Jacob Hensh & Nubia Colussi
Paula Gandara
LAS/POR 204
3-29-2016
Representations of and Deviations from Brazilian National Identity
Throughout the course of LAS 204, Brazilian national identity has become the focus of a variety of discussions. A myriad of different theories exist concerning what is or makes the true national identity. One could interpret it as being permeated and created through samba itself, much alike Noel Rosa’s assessment. Or it may be posited that Brazilian national identity could be most effectively manifested through literature and the presence of the writer-diplomat, such as Vinicius de Moraes. Regardless of its method of construction, there are consistencies that exist concerning its destruction or evolution.
From the point of view of different authors that have been discussed in class, as well as through historical fact, it should be postulated that Americanization and expansionism are the most subversive elements that exist in opposition to the maintenance of a singular Brazilian national identity. This is consistent regardless of which facet of culture one considers. Granted, through different points in history, this potentiality for the loss or changing of identity has varied between music and literature, and would largely be dependent on the international scene, and the type of government in place at the time. Through an analysis of both history and cultural work, it becomes clear that Americanization in general has been and possibly continues to be scene as a threat to cultural preservation, and by extension, national identity.
Around the same time in history, during the onset of and post-World War II, two creators of culture found themselves in the limelight of Americanization – Carmen Miranda and Vinicius de Moraes. The former was seen at first as nearly the epitome of representation of Brazilian culture abroad, with the latter being exposed to the effects as a result of his work. Firstly, Miranda brought to the United States Brazilian music and performances. Secondly, Moraes worked as a diplomat, during and after the Vargas regime, after rigorously pursuing his opportunity to earn a steady income, while combining his passion for both travel and writing. (Enslen, 417) However, Miranda would experience Americanization and foreign influence rather drastically, and the aftereffects would create turmoil amongst Brazilians.
As Shari Roberts writes, “In the years from 1939 to 1944, just prior to and during U.S. involvement in World War II, Carmen Miranda, the ‘Brazilian Bombshell,’ appeared in eight Hollywood musicals and two Broadway musical revues, all of which were highly successful.” (Roberts, 3) Carmen Miranda performed in the United States, and subsequently created a drastic stereotyping of Brazilian national identity. Her over-exaggerated accent, accompanied by her extremely provocative showmanship with the others on stage, led American audiences to perceive Brazilian culture in a light that was not consistent with native Brazilians. (Class Discussion, March 18th)
During Miranda’s time in the U.S, there would seemingly be two different points of view concerning her musical style and performance. First and foremost, the United States saw her as a proponent of Roosevelt’s good neighbor policy, claiming that “as an advertisement for Roosevelt’s good neighbor policy, … was worth half a hundred diplomatic negotiations.” (Roberts, 5) Simply put, American audiences were enamored with Miranda. Her extreme Otherness would mold her into an object of not only desire, but also one that leaves the audience simply intrigued. On the other hand, as aforementioned, a large portion of the Brazilian population would see this as a strict deviation from her true identity. Upon her return to Brazil, she was met with a mixed reaction. Roberts writes:
Contemporary accounts of Miranda’s much publicized return ‘home’ to Brazil in 1940 reveal the split between Brazilian and U.S perceptions of the star. Brazilian news reports describe the reception of her performance as extremely negative, the crowd booing and whistling. Reviewers claimed that Miranda had lost her voice, had changed her style and her soul: Miranda had become Americanized. (Roberts, 13)
Such a negative response from her home country would prompt her creation of songs such as Disseram Que Voltei Americanizada, and Voltei P’ro Morro. In this assessment rests the creation of a relationship between the loss of her so-called true Brazilian identity, and Americanization. This theme is consistent through other areas in the crossing of culture and politics as well. A predominant figure in this instance is Vinicius de Moraes.
Brazilian national identity is most prominently seen through the exhibition of culture. (Class Discussion, March 16th) In this case, Vinicius fought diligently during his time as a diplomat to the United States to help solidify the culture he believed to be truly Brazilian. However, during both the post-war and World War II periods, Vinicius would come to believe that Americanization and U.S expansionism were true catalysts to the abridgement of this identity. Joshua Enslen writes, “In a letter to Bandeira from 1948, Moraes confesses his opinion about the United States. He was not fond of the United States’s obsession with economic growth, which destroyed, in his opinion, any real cultural vitality.” (Enslen, 422)
In Vinicius’ work, the bridge between politics and culture was gapped much more distinctly than with Carmen Miranda’s. Despite Miranda being considered an “ambassadress” (Roberts, 4) of Brazilian good-will, she was not definitively associated with politics. Vinicius’ position as a diplomat, and by all accounts a subversive to the Brazilian government, made him an important due to his direct linkage to the political system. His creation of the Manifesto with his colleagues, as well as his work of literature Patria Minha, created space between himself and the Vargas regime, and would effectively attempt to produce what would be seen as a national identifier. Patria Minha would remain consistent with the style of identification of deviation from Brazilianness that has been discussed in class.
The likening of the writer to a man being betrayed by an unfaithful woman (Enslen, 423) coincides with what is seen as a deviation of national identity, as true Brazilian woman are supposed to be happy in their situation, and happy with their man. (Class discussion, March 16th) His writing of the Patria Minha during the post-WWII years of 1946 to 1950 illustrates that Brazilian national identity was in jeopardy. In fact, as Enslen writes, “In the poem, the act of naming symbolically represents the power to control destiny and identity. As long as Moraes cannot name his nation, Brazil eludes an identity.” (Enslen, 424) The torn nature of Brazil during this era has then, in essence, left Brazil without an identity, and this is largely due to Americanization, expansionism, and then in the beginning of the 50’s, the onset of the Cold War.
Throughout LAS/POR 204, one thing has been made abundantly clear – Brazilian culture is the true Brazilian national identity. Americanization has, undoubtedly, left its impact upon Brazilian culture, and therefore, on identity itself. It should be understood that this does not necessitate the destruction of national identity, but does certainly implicate a changing of identity. As Antonio Pedro Tota posits, the invasion of American culture, “Did not destroy Brazil’s culture, but most certainly it produced new cultural manifestations.” (Tota, 119) Figures such as Carmen Miranda and Vinicius de Moraes exhibit the changing effects of Americanization on Brazilian national identity. Some have denounced these effects as destruction of identity, such as Brazilians to Miranda, and some seem to disseminate that the culture has taken new form, such as Moraes. Certainly though, Americanization played a drastic role in the molding of and perception of Brazilian national identity, both domestically and abroad. These effects were not one dimensional, and are in fact felt throughout all producers of culture.
Work Cited
Enslen, Joshua. Vinicius de Moraes and “Patria minha”: The Politics of Writing in Post-war Brazil. 2011, pp. 416-428.
Roberts, Shari. “The Lady in the Tutti-Frutti Hat”: Carmen Miranda, a Spectacle of Ethnicity. 1993, pp. 3-23.
Tota, Antonio Pedro. Seduction of Brazil: The Americanization of Brazil During World-War II. 2010.
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