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Abstract
The Tropicalia movement emerged in Brazil in the late sixties with the intent to renegotiate the criteria and meanings of a Brazilian national identity. Parallel and independently from each other, Brazilian artists from different fields began to renegotiate the dialog of art and Brazilian society. In the theater, cinema, plastic arts, and poetry and especially in the music of Novos Bahianos the cultural potential of Brazil began to be explored in its totality. It was especially in the music of Caetano Veloso and Gilberto Gil that Tropiclia gained strength. With the advent of technology and the easy access to information and culture through, television and movies, figures and songs became the vehicle through which social discontent, criticism, and interaction happened. The flow of information and exchange could no longer be controlled and in order toRemedy a one way stream of cultural values, mainly from North to South, the Tropicalistas draw their inspiration from the Modernists of 1922 who advocated an anthropophagical motion where the colonized could subvert the language in order to fight the colonizer. The Manifesto Antropofgico and the Manifesto Pau-Brasil served as guidelines to recreate a cultural production that cannibalized the foreigner and the domestic in order to reach an authentic Brazilian product. This work intends to argue the relevance of Tropicalia as a revolutionary movement that allowed future cultural productions to develop through the appropriation and reevaluation of concepts and materials.