Amandavelr

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Post Tropicalia[edit | edit source]

Tropicalia introduced two very unusual movements to modern Brazil- antropofagia and concretism. In addition to this was pop music from abroad that helped inaugurate postmodernism in Brazil. In spite of the falling-outs and violence, there is a permanence of tradition in Oswald’s antropofagia, who at one point of time conflicted with the idea of Romantic Indianism of the nineteenth century. These ideas were and still are seen in theaters and people’s notions that involved a relationship that tied back to a longer history of poetic creations.

Moreover, members of Tropicalia who were not arrested or tortured, voluntarily escaped into exile in order to get away from the strict and repressing authorities. Many continuously went back and forth between different countries and cities. Some were never able to settle down. People like Caetano, Gil, and Torquato Neto, spent time in places like London, New York, or Paris. Some, but not all, were allowed to return to Brazil after years had passed. Others, still could only stay for short periods of time.

At the same time, underground magazines were expanding and this gave those who were overseas a chance to speak up about their experiences. Oiticica, for example, was one who moved to New York and published a magazine article titled, “Mario Montez, Tropicamp.”  The names for the titles that were used related to the risky and systematic aims during the times of Tropicalia. These magazines also told the stories of others who were in the United States and home in Brazil.  By Tropicalia going underground, there was a unity of the members within the group because people like Oiticica sent these writing to Brazil so that the articles could circulate locally.

1. Jump up^ 
2. Jump up^ 
3. Jump up^ Cruz, Max (September 2011). "TROPICAMP: PRE- and POST-TROPICLIA at Once: Some Contextual Notes on Hlio Oiticicas 1971 Text". Afterall: A Journal of Art, Context and Enquiry.