2-17-2016
LAS/POR 204
Paula Gandara
The Immortality of Caetano’s Indian
In a contemporary context, Brazilians have become a unique simulacrum of a melting pot of national identities and cultures. This modern mixture, known as Lusotropicalism, has become truly a defining characteristic of Brazil’s national identity today. However, albeit the fact that this fusion of indigenous, Portuguese, and African identities has produced one of the most distinct cultures in the world, Lusotropicalism carries a semi negative connotation as it exhibits the partial or apparent dissolution of certain portions of the three original and separate racial identities. Arguably the most forgotten of any of these identities and cultures is that of the indigenous. (Class Discussion, 1-29-2016) However, as is exemplified in Caetano Veloso’s ‘An Indian’, the indigenous’ identity is potentially the purest and most vital of the three, and through its inherent connection to nature and the spirit of the Earth, will never truly be forgotten. Through an analysis of both specific excerpts from the song, and differing primary sources, the conclusion will be reached that because of their distinct identifying characteristics, above the other identities, Caetano gives the ‘reemergence’ of the Indian an almost Christ-like depiction, and through this depiction it becomes apparent why specifically the song’s hero must be indigenous.
The indigenous Indians of Brazil had, since well before the Portuguese finding of the land, thought themselves to be deeply connected to and rooted within the nature surrounding them. This is evidenced clearly in the first episode of O Povo Brasileiro as their lifestyle is described as being “one with nature in all things.” (Ribeiro, 2-16-2016) Caetano exemplifies this connection in two lines of his song as he sings, “Together with the spirit of birds of fountains of clear water, more advanced than the most advanced of the most advanced technologies.” (Veloso, 1977) Illustrated here is something novel about the indigenous’ identity that neither the Portuguese nor the Afro-Brazilians possess. Caetano continues this description later in the song, “In all solid, all gas and all liquid, In atoms, words, soul, color, In gesture, smell, in shadow, in light, in magnificent sound.” (Veloso, 1977) This defining characteristic of the indigenous, being a seemingly omnipresent spirit, puts their culture and identity on a pedestal for Caetano. It should be postulated that this is because the connection to nature is not at all one that solely relies on the aesthetics of their surroundings. Rather, this connection is something deeper - a more inherent and internally beautiful concept that defines them as a race, and forces them to the forefront of ‘An Indian’, rather than either the Portuguese or an Afro-Brazilian. (Class Discussion, 1-29-2016)
Furthermore, Caetano’s depiction of the strength of the Indian remains consistent with previous descriptions of the indigenous, as well as their practices and ways of living. Caetano writes,
He will come undaunted like Muhammad Ali, he will come, I saw it. He’ll come as passionately as Peri, he will come, I saw it. He will come as quiet and infallible as Bruce Lee, he will come, I saw it. He will come as the axé of the afoxé, Sons of Gandhi. He will come. (Veloso, 1977)
This illustration of strength, and the utilization of powerful figures such as Muhammad Ali and Bruce Lee prove the Caetano sees the Indians in truly a strong light. As aforementioned, this is consistent with previous depictions. In The Letter of Pero Vaz de Caminha, one of the first interactions with the indigenous is described as, “They were dark brown and naked, and had no covering for their private parts, and they carried bows and arrows in their hands. They all came determinedly towards the boat.” (Caminha, 42.) The usage here of the word determinedly gives credence to the idea that the Indians are friendly, curious, but above all brave. (Class Discussion, 2-3-2016) This is not to detract from the strength, curiosity, or friendliness of the Portuguese or the Afro-Brazilians, however for the indigenous, being so outright and forthcoming to what could potentially be intruders, it truly exemplifies an innocent acceptance and willingness to share cultural identity.
In addition to the aforementioned characteristics of the indigenous, there is one more defining trait that allows for the indigenous to be the hero of ‘An Indian’ in a Christ-like reemergence, and that is their unique connection with religion and rebirth in the ‘Land of the True Cross’ (cf. Caminha). Granted, the two “religions” are all but entirely different, rebirth existed as a common and prominent theme in indigenous culture through cannibalism. O Povo Brasileiro portrays the indigenous’ practice of war, and the cannibalistic ritual that would take place upon the capturing of a prisoner. In a modern context, this would be ill thought of and imaged as absurd and grotesque. However, the true purpose of this ritual must be taken into account to fully grasp why exactly rebirth is inherent through cannibalism. The prisoner would essentially be made a part of the tribe that captured him. He would be given a wife, would occasionally have children with these women, and after a period of 9 months would be eaten in a sacred ritual. All of this would happen for the purpose of having his spirit merge with the tribe, or in other words, being reborn with the tribe. This deep spiritual connection with the notion of a second coming existed distinctly in the indigenous tribes, and given that the indigenous formed the original identity of Brazil, this was the foundation upon which Brazil’s Lusotropical identity was formed.
Caetano concludes his emotional song with the lines, “And that which will be revealed in that moment to the people, will surprise everyone, not by being exotic, but for the fact of having been hidden for so long, when it has always been the obvious.” (Veloso, 1977) This statement effectively synthesizes the previously discussed characteristics of the indigenous in one concrete statement – the indigenous were the beginning, and although they have been effectively wiped out as a people, their culture exists today, and through this culture they remain ever present in spirit. These connections and characteristics portrayed through the lyrics of Caetano show that the Indian spirit has a trait of preservation unlike either the Portuguese or the Afro-Brazilians. This is why the Indian must be the hero of his song – they are connected to nature, they are strong and innocent, and to them, death is nothing. It is in the rebirth of their people that people will see their true spiritual beauty, and thus they are portrayed as such by Caetano.
Work Cited
Class Discussion POR 204, Brazilian Culture Through Music, Spring Semester 2016, Miami University, Prof. Paula Gândara.
Vaz de Caminha, Pero. "The Discovery of Brazil: The Letter of Pero Vaz de Caminha Written in Porto Seguro of Vera Cruz in the First Day of May in the Year 1500" http://depthome.brooklyn.cuny.edu/anthro/faculty/mitrovic/caminha_brazil.pdf
Veloso, Caetano. Um Indio. 1977 (trans. by Paula Gândara).
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