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Oswald de Andrade | |
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 Andrade in 1920 | |
| Born | José Oswald de Souza Andrade (1890-01-11)January 11, 1890 São Paulo, Brazil |
| Died | October 22, 1954(1954-10-22) (aged 64) São Paulo, Brazil |
| Occupation | poet and polemicist |
| Literary movement | Founder of Brazilian modernism; member of the Group of Five |
| Notable works |
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José Oswald de Souza Andrade (January 11, 1890 – October 22, 1954)[1] was a Brazilian poet, novelist and cultural critic. He was born in, spent most of his life in, and died inSão Paulo.[2]
Andrade was one of the founders of Brazilianmodernism and a member of theGroup of Five, along withMário de Andrade,Anita Malfatti,Tarsila do Amaral andMenotti del Picchia. He participated in theModern Art Week (Semana de Arte Moderna).
Born into a wealthybourgeois family inSão Paulo, Andrade used his money and connections to support numerous modernist artists and projects. He sponsored the publication of several major novels of the period, produced a number ofexperimental plays, and supported several painters, including Tarsila do Amaral, with whom he had a long affair, andLasar Segall.[1][3]
Andrade joined theCommunist Party in 1931, but left it, disillusioned, in 1945. He remained controversial for his radical political views and his often belligerent outspokenness. His role in the modernist art community was made somewhat awkward by his feud with Mário de Andrade, which lasted from 1929 (after Oswald de Andrade published a pseudonymous essay mocking Mário foreffeminacy) until Mário de Andrade's untimely death in 1945.[3]
Andrade is particularly important for hisManifesto Antropófago (Anthropophagist Manifesto), published in 1928. Its argument is that colonized countries, such as Brazil, should ingest the culture of the colonizer and digest it in its own way. The text is explicitly inspired byMichel de Montaigne,Karl Marx,Sigmund Freud andAndré Breton, and is composed through a procedure of "deglutition" of some of the most renowned manifestos of the Western culture, such as theManifesto of the Communist Party and theSurrealist Manifesto.[4] Andrade distinguishes Anthropophagy from cannibalism (low anthropophagy) on the grounds that the former is a ritualistic practice to be found amongindigenous peoples in Brazil;[5] in this ritual sense, Anthropophagy functions as a rite of incorporation of the world-view of the ingested enemy.[6]
By turning Anthropophagy into the motto of a manifesto, Andrade operates an inversion through which he affirms as the leitmotiv of a cultural movement precisely those practices based on which several indigenous peoples were considered as barbarians deprived of culture.[7] Anthropophagy becomes thus a way for the former colony to assert itself against Europeanpostcolonial cultural domination.[8] The manifesto's iconic line is "Tupi or not Tupi: that is the question." The line is simultaneously a celebration of theTupi, who had been at times accused of cannibalism (most notoriously byHans Staden), and an instance of the anthropophagical rite: it eatsShakespeare. Antropofagia, as amovement, has a significant impact in multiple domains of Brazilian culture, such as theater (Teatro Oficina),[9] music (Tropicalismo)[10] and cinema (Cinema Novo).[11] As a consequence, some authors such asAugusto de Campos andEduardo Viveiros de Castro consider it as Brazil's most radical artistic movement and as the only "original philosophy" produced in the country.[12][13] On the other hand, some critics argue that Antropofagia, as a movement, was too heterogeneous to extract overarching arguments from it and that often it had little to do with a post-colonial cultural politics (Jauregui 2018, 2012).
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