime and championed artistic freedom. Its legacy continues to resonate in Brazil’s vibrant cultural scene, reminding us of the power of creativity and resilience in the face of adversity. As we look back on this pivotal era in 2024, the spirit of Tropicalia inspires a new generation to embrace their heritage while pushing the boundaries of artistic expression. This ongoing influence highlights the enduring power of cultural movements to shape and redefine societies.
