short biography of Carmen Miranda

Carmem Miranda

-----who was carmen miranda?

Carmen Miranda was a Brazilian singer and actress of Portuguese origin, was born onFebruary 9, 1909 and died on August 5, 1955.

For 15 years is a success in the United States (U.S.), especially in Hollywood. His real name is Maria do Carmo Miranda da Cunha.

Born in Marco de Canaveses, Portugal, came to Brazil in two years. His first albumcomes out in 1930, marked the success of Tai, Joubert de Carvalho. In the 30's, your recordings are successful carnivals (Alô. ... .. Hello, Goodbye Batucada on the board ofBahia) and it does toured Argentina and Uruguay. It operates in five films starringBrazilian cinema.

In the last one, Banana da Terra (1938), first appears dressed in Bahia to sing What Is ItThat the Bahian? Of Dorival Caymmi. The stylized Bahian dress with frills and turbanbecomes your brand. In 1939 goes to the U.S.. Debut in a Broadway musical and, in 1940, is presented in the White House for President Franklin Roosevelt. The following year signed on to star in Hollywood. Works in One Night in Rio (1941) and in 12 morefilms.

Consecrated internationally, traveling to Brazil in 1954 to see family. Months later, back in Hollywood, dies of a heart attack.

-------Carmen miranda which represented to society

Having spent over 70 years since the beginning of this international touring singer and more than half a century of his death, the image of Brazil built and sold internationally by it remains a major worldwide references about our nation. Carmen was the most famous Brazilian singer of the 1930s. Just to cite one example of this success, the music Tahi, launched in 1930, sold 35,000 copies on disks. It was the biggest selling in Brazil's history up to that time when music carnival of great acceptance selling around 5000. Importantly, Carmen was the most famous Brazilian artist in a privileged moment for it to become a national symbol. The 1930s mark a moment of transformation in the relationship between state and society, specifically with the popular segments.Since the Revolution of 1930, which coincides with the "explosion" of success of Carmen, the state began to establish policy of concessions to the popular segments of the population. Among these awards stand out, at the material, labor laws, and cultural level, the emphasis on reconstruction of a version of the Brazilian national identity, in which the black and mestizo ethnic elements came to be valued by official policy. The figure of Bahia, created by Carmen, combined with the proposed mixed-race nation, especially among black and white, which blend harmoniously into it, as proposed at the time, Gilberto Freyre. The cloth of the Coast, reminding African heritage, the Bonfim, reminiscent Candomblé, after the string of gold, reminiscent of the Catholic Church.Finally, the Bahia was an express representation that this form of synthesis of Brazil. A harmonic synthesis representing the popular Brazilian in peaceful coexistence with the elites, unlike the figure of the trickster figure also very present in the minds of the time.Seems to have been a positive response in Rio de Janeiro and in several parts of the country in relation to Bahia that Carmen had created, so much that was one of the most used in the next carnival. The international success of the figure of Bahia de Carmen was an element that influenced the legitimacy of this as a national symbol. But if he had not accepted within the country, it would not assert itself as national. Internationally, Carmen Miranda was also in a favorable context. The period between the First and Second World War is seen as the moment of maximum assertion of nationalism around the world. There was an international curiosity about the representations of each nation and little or no information present in the social imaginary of many countries. Coinciding with the international concern over the nations, there was the "Good Neighbor Policy," the new international relationship established from the 30 years between the United States and Latin America from the perspective of cultural exchanges. In practice, these exchanges were mostly one-way street, to and fro. Carmen Miranda was one of the few figures to go the opposite direction.In 1939, Carmen was discovered by American businessman Lee Schubert and invited to perform in the United States. She showed interest and said: "All my efforts are concentrated, for a purpose: to take advantage of it, casting real Brazilian music in the United States, as I did in the republics platinum [...] Show the people there what is the reality in Brazil, because as you know, the court formed is still very fake. " The issue of "reality" of Brazil was very much present at the time, and the representations of the country were confused with those of the rest of Latin America. Brazil, to assert itself as a nation, it had to differentiate. There was a tendency to turn Latin America into a shadowy unit in its cultural manifestations. Carmen Miranda's case was perhaps the pinnacle of achievement than the imagination of large sectors of the population expected to mark their nationality and justify the value of his nation: his greatest singer would be among the great nations of the world, affirming and demarcating the Brazilian national identity. However, contrary to what she might expect, the information that arrived in Brazil caused many would get annoyed with his performance, questioning their Brazilianness and calling for "Americanized."When he returned to our country in 1940, after the great success in the United States, in a show at the Casino da Urca, Carmen Miranda was received coldly. The word "canceled" was written on all the posters of the show. His answer to that poor reception came in the form of songs. The most classic was told that I came back Americanized. In it, she defended her nationality from a series of metaphors, such as drumming, Portuguese and English at the expense of stew with chayote undoubtedly a dish that looked like the popular culture in Rio. In the same year, she returned to the United States, where it became the highest paid artist in Hollywood, acting in a film series and returning to Brazil only shortly before his death in 1955. Alessander Kerber holds a Ph.D. in History from the Universidade Federal do Rio Grande do Sul with the thesis representations of national identities in the Argentine and Brazilian songs sung by Carlos Gardel and Carmen Miranda (1917-1940

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