Every Carnaval has its end, but Carmen Miranda’s journey is about to begin. This year, 2024 marks 85 years since her debut in popular culture, bedecked in vibrant colours with flowers and fruits turbans adorning her hair, hoops earrings, platform shoes and ruffled clothing. Had she been alive, she would have turned 115 last Thursday, on February 9th. This Carnaval, she was the choice of Mocidade Alegre’s samba school, the winner of São Paulo. Next year, in 2025, it will be 70 years since her passing, yet she remains deeply ingrained in Brazilian cultural consciousness. Let’s encapsulate the trajectory of this Portuguese adopted warmly by Brazil.
"I am Brazilian. I just happened to be born in Portugal."
Carmen Miranda grew up in the Lapa neighbourhood, which back in the day was famously known for its nightlife, bohemian atmosphere, and cultural vibrancy, frequented by artists, intellectuals, and the working class. Her musical talent and charisma were evident from early childhood. Her exposure to this diverse environment influenced her interests in music and dance. Her iconic aesthetic was shaped by her work in shops selling ties, clothes, and hats. She landed a role as an extra in "Esposa de Solteiro" (Paulo Benedetti, 1929), which led to a photo shoot for a film magazine. In 1929, she met songwriter Josué dos Barros, who introduced her to theatres and clubs.
Carmen Miranda made her debut in Brazil in the 1930s Carnaval, where she immediately became a hit with the 'marchinha' "Para Você Gostar de Mim (Taí)" and the release of her first record. She participated in important radio and television programs, performed in nightclubs, casinos, and theaters. She is considered the first Brazilian woman to sign an agreement with a Brazilian radio station (Mayrink Veiga). The radio industry was predominantly male-dominated, so a daring woman like Carmen Miranda who entered it was judged by society.
Carmen Miranda joined "Bando da Lua," which included Oswaldo Éboli "Vadeco" on tambourine, Aloysio de Oliveira as an acoustic and vocal soloist, Hélio Jordão Pereira on acoustic guitar, Ivo Astoplhpi on banjo and tenor guitar, and the Ozório brothers: Afonso on rhythm and flute, Stênio on cavaquinho, and Armando on acoustic guitar. Together, they performed at parties and theatres.
Carmen Miranda recorded more than twenty songs, encompassing various genres such as tangos, sambas, foxtrots, marchinhas, and lundus, composed by renowned and pioneering authors.
With a solid music career, Carmen Miranda transitioned to the silver screen. She appeared in the first Brazilian talkies, which were focused on popular genres and often featured Carnaval-driven and radio hits. In 1936, she starred in "Alô, Alô Carnaval," a musical comedy that set records at the domestic box office and was recognized as the first Brazilian film with synchronized sound. Her first significant role on the big screen was in "Estudantes" (1935).
Carmen Miranda was elected as the Female Ambassador of Samba and hailed as the Queen of Carioca Broadcasting
Carmen Miranda became an apple to the foreigner’s eyes. starting with her first tour in Argentina. Her career reached new heights when she joined the Cassino da Urca, a glamorous entertainment venue known for its opulence, marking her definitive entry into the international scene. In 1939, amidst the world war crisis, she relocated to the United States. With the U.S. joining the war, many entertainers, both onscreen and off, enlisted in the military. To maintain entertainment production, the Good Neighbor Policy fostered collaboration with Latin America, and Carmen Miranda emerged as a symbol of this effort, bridging cultures, and reducing production costs by consolidating representations of various countries into one, embodied by Carmen Miranda herself. A generalisation to paint diverse countries and cultures with the same brush.
In the same year, 1939, Carmen Miranda also starred in another musical comedy, "Banana da Terra" (Ruy Costa). Her rendition of Dorival Cayimi’s “O Que É Que a Baiana Tem” became deeply rooted in Brazil. This performance marked the introduction of the aesthetic that would shape her career and become her signature posthumously - vibrant colours with flowers and fruits adorning her hair, hoop earrings, platform shoes, and ruffled clothing.
Her first success in the United States came with the Broadway play "The Streets of Paris," marking her debut under the American spotlight. Her captivating performance caught the attention of one of the major film studios, Fox, which subsequently hired her for several roles. Her American silver screen debut was in "Down Argentine Way" (Irving Cummings, 1940), followed by a successful role in the commercially and critically acclaimed "That Night in Rio" (Irving Cummings, 1941). One of her iconic roles was in "Copacabana" (Irving Cummings, 1947), which featured another one of her anthems, “Tico-Tico no Fubá,” and marked her first film after she broke her contract with 20th Century Fox. This marked the beginning of her independence in her career, as she went on to work with United, Metro Goldwyn Mayer, and Paramount Pictures. In total, she appeared in 14 films, with 8 of them featuring her in leading roles.
After the war, Carmen Miranda's film career in the US experienced a decline, with her being relegated to secondary or invisible roles as the spotlight shifted back to American performers. However, she continued to actively participate in TV and radio programs, as well as perform in casinos, theatres, and music venues. Additionally, she made appearances on tours and had special roles in cartoons such as Tom & Jerry and Popeye. Despite the challenges she faced, she remained active in the entertainment industry, showcasing her enduring popularity and influence.
There are two contrasting interpretations of Carmen Miranda's success in the United States. On one hand, she was a trailblazer as a Brazilian artist in a powerful and influential country, breaking barriers and paving the way for other Latinas. She was notably recognized as the first South American to receive a star on the Hollywood Walk of Fame, and her career in the US presented significant opportunities for her.
On the other hand, her success in the US also resulted in her being reduced to a recurring stereotype, often referred to as the 'Brazilian Bombshell.' This stereotype sexualized and objectified her, emphasizing her exoticism and reducing her talent to that of a mere dancer and comedian. Despite her efforts to learn English, she was often typecast and required to maintain a heavy accent in films, which appealed to American audiences but also perpetuated certain stereotypes.
Wherever Carmen Miranda performs, whether on stage or in any other medium, she achieves success. She is akin to a Brazilian Queen Midas of showbusiness, with her performances consistently turning into gold. Interestingly, during her time, she faced criticism from the Brazilian elite for being perceived as too Americanized. However, it is ironic that in present times, this same group often idolizes American culture while failing to fully appreciate the richness and depth of Brazilian culture.
Beyond her vibrant public persona, Carmen Miranda struggled with hidden addictions stemming from an abusive and violent marriage, as well as a relentless workaholic routine. She battled with dependencies on alcohol, cigarettes, antidepressants, sedatives, barbiturates, and amphetamines. Despite her fervent religious beliefs and staunch opposition to divorce, she found herself sinking into depression following a spontaneous abortion that ultimately rendered her sterile.
In present times, Carmen Miranda's significance and legacy endure, inspiring numerous Brazilian generations, including artists such as Gal Costa and Anitta. Personally, my earliest encounter with Carmen Miranda occurred during my childhood, through the melodies sung by my maternal grandmother as she cared for me. Carmen's contributions to Brazil are immortalized through statues, street names, museum exhibits, awards, and medals. Many intertextual references in varied mediums, not only in Brazil.
It is important to acknowledge that Carmen Miranda's persona did not age gracefully over time. The inspiration for her iconic character stemmed from the 'baianas of acarajé,' who wear traditional attire in Candomblé temples, a religion with African roots. The term 'Baiana' refers to a typical resident of Bahia, a Brazilian state where approximately 80.8% of the population identifies as Black. Despite this cultural significance, Carmen Miranda's portrayal has been criticized for perpetuating stereotypes and promoting a whitewashed image of Bahia.
Moreover, the image of the "Brazilian Bombshell " continues to fuel fantasies and objectification among foreign straight men, further reinforcing harmful stereotypes. However, Carmen Miranda's own life trajectory challenges the barriers of ethnicity, gender and age.
Furthermore, even though decades have passed since Carmen Miranda's heyday, the entertainment industry, particularly in Anglophone countries, continues to perpetuate similar stereotypes, particularly regarding Latina women and contributing to this retrograde ideology.
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