In this same exposition, Ligia Clark showed to its ‘ ‘ clothes of corpo’ ‘ , Ligia Pape its ‘ ‘ poem box with ants vivas’ ‘. Many events had set in the source of the Tropiclia, what for me it was a start around the thought in the leisure (dancers of the Hose had been the day all playing letters, ideas were created around the activity ‘ ‘ time disponvel’ ‘. A series of participativas public manifestations had been materialize from this exposition culminating with the experience of the apocalipopoteses (described later) in August of 1968 in Aterro of the Flamengo. During all these evolutions, I would say that the critical conscience of the artists was the most important element for those manifestations of vanguard that always were dealt with fury or indifference, attacks proceeding from the established critical art. Exception and homage must be made some, especially Mario Pedrosa that greatly was influenced by those works and always received the ideas of the vanguard, some of which if they had initiated with it. Recently, Frederico Morais and Mrio Schomberg had also dedicated a great business in the development of ideas. Of idea of the den expressed in the new environment (planned since 1967 and first constructed in the Whitechapel Gallery in London, since February de1969. Such as to crelazer (1968) and hermafroditopotesis had appeared theoretical concepts (1969), much more complex in its objectives and the idea of the large cabin.
Synthesis of the Tropiclia – the concept of tropiclia initially related to a pure theoretical idea was spread of surprise, leaving my field of vision by means of an event that I would like to describe here: music pop of Caetano Veloso and Gilbert Gil (singers and composers), Torquato Neto and Capinam (poets), Tone Z (composer and singer), the GAL Coast (singer). Suddenly Caetano Veloso became possible and provoked the synthesis when it made a stranger unexpected composition that not yet had name and that somebody gave the name of Tropiclia, name and concept that expressed better it. Caetano wise person who I had created the term, but not yet we had known in them personally. This very functioned well in all the imaginable ways. It was marcante point in all the developments of creative trend in Brazil.
Caetano and Gil had acted in the creation of the extraordinariest revolution in Brazilian music pop giving an importance of vanguard experience and at the same time they had related, intentionally or not, with experiences in other fields of creation such as the theater of Jose Celso Martinez Correa (the King of the Candle – part of Oswald de Andrade, Brazilian poet who since 1920 influenced all the teatrais directions of the Brazilian vanguard with important poems and parts? production presented in Nancy in 1968). Other productions of Jose Celso of extreme importance had been ‘ ‘ Viva’ wheel; ‘ Brechts ‘ ‘ Galileu’ ‘. The cinema of Glauber Rock