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The Udigrudi Movement (, from English "underground"), also called o Desbunde or Recifense Psychedelia, was a Brazilian counter-cultural movement based out of Recife, Pernambuco. Though often associated with music, the movement also saw a blossoming in theatre, literature, cinema, visual art, and handicrafts.

Udigrudi sprung out of metropolization in Brazil, where Recife became the crossroad for the many cultures present in the Northeast.


 * João Pessoa as a center?

First usage
It is presumed that "udigrudi" was first used by director Glauber Rocha to pejoratively refer to independent filmmakers who wanted to break away from Cinema Novo. It was later adopted and popularized by writer

Background
Udigudi can be situated within the larger rise of hippies globally in the '60s. As early as 1968 in the Northeast, "hippies," who adopted similar attitudes and dress to their counterparts in the United States, began to pop up.

In 1964, Brazil suffered a coup d'teat which replaced the democratically elected João Goulart with a military dictatorship. During this time, society became extremely repressive, the state utilizing torture, murder, censorship, surveillance, and imprisonment to suppress dissent. The Udigrudi in the Northeast, like many other artistic movements, was targeted and faced censorship and arrest.

In Music
Udigrudi in music has its roots in Northeastern folk music, including Forró, Baião, Xaxado,, and Frevo, as well as "post-Woodstock" psychedelia and the beatniks with influences like Beatlemania, tropicalismo, Jovem Guarda, and Brazilian regionalism. Since its beginning in the 1970s, many called it Recifense beat-psychedelia, due to this. What set Udigrudi aside from the rest of the Brazilian music world at the time, which had likewise adopted instruments from the Anglosphere, was its refusal to adhere to the widely-accepted commerical sound which was set forth by those like the tropicalists. The most notable Udigrudi label was Solar, which grew out of frevo parent-label Rozenblit.

The, which was held from November 11th and 12th in 1972, is said to have sparked Udigrudi as a movement in Pernambuco, sometimes being considered Brazil's Woodstock. With free entry, it was advertised as X. a Out of this festival, several musical partnerships were born, namely of Lula Côrtes and Laílson (with the production of Satwa), of Côrtes and Zé Ramalho (with the collaboration on the seminal album Paêbirú), and of Ave Sangria. The Boa Vista neighborhood of Recife became one of the centers of the scene, with figureheads of the movement, like Lula Côrtes and Zé Ramalho, congregating in its bars. Associated people became known as the "A Turma do Beco do Barato," or "the Cheap Alley Gang" in English. Often Udigrudi is further split up into two groups, firstly, “a Turma da Paraíba” or the "the Gang of Paraíba" with Zé Ramalho, Huguinho,, and Ibanez, and seconldy, “o Pessoal de Pernambuco” or " the People of Pernambuco," that included members like Lula Côrtes, Don Troncho, Licá, , Tiago Araripe, Rafles, Jomard Muniz de Brito, Mano Teodósio, Laílson, Maristone, , Raul Córdoba, Otávio Bzz, Alceu Valença, Robertinho do Recife, , Nuvem 33, Papa Poluição, and Ave Sangria. Other associated artists included Angeli,, Geraldo Azevedo, Ricardo Uchôa, , Laboratório de Sons Estranhos, Phetus, and.


 * https://seer.ufu.br/index.php/caminhosdegeografia/article/view/68665
 * https://www.researchgate.net/publication/376541038_LUGAR_E_MUSICA_CONCRETUDE_E_IMAGINACAO_A_CENA_PSICODELICA_SETENTISTA_EM_PERNAMBUCO_BRASIL
 * https://bdm.unb.br/handle/10483/2089
 * https://repositorio.ufpe.br/bitstream/123456789/7850/1/arquivo780_1.pdf

In Film
Udigrudi in film, also known as, Boca do Lixo filmmakers, Júlio Bressane and Rogério Sganzerla


 * https://www.jstor.org/stable/10.3366/j.ctv7n0bkj.10?searchText=UDIGRUDI&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DUDIGRUDI%26so%3Drel&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3Abd283d232730511d835ba3409e8e9ce6
 * https://www.jstor.org/stable/43796891?searchText=UDIGRUDI&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DUDIGRUDI%26so%3Drel&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3Abd283d232730511d835ba3409e8e9ce6
 * https://www.jstor.org/stable/41552354?searchText=UDIGRUDI&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DUDIGRUDI%26so%3Drel&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3Abd283d232730511d835ba3409e8e9ce6
 * https://www.jstor.org/stable/43456812?searchText=UDIGRUDI&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DUDIGRUDI%26so%3Drel&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3Abd283d232730511d835ba3409e8e9ce6
 * https://www.jstor.org/stable/43456685?searchText=UDIGRUDI&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DUDIGRUDI%26so%3Drel&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3Abd283d232730511d835ba3409e8e9ce6
 * https://www.jstor.org/stable/10.13110/criticism.56.2.0295?searchText=UDIGRUDI&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DUDIGRUDI%26so%3Drel&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3Abd283d232730511d835ba3409e8e9ce6
 * https://www.jstor.org/stable/44111098?searchText=UDIGRUDI&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DUDIGRUDI%26so%3Drel&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3Abd283d232730511d835ba3409e8e9ce6
 * https://www.jstor.org/stable/44111080?searchText=UDIGRUDI&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DUDIGRUDI%26so%3Drel&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3Abd283d232730511d835ba3409e8e9ce6

In art
Laerte

Angeli

Glauco Villas Boas

Handicrafts - dolls of Caruaru.

In Literature
Luiz Carlos Maciel - “Hippie Manifesto” (1970), The Quibbler (1969-1971), initially inspired by American hippies

José Roberto Aguilar