As previously discussed, Carnival, topically, unites individuals, establishes national identity, follows rituals, and complements the economy through a multi-day celebration that witnesses the competition of samba schools, but a critical examination shows a deeper and darker narrative; although an ongoing festival, Carnival is a remnant of the immoral and unjust system of colonialism. The Portuguese, one of the pioneers of globalization, first arrived in Brazil in 1500, and what followed is one of the largest stains on humanity. Economic exploitation based on brazil-wood, sugar production, and gold and diamond mining was fueled by inhumane slave labor. Not only did the European conquistadors begin the largest transoceanic migration in pre-Industrial
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Throughout Carnival, there are more women than men and a great display of female nudity. A dichotomous concept, nudity is both seen, through magazines, advertisements, and live performances, and heard, throughout lyrics and conversation. Depreciating the women, one is represented as an erotic object for male enticement and enjoyment. Both erotic and pornographic, the nude “perfect” woman shows the link between Carnival and sexuality. Sexism is clearly seen through the interaction of social classes; women are “prostitutes” and the “guests” of men, unable to pay their own way into some events and promoting a form of uneven dependence between the sexes (Rector 1989, 67-77). The exploitation of women is also seen through a form of mockery produced by the male population. Although the inversion of gender roles is common throughout Carnival, some men are outwardly disrespectful. Mainly self-proclaimed heterosexual men imitate women in an outlandish manner by applying breast and buttock padding. In some cases, “there is another form of padding around the genital area, where either a tampon is visibly sticking out of a woman’s bathing suit, or a mop-head is inserted through the crotch…so that the hanging strings resemble monstrously unshorn pubic hairs” (Murray 2000, 107). Nonetheless, most men retain their facial and body hair to accentuate their “true” masculinity. Through these actions, these preposterous men both imitate and ridicule respectable and cultured women. Carnival, through the inversion of gender roles, solidifies female inferiority within the Brazilian
Throughout Carnival, there are more women than men and a great display of female nudity. A dichotomous concept, nudity is both seen, through magazines, advertisements, and live performances, and heard, throughout lyrics and conversation. Depreciating the women, one is represented as an erotic object for male enticement and enjoyment. Both erotic and pornographic, the nude “perfect” woman shows the link between Carnival and sexuality. Sexism is clearly seen through the interaction of social classes; women are “prostitutes” and the “guests” of men, unable to pay their own way into some events and promoting a form of uneven dependence between the sexes (Rector 1989, 67-77). The exploitation of women is also seen through a form of mockery produced by the male population. Although the inversion of gender roles is common throughout Carnival, some men are outwardly disrespectful. Mainly self-proclaimed heterosexual men imitate women in an outlandish manner by applying breast and buttock padding. In some cases, “there is another form of padding around the genital area, where either a tampon is visibly sticking out of a woman’s bathing suit, or a mop-head is inserted through the crotch…so that the hanging strings resemble monstrously unshorn pubic hairs” (Murray 2000, 107). Nonetheless, most men retain their facial and body hair to accentuate their “true” masculinity. Through these actions, these preposterous men both imitate and ridicule respectable and cultured women. Carnival, through the inversion of gender roles, solidifies female inferiority within the Brazilian