Mongrel complex

Ham's Redemption (1895), by Modesto Brocos y Gomes. A Black grandmother, mixed-race daughter, white son-in-law and grandson: for the Brazilian government of the time, with each generation, Brazilians would become whiter and thus more developed, a theory known as branqueamento

"Mongrel complex", or alternatively "mutt complex" (Portuguese: complexo de vira-lata, lit. 'street dog complex, mutt complex'), is a derogatory expression, usually used by nationalists, to refer to a supposedly "collective inferiority complex" reportedly felt by many Brazilians when comparing Brazil and its "culture" to other parts of the world, primarily the "developed world" (such as Europe or North America), as the reference to a "mongrel" carries negative connotations attributed by Brazilians to the racist perception of most Brazilians being racially mixed as well as lacking in desirable cultural refinement. The term has gained controversy in recent years due to its association to racism and ultranationalism. Some critics have accused the term of being a racial slur.

Background

The term was originally coined by novelist and writer Nelson Rodrigues, initially referring to the trauma suffered by Brazilians in 1950 when the national football team was defeated by Uruguay's national team in the final match of the 1950 World Cup, which was held at the Maracanã in Rio de Janeiro. The estimated 200,000 spectators at the stadium that day were stunned into an eerie silence after the match concluded, some so distraught they committed suicide inside the stadium. Brazil would recover, at least when it comes to football, in 1958, winning the World Cup for the first of five times, but the idea persisted, cropping up again the next time Brazil hosted the World Cup in 2014 when it was defeated in the semi-final match against Germany by a score of 7–1.

For Rodrigues, the phenomenon was not exclusively related to sport. According to him:

By "Mongrel Complex" I mean the inferiority in which Brazilians put themselves, voluntarily, in comparison to the rest of the world. Brazilians are the backward Narcissus, who spit in their own image. Here is the truth: we can't find personal or historical pretexts for self-esteem.

— Nelson Rodrigues

The expression "mongrel complex" was rediscovered in 2004 by American journalist Larry Rohter. In an article for The New York Times about the Brazilian nuclear program, he wrote:

Writing in the 1950s, the playwright Nelson Rodrigues saw his countrymen as afflicted with a sense of inferiority, and he coined a phrase that Brazilians now use to describe it: "the mongrel complex". Brazil has always aspired to be taken seriously as a world power by the heavyweights, and so it pains Brazilians that world leaders could confuse their country with Bolivia, as Ronald Reagan once did, or dismiss a nation so large – it has 180 million people – as "not a serious country", as Charles de Gaulle did.

— Larry Rohter

Origins

The idea that the Brazilian people are inferior to others or "degenerate" is not novel and dates back to the 19th century, when French nobleman Arthur de Gobineau visited Rio de Janeiro in 1845 and described the city's residents as "unbelievably ugly monkeys".

In the 1920s and 1930, many currents of thought clashed concerning the origin of the supposed inferiority. Some, such as Nina Rodrigues, Oliveira Viana, and Monteiro Lobato proclaimed that miscegenation was the root of all evils and that the white race was superior to others.

Others, such as Roquette-Pinto, claimed that the inferiority was a matter of ignorance, rather than miscegenation.

In 1903, Lobato reveals himself to be profoundly pessimistic about the potential of the Brazilian people, by him thus defined:

Brazil, son of inferior parents – destitute of these strongest characters that imprint an unmistakable stamp in certain individuals, such as it happens to the German, the English, grew up sadly – resulting in a worthless kind, incapable of continuing to self develop without the vivifying assistance of the blood of some original race.

Aside from the mixed origin, Brazilians supposedly also suffer from the fact they live in the tropics, where the hot and humid climate would predispose inhabitants to sloth and lust (another thesis that was held dear at the time, geographical determinism, alleged that the true civilizations can only develop in temperate climates).

Nevertheless, when Lobato published Urupês in 1918, portraying "Jeca Tatu", the Brazilian elite was starting to favor another explanation of the "backwardness" of the country. With the publication of a series of public health studies ordered by Oswaldo Cruz, then-current poor sanitary conditions at the countryside take place as the main cause of the "lack of vigor" and the "indolence" of the Brazilians. Sanitarism becomes the trend and Lobato himself engages in the effort of converting Brazil into a "big hospital", in the words of physician Miguel Pereira. This effort peaks in 1924, when Lobato publishes "a história do Jecatatuzinho" ("the story of little Jeca Tatu"), used as an advert for Biotônico Fontoura, a traditional nutritional supplement. In the story, after being healed "by science", Jeca Tatu, the titular character, becomes a model citizen and entrepreneur, capable even of surpassing the production of his prosperous neighbor – an Italian immigrant.

Criticism

However, many Brazilian critics and writers have opposed this concept, arguing that the idea of a "complex" often ignores the nuances of cultural and artistic appreciation. Among these critics, we can highlight names such as Adélia Prado, Augusto de Campos and Hilda Hilst. Each, in their own way, presented arguments that challenge Nelson Rodrigues' view.

Reasons and Arguments Against the "Mongrel Complex":

• Subjectivity of Art: Many argue that artistic appreciation is subjective and that Brazilians, or any people, cannot be expected to value national art just because of their nationality. Taste is something personal, and aesthetic choices can and should be free from patriotic impositions.
• Value of Criticism: Criticism of national production should not be seen as a slight against Brazil, but as a fundamental role for any artist and for the evolution of art. Constructive criticism is essential for improvement, and diversity of opinions can lead to improvements and innovations.
• Relationship to Racism: Some critics argue that the concept of "mongrel complex" can have racist and elitist connotations, implying that criticism of national culture is a negative trait, divided between an "us" (patriots) and a "them" (critics). This simplistic view ignores the rich diversity and social, economic and historical contexts that shape culture and the reception of art in Brazil.
• Patriotism and Identity: There is a debate around the imposition of an uncritical patriotism, in which everyone is expected to value the cultural contributions of their country without question. Critics and writers argue that love of country should be reflective, not blind, and that cultural identity is complex and plural. The obligation to like something just because it is of national origin should not be seen as a value, but rather as a limitation.
• The Role of Globalization: In the era of globalization, culture circulates more fluidly, and it is natural for artists and consumers to be attracted to productions from other places. This does not diminish national culture, but rather situates it in a broader context, where value is derived from many factors and not just nationality.

See also

• Cultural cringe
• Culture of Brazil
• Malinchism (Another nationalist derogatory term)
• Multiculturalism
• Nationalism
• Chauvinism