The Evocation Of Carmen Miranda

In the Vargas era, the government of Brazil was attempting to redefine the state’s national identity to the world. Therefore, the leaders started promoting this new African-Brazilian culture via the use of Samba and also used Miranda in bridging the racial gap.
Examining how Miranda represented the Brazilian women, it is true to say that Brazil will forever owe Carmen Miranda un-payable debt. It is evident in how she carried the Brazilian woman luggage and taught her people who did not have any idea of their existence in adoring their country’s culture, music, and rhythm. In the 20th century, she assisted in the development of her country’s national identity (Luz and Anglesey, 1986). Her work appealed to the lower classes, whereby she represented their grievances and the rights of the Brazilian women. She was very interested in the Brazilian culture, thus identified its essence as being from the lower classes. She drew the Brazilian culture of the lower classes by emphasizing the Brazil African roots. Her choice of clothing as she performed indicated how in the 1930’s, the Brazilians had begun embracing their history as a multi-racial and multi-ethnic society. She represented the lower classes by meeting with the opposition from the Brazilian upper crust society.
For an instant, in her song The Lady in the Tutti-Frutti Hat, this was the Brazilian censorship song adapted from the film The Gang’s all here (Shari, 1993). Miranda is sexualized in the film by portraying her as the superintendent of the countless tremendous, swaying priapic bananas lightened up by lines of chorus girls dancing above other dancers who have outsized strawberries between their legs.

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