‘Is an experimental avant-garde possible in an underdeveloped country?’ was a provocative question asked by Catherine David, one of the curators of the first large international retrospective of Hélio Oiticica, raising geopolitical questions in art history and criticism. Multiple Brazilian avant-garde artists subverted ‘higher’ aesthetics values by focusing on folk and popular aesthetics and emphasizing the ‘lower’ senses of touch, taste, and smell suggested by digestive and sexual metaphors.”*

“(…) Gregory Ulmer’s Electracy-electronic literacy-for instance, argued for(…)the Brazilian samba as a model for writing hypertexts.(…) Ulmer’s reference to the Samba is a welcome reminder that audience participation has a broad history that could include total participation in church liturgies, processions, and especially festivals such as the very pagan yet very sacred four days of Carnaval in Brazil. Artists such as Hélio Oiticica have fused these oral traditions-such as the Samba-to misread and reinterpret European modernism, thus translating geometric abstraction into kinetic body-centered performances.”

*Examples include Anthropophagy (1928 manifesto), Neoconcretism (1959 manifesto), Cinema Novo (1962 Aesthetics of Hunger manifesto), and Tropicalismo (1969 Tropicália album-manifesto). (…)
from Body-Centered Metaphors of Cannibalism, carnival, and Hunger
Simone Osthoff, Performing the Archive: The transformation of the archive in contemporary art from repository of documents to art medium 2009 | p.101