page_title: Manifesto Antropófago
section_title: Content
hierarchical_section_title: Manifesto Antropófago / Content
caption_attribution_description: English: A collage created by me using the following images found in the Wikimedia Commons: (Left to right) File:Anita_Malfatti_jovem_(1912).jpg File:Mario_de_andrade_1928b.png File:Menotti_del_Picchia.jpg File:Oswald_de_andrade_1920.jpg File:Tarsila_do_Amaral,_ca._1925.jpg
context_page_description: The Anthropophagic Manifesto was published in 1928 by the Brazilian poet and polemicist Oswald de Andrade, a key figure in the cultural movement of Brazilian Modernism and contributor to the publication Revista de Antropofagia. It was inspired by "Abaporu," a painting by Tarsila do Amaral, modernist artist and wife of Oswald de Andrade. The essay was translated to English in 1991 by Leslie Bary; this is the most widely used version.
context_section_description: Written in poetic prose in the modernist style of Une Saison en Enfer by Rimbaud, the Manifesto Antropófago is more directly political than Oswald's previous manifesto, Manifesto Pau-Brasil, which was created in the interest of propagating a Brazilian poetry for export. The "Manifesto" has often been interpreted as an essay in which the main argument proposes that Brazil's history of "cannibalizing" other cultures is its greatest strength, while playing on the modernists' primitivist interest in cannibalism as an alleged tribal rite. Cannibalism becomes a way for Brazil to assert itself against European post-colonial cultural domination. 
  One of the Manifesto's iconic lines, written in English in the original, is "Tupi or not Tupi: that is the question." The line is simultaneously a celebration of the Tupi, who practiced certain forms of ritual cannibalism (as detailed in the 16th century writings of André Thévet, Hans Staden, and Jean de Léry), and a metaphorical instance of cannibalism: it eats Shakespeare. On the other hand, some critics argue that Antropofagia as a movement was too heterogeneous for overarching arguments to be extracted from it, and that often it had little to do with a post-colonial cultural politics.
caption: The Grupo dos Cinco, a modernist art collective that upheld the principles of the Modern Art Week of 1922.[3]
exif: {}