“She was a typical girl from Rio, born in Portugal, who, using a blatantly vulgar though elegant stylization of the characteristic baiana—Bahian dress—conquered the world and became the highest-paid woman in the United States. Carmen conquered white America as no other South American had done or ever would. She was the only representative of South America who was universally readable, and it is exactly because of this quality that self-parody became her inescapable prison.”
“Nevertheless, in 1967 Carmen Miranda reappeared as a central figure in our aesthetic concerns. A movement that came to be known as Tropicalismo appropriated her as one of its principal signs, capitalizing on the discomfort that her name and the evocation of her gestures could create. We had discovered that she was both our caricature and our X-ray, and we began to take notice of her destiny.”
“In Carmen’s day it was enough to make a percussive din that was recognizably Latin and Negroid. By bringing the musicians from Bando da Lua with her to the United States, however, she represented less the adulteration alleged by her critics than a pioneering role in a history that is still unfolding. It is the history of the relationship between a very rich music from a very poor country and musicians and audiences from the rest of the world.”
Quoted from “Caricature and conqueror, pride and shame” by Caetano Veloso (The New York times 20 October 1991).
Related article: Tropicália and Bahia