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Whilst enslavement was not limited to a single ethnic group, the dispersal of Africans due to involuntary mobilities has had a major impact on the world not only through the productivities of the diasporas in commerce but also in other areas: defence, domestic services and entertainment. This article questions the rationale for forced movement of Africans to Asia and discusses the important and intimate roles they performed and continue to perform through examples from India and Japan. What do the variety of roles played by Africans in numerous sectors tell us about the space open to them for social mobility? Voices of Afrodescendants have been muted but they are carving out a new niche through enacting cultural performances persisting through cultural memories and collective identities linked to their role as faqirs） in India. Alterity is voiced through cultural carryovers as illustrated by Afrodescendants in Sri Lanka. What do the lives of enslaved Africans who achieved high positions in the Indian Ocean World reveal about acculturation? Comparative studies with other experiences of slavery and its afterlife are an essential part in understanding global slavery and the Atlantic World is an obvious starting point which will enhance contemporary debates on alterity, perceived through categorisations such as ethnicity and race., 特集号

En aquest article es proposa una aproximació a les performances rituals afrocatòliques a la ciutat de Buenos Aires de final del segle xviii. Partint d’un gran nombre de fonts locals es reconstrueix una situació general que dialoga amb la resta de les Índies, de manera que es mostren similituds i algunesdiferències respecte al que succeí al sud de Brasil. Així mateix, l’article avança en l’estudi de les nacions africanes i proposa que una de les seves característiques més importants era la elusivitat. Aquesta elusivitat permetia conservar espais de negritud on les perfomances afrocatòliques eren protagonistes., This article focuses on Afro-Catholic ritual performances in the city of Buenos Aires at the end of the 18th century. Using a multiplicity of local sources, my goal is to reconstruct the social landscape of these practices and put them in dialogue with the rest of the Americas, highlighting similarities and some differences to processes in the south of Brazil. The article also advances the studyof the African nations, proposing that one of the most important characteristics of these organizations was their elusiveness, which allowed the preservationof spaces of blackness in which the Afro-Catholic performances could take center stage., En este artículo se propone realizar un acercamiento a las performances rituales afrocatólicas en la Ciudad de Buenos Aires de finales del siglo xviii. Recurriendo a multiplicidad de fuentes locales se reconstruye una situación general y ponerla en diálogo con el resto de las Indias, con el objetivo de mostrar similitudes y algunas diferencias con lo que sucedía en el sur de Brasil. El artículo avanza asimismo en el estudio de las naciones africanas, proponiendo que una de sus características más importantes era la elusividad. Esta permitía conservar espacios de negritud donde las performances afrocatólicas eran protagonistas.

The article presents reflections on digital culture and public history articulated to specific issues of the learning of History at school in the present time. Considering school as a space for knowledge production, we seek to understand how digital technology has been appropriated as a methodology in educational actions in the teaching of History. Many of these actions result in the elaboration of authorial products which, conjoining teaching with research, involve teachers and students, and explore the potentialities of the dialog between mediatized and didactic narratives of History. An example is the interactive digital map of the city of Rio de Janeiro (1808-1850). The map is the starting point for accessing animations, which aim to reconstruct the experiences of African and Afro-descendant historical subjects who were enslaved and freed, in their daily life in the city. These narratives present problem situations, which raise sociocultural questions and contribute to the elaboration of a historical perspective., O artigo apresenta reflexões sobre a cultura digital e a história pública, articulando-as com as questões específicas do aprendizado escolar da História no tempo presente. Considerando a escola como espaço de produção de saberes, procuramos compreender de que forma a tecnologia digital vem sendo apropriada como metodologia em ações educativas no Ensino de História. Muitas dessas ações resultam na elaboração de produtos autorais que, na conjunção ensino-pesquisa, envolvem docentes e discentes e exploram as potencialidades de diálogo entre uma narrativa tanto midiatizada quanto didática da História. Um exemplo disso é o mapa digital interativo da cidade do Rio de Janeiro (1808-1850). O mapa interativo é o ponto de partida para o acesso a animações que buscam recuperar vivências de sujeitos históricos africanos(as) e afrodescendentes, escravizados e libertos, no cotidiano da cidade. As narrativas sobre essas vivências apresentam situações-problema que suscitam indagações socioculturais e contribuem para a elaboração da perspectiva histórica.

Resumo Este artigo discute o contexto de produção, o conteúdo e a recepção do livro Ainsi parla l’oncle (Assim falou o tio), do antropólogo haitiano Jean Price-Mars, publicado em 1928. O artigo argumenta que, ademais de oferecer uma interpretação nacionalista da cultura popular haitiana, esse livro faz inovações teóricas importantes que antecipam perspectivas que a antropologia do Norte Global só viria a adotar cinco décadas depois. O artigo examina o contraste entre a recepção do livro, que circunscreve seu interesse aos estudos do Haiti, do Caribe e do mundo afro-atlântico, e a relevância geral de seus argumentos, para além desses campos antropológicos restritos. O artigo, portanto, defende que Jean Price-Mars seja reconhecido e reivindicado na história da antropologia por suas contribuições não apenas regionais e temáticas, mas também propriamente teóricas. Abstract This article examines the context of production, the content, and the reception of the book Ainsi parla l’oncle (So spoke the uncle), written by Haitian anthropologist Jean Price-Mars and published in 1928. The article maintains that, besides a nationalist interpretation of Haitian popular culture, the book makes important theoretical innovations that anticipate perspectives that the anthropology of the Global North would only adopt five decades later. The article discusses the contrast between the reception of the book, which circumscribes its interest to Haitian, Caribbean, and Afro-Atlantic studies, and the general relevance of its arguments, beyond these restricted anthropological fields. The article, therefore, argues that Jean Price-Mars should be acknowledged and claimed by the history of anthropology not only for the regional and thematic relevance of his work, but also for its theoretical contributions.

This article adds to existing discussions on slave religions by offering the analysis of four post-mortem testaments left behind by formerly enslaved African women in nineteenth-century Salvador da Bahia to elucidate the different roles that faith and religiosity played within their lives, communities, and understandings of self. After contextualizing these primary sources within the relevant historiography on African and African descendant religiosity in Atlantic slave societies, it focuses on the centrality of baptisms, strong pleas for forgiveness, elaborate funerary arrangements, irmandade membership, and lives spent within the precepts of Roman Catholicism present in the testaments. It also considers the realities of enslavement and the Atlantic slave trade as important factors that shaped the considerations of freed Africans when faced with the imminence of death. In a world where life was fleeting, death became a major site for community formation, for the assertion of principles, and for exercising agency. The proximity of death and the realities of Atlantic slave societies shaped libertos’ considerations of justice and honor, as well as the final rites they required for their dignified passage to the afterworld. This article concludes that Africans in the diaspora constantly managed, negotiated, and enlarged the small spaces for self-determination, and for the preservation and recreation of identities and communities, with which they were left, while they also carved out other parallel spaces for themselves. Among these, Roman Catholic-derived religious communities and affiliations, and the continuation and creative adaptation of African religious practices, were of essential importance to the identities and community formations of libertos.

The issue of religious practices within the Chinese diaspora in Cuba is increasingly debated within Chinese studies in latin america. as the Chinese and African diasporas in Cuba have intermingled ethnically, their religious practices have historically also intermingled. While the rise of Afro-Cuban religions in recent decades is primarily understood as a response to centuries of Spanish colonialism and perceived as a resistance to Eurocentric hegemonic power, this article aims to examine the efforts of the Chinese diaspora to re-evaluate their religions from the same decolonial perspective. This article aims to determine the tendencies of interactions between Chinese religious beliefs and Cuba’s religions before and after the Cuban revolution, including after the fall of the socialist bloc. Specifically, it examines whether post-revolution state atheism had an impact on the religious beliefs and ethnic heritage of members of the Chinese diaspora. In the 1990s there was a revival of the Guan Yu (关羽) cult which has been often interpreted as a consequence of the economic interests of the Chinese and Afro-Chinese diaspora or as a consequence of the interests of the Cuban government. However, we must also be aware of the broader historical, social and political context at play here. Na področju kitajskih študij v Latinski Ameriki se kot predmet razprav vse pogosteje pojavlja vprašanje verskih praks v kitajski diaspori na Kubi. Ker sta se kitajska in afriška diaspora na Kubi skozi zgodovino etnično mešali, so se sčasoma prepletle tudi njune verske prakse. Medtem ko gre vzpon afrokubanskih religij v zadnjih desetletjih razumeti predvsem kot odziv na stoletja španskega kolonializma in kot upor evropocentrični hegemonistični oblasti, skuša avtorica v prispevku preučiti prizadevanja kitajske diaspore, da bi s te dekolonialne perspektive omenjene religije na novo ovrednotila. Cilj članka je ugotoviti, kakšni so trendi interakcij med kitajskimi verovanji in kubanskimi religijami pred kubansko revolucijo in po njej, tudi po propadu socialističnega bloka. Natančneje, avtorica ugotavlja, ali je porevolucijski državni ateizem vplival na verska prepričanja in etnično dediščino pripadnikov kitajske diaspore. V 90. letih 20. stoletja je prišlo do oživitve kulta Guan Yuja (关羽), ki ga številni razlagajo kot rezultat gospodarskih interesov ki-tajske in afrokitajske diaspore oziroma kot posledico interesov kubanske vlade. Vsekakor pa je treba pri obeh domnevah upoštevati tudi vlogo širšega zgodovinskega, družbenega in političnega ozadja.

Cet article examine la présence de la diaspora africaine dans les expositions de longue durée sur l’histoire du Brésil, montées au Musée Historique National (MHN) entre les années 1980 et 2020. Conjuguant sources institutionnelles et bibliographiques, la recherche montre que, malgré de sérieux efforts, l’expérience afro-diasporique reste encore aujourd’hui passée sous silence et rendue invisible dans les expositions du MHN et dans leurs conceptions du passé. Les sursauts constatés sont en général associés à des dates commémoratives, comme le centenaire de l’abolition de l’esclavage, en 1988. Enfin, d’autres possibilités de lecture des objets afro-diasporiques exposés au musée sont ici proposées, partageant des expériences récentes et indiquant de nouvelles voies d’écriture de l’histoire dans les projets expographiques actuellement menés au sein de l’institution. Este artigo examina a presença da diáspora africana nas exposições de longa duração sobre a história do Brasil realizadas no Museu Histórico Nacional (MHN), entre as décadas de 1980 e 2020. Articulando fontes institucionais e bibliográficas, a pesquisa identificou que, apesar de todos os esforços para ampliar a abordagem da experiência afrodiaspóricas por meio de datas comemorativas, como o centenário da abolição da escravidão, em 1988, o tema ainda é silenciado e invisibilizado nas exposições do MHN. Por fim, o artigo propõe outras possibilidades de leitura da diáspora africana em exposições do museu, compartilhando experiências recentes e indicando novos caminhos para a escrita da história em projetos expográficos desenvolvidos pela instituição. This paper examines the African diaspora within the long-term exhibits on Brazilian history at the National Historical Museum (MHN) between the 1980s and 2020s. Articulating institutional sources and scientific literature, this study identified that, despite efforts to broaden the approach to the Afro-diasporic experience by means of commemorative dates, such as the centennial of abolition, in 1988, the topic is silenced and made invisible in the MHN’s exhibitions. Finally, the paper proposes other possibilities of reading the African diaspora on display, sharing recent experiences and pointing out new paths for the writing of history in exhibition projects developed by the institution.

This article aims at revisiting an activity with jongo Pisei na Pedra (2014), which integrates the Nossa Casinha guide (in press), a didactic resource material intended for educators to mediate didactic sequences (DS) produced to teach Portuguese to migrant children. We consider such jongo activity as an Afro-Brazilian form of expression, characterized by the integration of chants, drum sounds, collective dance and elements of spirituality (Rufino, 2014). The connection between this assemblage (Pennycook, 2017) and an enactive-performative pedagogy, which unites the biological and the aesthetic roots of poetic languages (Maturana & Varela, 1987; Lecoq, 1997 apud Aden & Eschenauer, 2020), allowed the emergence of a translingual theoretical-analytical framework through which jongo can be understood and experienced as an Afro-diasporic manifestation in anti-racist educational practices, which also empowers its aesthetic, emergent, experiential, embodied and transformative composition. In addition, by challenging the conservative approach supported by the language activities present in the guide, which favors compartmentalization, assimilationism and scriptural monolingualism, the translingual framework adopted in this work helps expanding transformative educational practices in the field of Portuguese as an additional language, by providing a view that accepts complexity, relationality and affectivity as constitutive elements of our experiences in transformative linguistic education. Este artigo tem como objetivo revisitar uma atividade com o jongo Pisei na Pedra (2014) que figura no guia Nossa Casinha (no prelo), material destinado a educadores/as para a mediação de sequências didáticas (SD) de língua portuguesa com crianças em situação de migração/ refúgio. Avaliamos tal proposta de trabalho como uma forma de expressão afro-brasileira caracterizada pela integração de cantos, sons de tambores, dança coletiva e elementos de espiritualidade (Rufino, 2014). O cruzamento dessa assemblagem (Pennycook, 2017) com uma pedagogia enativo-performativa, que une as raízes biológicas e as raízes estéticas das linguagens poéticas (Maturana & Varela, 1987; Lecoq, 1997 apud Aden & Eschenauer, 2020), permitiu a criação de um quadro teórico-analítico translíngue, por meio do qual o jongo possa ser vivenciado e reverenciado como manifestação afro-diaspórica em práticas educativas antirracistas, na potência de sua composição estética, emergente, experiencial, corporificada e transformativa. Além disso, o confronto à compartimentalização, ao assimilacionismo e ao monolinguismo escriturístico, características que atravessam as práticas de linguagem do guia em análise, permite a expansão de possibilidades de trabalho no campo do português como língua adicional, ao proporcionar um olhar que acata a complexidade, a relacionalidade e a afetividade como elementos constitutivos de nossas vivências em educação linguística transformadora.

This article introduces the special issue, “Community Archaeology of the African Diaspora.” This collection of papers grew out of a session at the 2020 Society for Historical Archaeology conference in Boston, Massachusetts, with additional authors invited to add further geographical and methodological diversity. The papers in this issue address a single question—how are archaeologists currently involved with community archaeology projects related to the African Diaspora?—and reflects the wide array of approaches currently being implemented across the discipline.

This article examines the invisibility of Afro-French youth authors in a publishing landscape that is paradoxically increasingly sensitive to the issue of diversity. Based on interviews I conducted with self-published Afro-French female authors of children's literature, this article gives ample space for the authors to explain their motivations for writing for young people, their choice of publication form, and the freedom and limits that accompany self-publishing.

This article examines the invisibility of Afro-French youth authors in a publishing landscape that is paradoxically increasingly sensitive to the issue of diversity. Based on interviews I conducted with self-published Afro-French female authors of children's literature, this article gives ample space for the authors to explain their motivations for writing for young people, their choice of publication form, and the freedom and limits that accompany self-publishing.

This thesis investigates the work of Castiel Vitorino Brasileiro, Aline Motta and Juliana dos Santos, three contemporary Brazilian artists who are proposing different ways of looking at the past while also addressing the interlocking forms of oppression at work in the present. Through their collaborations with relatives and ancestors, in which photography plays a crucial role, the artists reflect on the colonial trauma of over three centuries of genocide, slavery and colonization in Brazil. However, I argue that they go beyond that, proposing a way of reimagining frameworks of kinship as a form of redress. By articulating new lines of descent that constitute a (re)membering of those fragmented narratives that remain in the archives, I contend that the artists are addressing present structural, everyday racism while also performing and expanding the possibilities of inhabiting the future. In establishing a relation between their artistic practices, this thesis analyzes the ways they appeal to personal and collective memories brought to the foreground in family photographic records to conceive paths towards repairing, or at least naming, the wounds inflicted by the forms of class, gender and race violence that continue to plague the country. Moreover, this text reveals how their works invite a rearrangement of our perception of time and contribute to a critique of linear temporality, evincing the falseness of any narrative of the past as single, stable and flowing in only one direction. My research is guided by questions such as: How can photography serve as a medium of fabulation and of imagining family ties across time and space? If photographs help constitute a family’s affective archive, how can these intergenerational dialogues become a form of thinking about the future and inventing new lines of filiation? Furthermore, how can these gestures signal the way, if not toward healing, towards an ever-incomplete practice of redress?

Nigerian-born author Chika Unigwe situates a substantial part of her oeuvre in contemporary, multicultural Belgium, a location rarely explored in postcolonial literatures despite its colonial history and sizable migrant communities. This article demonstrates how, in her short fiction and her novels The Phoenix (2007) and On Black Sisters’ Street (2009), Unigwe’s literary portraits of the country, based on the perceptions and experiences of Nigerian migrants living there, challenge traditional centre/periphery dichotomies. Her characters, who are mainly young Nigerian women, move across boundaries between Africa and Europe, the big city and the provincial town, the city centre and the suburbs, the touristic historic centre and the red-light district, theirmobilities characteristic of contemporary globalized societies. The fictions are analysed to highlight the equivocality of centres and peripheries and the permeability of the borders that separate them, as well as the resilient mobility of Nigerian migrants in Belgium.

Une chronologie des événements de juin et juillet 2020, auxquels des organisations franciliennes se réclamant du panafricanisme prennent part, peut permettre d’avoir un premier aperçu sur l’identité, les références intellectuelles, les modes d’action et le caractère transnational de ce militantisme basé en Île-de-France. C’est ainsi que la mort de George Floyd en mai 2020 a donné davantage de visibilité, non seulement aux mobilisations antiracistes et décoloniales, mais aussi aux mouvements panafricanistes et anti-impérialistes menés par des militants africains ou afrodescendants en Île-de-France. (…) Le bref panorama de ces organisations panafricanistes franciliennes permet de faire émerger les questionnements suivants : comment expliquer la constitution d’un répertoire de contestation radicale contre l’État français chez des militants en grande partie français ? Quel type de liens idéologiques, relationnels et organisationnels ces militants noirs panafricanistes franciliens entretiennent-ils avec d’autres espaces militants entre Afrique, Europe et Amériques ? Comment rendre compte de l’usage de modes d’action relatifs à la manifestation, à la désobéissance civile et à la « judiciarisation »8 ? De quelles manières ces individus construisent-ils leur identité ? Finalement, ces militants, qui s’affichent « unis dansla lutte », ont-ils vraiment la même interprétation du panafricanisme et de l’anti-impérialisme, les mêmes objectifs et les mêmes stratégies ? Ces questions entremêlent différentes thématiques et croisent différentes littératures, à savoir celle sur l’identité noire en France, à travers les Black Studies et les Diaspora Studies, et celle sur les mobilisations anti impérialistes et panafricanistes des Noirs en France, à travers la sociologie de l’action collective.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) In this research, I analyze sociologically the Battles of Rap and the Slams in São Carlos- SP city, with the objective of identify the social representation, narratives, tensions, contradiction and possible linguistic and symbolic negotiation that are constructed and communicated in the environment of the events. The research is based on dialogues with 5 interlocutors- Stevan, Arlequina, Curinga, Peninha e THC das Ruas- that, through the experience reports, signify and give meaning to the cultural occupation of public spaces in the city. In addition to the interview (or talk) the analysis is also based on photographs, videos, reports and music letters related to the field of research. It is worth pointing out that cultural practices of Battles of Rap and Slams are characterized in a special way by disputes, especially in verses, and are consecrated by their respective particularities in producing culture in the contemporary. That said, I search specifically: a) identify how the Battle of Raps, that occured in the São Carlos-SP city, are constructed as popular youth culture, above all on the periphery and, at the same time, as a counterculture; b) understand the construction of cultural identity in these movements, take into account their gender, sexuality, race and class cleavages; c) analyze how the public space, specially the city squares, are understood and negotiated through the structures of feeling of these movements. From a theoretical point of view, I especially use the contributions of Cultural and Post- Colonial Studies. In general lines, the research demonstrates, through the experience reports of these subjects, the plurality of cultural forms that emerge in the Diaspora, able of articulate the creative agency of individuals and movements that speak of struggle, resistance, emancipation and, at the same time, disputes strategic positions in the cultural hegemony of the city. In this sense, this movement (re)places the agency bringing the past and writing another reading of the past in the present, pointing to a future that is not programmatic or metatheoretical, but concerned with solving everyday battles. Therefore, the research, by placing the experience and black creative agency at the center of the analysis, reveals with power, the ways of thinking about black cultures, cultural identity and belonging in the Diaspora. Nesta pesquisa, analiso sociologicamente as Batalhas de Rap e os Slams na cidade de São Carlos-SP, com o objetivo de identificar as representações sociais, as narrativas, tensões, contradições e possíveis negociações linguísticas e simbólicas que são construídas e comunicadas no ambiente dos eventos. A pesquisa é baseada em diálogos com 5 interlocutores - Stevan, Arlequina, Curinga, Peninha e THC das Ruas - que, através de relatos de experiências, significam e dão sentido para ocupações culturais de espaços públicos na cidade. Para além das entrevistas (ou conversas) a análise também se baseia em fotografias, vídeos, reportagens e letras de músicas relacionadas ao campo de pesquisa. Vale destacar que as práticas culturais das Batalhas e Slams se caracterizam de forma especial por disputas, sobretudo de versos, e se consagram pelas suas respectivas particularidades em se produzir cultura no contemporâneo. Diante disso, busco de forma específica: a) identificar como as Batalhas de Rap, que ocorreram na cidade de São Carlos-SP, se construíram enquanto cultura popular de juventudes, sobretudo periféricas e, ao mesmo tempo, contracultura ; b) compreender a construção da identidade cultural nesses movimentos, levando-se em consideração suas clivagens de gênero, sexualidade, raça e classe; c) analisar de que modo o espaço público, em especial as praças da cidade, são compreendidos e negociados através das estruturas de sentimento desses movimentos. Do ponto de vista teórico, utilizo-me especialmente das contribuições dos Estudos Culturais e Pós-Coloniais. Em linhas gerais, a pesquisa demonstra, através dos relatos de experiências desses sujeitos, a pluralidade das formas culturais que surgem na Diáspora, capazes de articular a agência criativa de indivíduos e movimentos que falam de luta, resistência, emancipação e, ao mesmo tempo, disputam posições estratégicas com hegemonia cultural da cidade. Nesse sentido, esses movimentos (re)situam a agência trazendo o passado e escrevendo uma outra leitura do passado no presente, apontando para um futuro que não é programável ou metateórico, mas sim preocupado em solucionar as batalhas do cotidiano. Sendo assim, a pesquisa ao colocar a experiência e agência criativa negra no centro das análises, revela com potência, formas de pensar as culturas negras, a identidade cultural e o pertencimento na Diáspora. 88887.480763/2020-00

The small island of Lampedusa, a key destination of the Central Mediterranean Route connecting Africa to Italy, offers a special observatory on the contemporary trans-Mediterranean odyssey of migrants, although often transformed into a “border spectacle.” Upon landing, migrants are stripped of their belongings, as these are impounded by the authorities. Such an act of dispossession is intended to deprive them of their histories, family ties and cultural identity. Photographer Mario Badagliacca has portrayed a selection of these lost and retrieved items in his work Fragments (2013). Each object reveals expectations, fears, desires, endurance, but cannot tell a full story. They are fragments of an open-ended narrative that requires to be framed and told, if we wish to gain a better understanding of the Black Mediterranean, its history, and consequences. What remains untold can only be imagined. Writer Maaza Mengiste imagines what lies behind two smudged photographs portrayed by Badagliacca. As always, the force of imagination provides signification, solidarity, and survival in the fractured history of the African Diaspora.

Liberia is a site of the African diaspora, and yet cultural nationalism cultivated in dignity for the mobility and breadth of African heritage has never emerged in the republic. From its founding days, Liberia has been the home of sixteen indigenous groups, as well as three groups belonging to Africa’s diaspora: African Americans, repatriated Africans, and Afro-Caribbeans. Though Black Atlantic exchanges between Liberia’s diasporic groups could have produced a complex modern art movement in the country in the nineteenth century, African American pioneers were detrimentally resistant to encouraging the assimilation of Liberia’s cultures. Liberian leadership—which has primarily been held by those of African American descent—has consistently remained resistant to acknowledging the country’s various ethnic groups with equity and pride. This resistance is rooted in African American settler colonialism’s encouragement of a modernity in Liberia that oriented Blackness around whiteness, rather than as a quality intrinsic to being of African descent. As a result, Liberia’s ethnic groups have existed within a caste system that has deterred access to a cultural nationalism that makes use of cultural development in Liberia as a tool to build the nation and mobilize a Liberian modernism that articulates the various expressions of African heritage. While the conditions that often produce artistic modernism—notably multicultural exchanges—have always been present in Liberia, these conditions alone, without being united through cultural nationalism, did not compel the emergence of Liberian modernism in the nineteenth or twentieth centuries. The historic fragility of cultural nationalism in Liberia has in recent decades been detrimental to the country’s visual landscape and has continued to deprive the practices of Liberian artists with the support necessary to establish Liberian modernism in the country. Although Liberian modernism has yet to form, its qualities have been envisioned. This thesis determines how this vision has shifted over Liberia’s history, and how Liberian modernism might finally begin to materialize in the post-war country.

What theoretical and political exigencies framed the discussions of Latin American art in the 1970s, and what are the afterlives of those formations today? This Dialogues traces a constellation of curators and scholars that participated in the articulation of the field of modern and contemporary Latin American art, paying attention to experimentation and the ways coloniality haunt its development. Authors analyze episodes in the formation of the field, including a prominent international symposium, an audiovisual display as curatorial intervention, and the redefinition of popular art, as well as troubling the subordination of Black art. George Flaherty and Adele Nelson discuss the intensive questioning that constituted the Austin Symposium in 1975, drawing on the previously understudied audio recordings of the conference. Camila Maroja reconsiders the controversial audiovisual presentation by Ángel Kalenberg at the Tenth Paris Biennial (1977) with a view to the transnational cultural politics of the period. Karen Benezra offers that Ticio Escobar’s multidecade reconception of popular art grants space for art by communities historically excluded from both art and the mestizo nation, notably the Ishir Indigenous people of Paraguay. Eddie Chambers issues a challenge and reflects on the limited degree to which the contributions of African-descended artists have been recognized by historians of Latin American art, focusing on Brazil and Cuba. Together these texts propose that questioning and unresolvability can serve as both tools and reminders of the size and significance of the ontinued work required of the field of modern and contemporary Latin American art.

Resumo: O presente estudo objetiva discutir a noção de presença cênica a partir da utilização de princípios das práticas culturais afrodiaspóricas. As reflexões apresentadas emergem do cruzamento entre o desenvolvimento da pesquisa de pós-doutorado intitulada Elinga e o espetáculo performativo Mulheres do Àse. Apresenta-se como base discursiva e estrutural os fundamentos da cosmogonia iorubá èmí (sopro da vida), ofó (encantamento) e asé (energia vital) em diálogo com os conceitos corpo-arquivo, corpo-arma, decolonialidade, ritualização do instante e presença cênica. Résumé: La présente étude vise à discuter la notion de présence scénique à partir de l'utilisation des principes des pratiques culturelles aphrodiasporiques. Les réflexions présentées émergent de l'intersection entre le développement de la recherche postdoctorale intitulée Elinga et la performance Mulheres do Àse. Il se présente comme base discursive et structurelle les fondements de la cosmogonie Yoruba èmí (souffle de vie), ofó (enchantement) et asé (énergie vitale) en dialogue avec les concepts corps-fichier, corps-arme, décolonialité, ritualisation de l'instant et présence scénique. Abstract: The present study aims to discuss the notion of scenic presence based on the use of principles from African-diasporic cultural practices. The reflections presented emerge from the intersection between the development of postdoctoral research entitled Elinga and the performance Mulheres do Àse. It presents itself as discursive and structural basis the foundations of the Yoruba cosmogony èmí (breath of life), ofó (enchantment) and asé (vital energy) in dialogue with the concepts body-file, body-weapon, decoloniality, ritualization of the moment and scenic presence.

This article shows that the writing of Franco-African youth authors who write about their native country is marked by what W.E.B. Du Bois calls "double consciousness", i.e. the awareness of the way society looks at them and at their continent of origin. This "double consciousness" manifests itself, among other things, through the attempt to rectify the reductive societal image projected on them and on their native country by showing another facet of the latter. A specificity of these works also resides in the fact that they have a 'double ethno-racial and cultural address': they address a majority (white) public and an Afrodescendant public at the same time T

This article shows that the writing of Franco-African youth authors who write about their native country is marked by what W.E.B. Du Bois calls "double consciousness", i.e. the awareness of the way society looks at them and at their continent of origin. This "double consciousness" manifests itself, among other things, through the attempt to rectify the reductive societal image projected on them and on their native country by showing another facet of the latter. A specificity of these works also resides in the fact that they have a 'double ethno-racial and cultural address': they address a majority (white) public and an Afrodescendant public at the same time T

The present essay assembles poems written by Marília Kosby and paintings from José Darci, which compose the first edition of the book Os Baobás do fim do mundo. Resulting from the partnership between poet and painter, the book investigates poetic possibilities through the ethnographic encounter with terreiras communities in the region of Pelotas, located on the southern region of Rio Grande do Sul state. The poems and images picture guias and pathways of a force called axé, with an ability to root and to spread itself that constitute a shared knowledge, informed by the experience of the African diaspora. El ensayo recoge poemas de Marília Kosby y pinturas de José Darci, que componen la primera edición del libro Os Baobás do fim do mundo. Realizada a través de la colaboración entre poeta y pintor, el trabajo investiga posibilidades poéticas mediante el encuentro etnográfico realizado junto a terreiras en la región de Pelotas, al sur del departamento de Rio Grande do Sul. Los poemas y imágenes describen guías y caminos de una fuerza llamada axé, portadora de una capacidad de germinar y de extenderse que constituye un saber generado y transmitido a través de la experiencia de la diáspora africana. O ensaio reúne poemas de Marília Kosby e pinturas de José Darci, que compõem a primeira edição do livro Os Baobás do fim do mundo. Realizada em parceria entre a poeta e o pintor, a obra investiga possibilidades líricas através do encontro etnográfico realizado junto a terreiras na região de Pelotas, sul do Rio Grande do Sul. Os poemas e as imagens descrevem guias, caminhos e vertentes de uma força chamada axé, cuja arte de brotar, se desdobrar e espalhar é um saber gerado, transmitido e atualizado a partir da experiência da diáspora africana.

Non-indigenous communities are particularly insightful in terms of understanding the process of healing plant acquisition and loss. This study explores the traditional medicinal plant knowledge and use of a long-isolated, African-descended community in the Atlantic rainforests of northeastern Brazil. We investigated the primary plant species used and their therapeutic applications. We hypothesized that women and the oldest members of the community would be the most knowledgeable about medicinal plants. We carried out semi-structured interviews and walk-in-the-woods plant collecting techniques with 74 informants. We identified 133 ethnospecies of plants used to treat a wide variety of illnesses. The most commonly used plant parts were leaves; the most common form of preparation was as infusion. As anticipated, medicinal plant knowledge generally increased with age. However, there was no significant gender difference in plant knowledge. We attribute this to the increasingly similar livelihood roles and geographical spaces occupied by men and women in the community. There was, however, a trend for women to be more knowledgeable about the healing properties of herbaceous and cultivated plants. Increasing contact with the outside world has resulted in a confluence of traditional, often African-derived healing therapies, with the novel healing plant knowledge and allopathic medicine of outsiders.

[eng] This dissertation takes a transatlantic approach in its exploration of identity and representation by examining artistic practices within areas of the Caribbean, Europe, and the United States. Australia is also used as a point of reference to further the discourse on representation and identity. While the focus is on the African Caribbean diaspora, specifically the Windrush generation in Britain, this work also engages with other immigrant and marginalized BIPOC communities to emphasize the social, cultural, and political importance of art that is representative of the diversity that exists within contemporary cities. This is an ethnographic study that incorporates participant-observation, interviews, and archival research. It is postcolonial by its focus on place as defining identity, and fills a scholarly gap in the field of British history. It is grounded in the discipline of cultural studies, but is cross-disciplinary in nature, engaging anthropology, psychology, performance studies, and urban planning. In an effort to understand implicit bias, bigotry, and racism -all of which contribute to racialized spaces- this dissertation analyzes place names and the psychological connection people have with places. In examining artistic practices and institutions, the ways that public spaces are racialized and gendered are explored. To that end, public art, specifically community-engaged murals, are contrasted against traditional art institutions. It is argued that such murals challenge the racialized status quo and allow for representation that would otherwise be unacknowledged. In this work, the term art world refers to traditional art institutions such as museums and galleries, alternative spaces meaning unconventional venues, academia, and public spaces. The former have long received criticism within public discourse and academia for racism and sexism as women and nonwhite artists have been woefully underrepresented in art exhibitions and museum collections. By comparison, public art has not received as much scholarly analysis and has often been promoted as having wide appeal, acceptance, and appreciation. However, portrayals of public art as universally understood and relatable are false and can further alienate members of society who do not see themselves and their communities represented. Increasingly, individuals and groups are protesting against such public art and in some cases taking it upon themselves to remove contentious and offensive statues from their exalted position. While this dissertation draws from various geographic locations and populations, the focus is on Bristol, England, and members of the Windrush generation. In this regard, the country's colonial past, specifically its role in the transatlantic trafficking of enslaved people is examined. The concept of universal Britishness is interrogated for its racial and gendered biases. The racialized ways that public places are marked within Bristol are discussed, and creative placemaking through community-engaged murals is introduced as a means of disrupting the status quo. In examining how place naming and marking contributes to feelings of belonging and dis-belonging, critiques of previous creative placemaking studies are incorporated. To that end, gender, history, and "race” are added as place-defining parameters. Race relations in twentieth-century England are examined along with the ways that marginalized individuals of the Windrush generation negotiated themselves within dominant power structures, asserted their identity, and gained political strength. After providing a socio-historical analysis, this dissertation introduces the Seven Saints of St. Pauls® Art & Heritage Trail, which consists of seven large-scale murals of individuals of the Windrush generation. I argue that this heritage trail contributes to Bristol’s livability by providing positive and authentic representation of a community of Black Britons, while also effectively disrupting the racialized spatial status quo of a city with a history rooted in enslavement and whose public memories of this past are normalized and represented as a regular part of daily life in contemporary Bristol., [spa] Esta tesis adopta un enfoque transatlántico en su exploración de la identidad y la representación mediante el examen de las prácticas artísticas en áreas del Caribe, Europa y Estados Unidos. Aunque el interés de esta disertación se focaliza en la diáspora afro-caribeña, específicamente en la generación Windrush en Gran Bretaña, este trabajo también incluye otras comunidades inmigrantes y marginadas de BIPOC para enfatizar la importancia social, cultural y política del arte que es representativa de la diversidad que existe dentro de las ciudades contemporáneas. Este es un estudio etnográfico que incorpora observación de participantes, entrevistas e investigación de archivo. Es poscolonial por su enfoque en el lugar como identidad definitoria, y llena una brecha académica en el campo de la historia británica. Se basa en la disciplina de los estudios culturales, pero es de naturaleza interdisciplinaria. En un esfuerzo por entender el sesgo implícito, la intolerancia y el racismo, esta tesis analiza los nombres de los lugares y la conexión psicológica que tienen las personas con los lugares. Al examinar las prácticas e instituciones artísticas, se exploran las formas en que los espacios públicos son racializados y se tienen en cuenta las cuestiones de género. Con ese fin, el arte público, específicamente los murales comprometidos con la comunidad, se contrasta con las instituciones de arte tradicionales. Se argumenta que tales murales desafían el status quo racializado y permiten una representación que de otro modo no sería reconocida. Mientras que esta tesis se basa en varias ubicaciones geográficas y poblaciones, el foco está en Bristol, Inglaterra, y los miembros de la generación de Windrush. En este sentido, se examina el pasado colonial del país, se discuten las maneras racializadas en que los lugares públicos están marcados dentro de Bristol y se introduce la creación creativa de lugares a través de murales comprometidos con la comunidad como un medio para perturbar el status quo. Después de proporcionar un análisis socio-histórico, esta disertación presenta el Sendero de Arte y Patrimonio Seven Saints of St. Pauls®, que consiste en siete murales a gran escala de individuos de la generación Windrush. Sostengo que este sendero patrimonial contribuye a la habitabilidad de Bristol al proporcionar una representación positiva y auténtica de una comunidad de británicos negros, al tiempo que interrumpe de manera efectiva el status quo espacial racializado.

Book review of Under Different Moons: African Art in Conversation by Anthony Alan Shelton with essays by Titilope Salami and Nuno Porto, 2021. 236 p. ill. ISBN 9781773271149 (h/c), $60.00. Reviewed January 2022 by Lauren McMullan, Librarian, Kalamazoo Institute of Arts, laurenm@kiarts.org.

RESUMO Este artigo examina a presença da diáspora africana nas exposições de longa duração sobre a história do Brasil realizadas no Museu Histórico Nacional (MHN), entre as décadas de 1980 e 2020. Nossa compreensão de diáspora africana está em sintonia com a definição de Nei Lopes, em que o termo se refere à vinda forçada de negros africanos para serem escravizados nas Américas, entre os séculos XVI e XIX, e às histórias, às memórias e ao patrimônio dos descendentes deles. Articulando fontes institucionais e bibliográficas, a pesquisa identificou que, apesar de todos os esforços para ampliar a abordagem da experiência afrodiaspórica por meio de datas comemorativas, como o centenário da abolição da escravidão, em 1988, o tema ainda é silenciado e invisibilizado nas exposições do MHN. Por fim, o artigo propõe outras possibilidades de leitura da diáspora africana em exposições do museu, compartilhando experiências recentes e indicando novos caminhos para a escrita da história em projetos expográficos desenvolvidos pela instituição. ABSTRACT This paper examines the African diaspora within the long-term exhibits on the history of Brazil held at the National Historical Museum (MHN) between the 1980s and 2020s. Our understanding of the African diaspora in line with Nei Lopes’ definition, in which the term refers to the forced arrival of Black Africans to be enslaved in the Americas between the 16th and 19th centuries, and to the histories, memories, and heritage of their descendants. Articulating institutional sources and scientific literature, this study identified that, despite all efforts to broaden the approach to the Afro-diasporic experience by means of commemorative dates, such as the centennial of the abolition, in 1988, the topic is silenced and made invisible in the MHN’s exhibitions. Finally, the paper proposes other possibilities of reading the African diaspora on display, sharing recent experiences and pointing out new paths for the writing of history in exhibition projects developed by the institution.

Since its global spread in the 1980s, hip-hop has been a crucial cultural sphere in which Europeans of color have engaged the experiences of race and racism, gender, and national belonging, with hip-hop music and culture often considered to function as the cultural lingua franca of the African diaspora. Given the continued dominance of Nordic exceptionalism and formal color-blindness in both the Finnish national imaginary and public discourses, hip-hop emerges as an important site for examining the production of counter-discourses and -narratives by Finns of color, and Afro-Finns in particular. This article approaches Afro-Finnish hip-hop as an alternative archive of Afro-Finnish experience and thought. It centers three works by the Afro-Finnish R&B singer Rosa Coste and Afro-Finnish rapper Yeboyah to examine articulations of liminality in relation to Blackness, mixedness, and Finnishness. Exploring the multiple readings of liminality discernible across these works, the article shows that they offer meaningful meditations on Afro-Finnish identity and experience. In raising the multiple forms of liminality that shape the Afro-Finnish experience, these works also raise questions about the potentials and limitations of multiraciality as a category of analysis in the Finnish context.

While Italy has recently experienced nationalist drives, Sicily and in particular the City of Palermo, one of the major ports of refuge for countless migrants arriving in Europe from the African shores, has distinguished itself as an experimental site where to rethink and challenge notions of residence, mobility, citizenship and belonging. Through a series of cultural initiatives, Palermo has become a hub for frontline artists, writers, intellectuals, and activists who have gathered to explore the historically and contemporary ways in which black voices have been silenced and black bodies have been ambiguously imagined in Western-dominated global culture. Investigating these questions is fundamental to understand what is happening today in the Mediterranean, a crucial site of the African diaspora since the classic era. Expanding on my theory of the Black Mediterranean formulated ten years ago, referring to an array of literary and artistic texts, my goal is to inscribe, in view of recent events concerning Afro-descendants the world over, the contemporary history of the Black Mediterranean in that of the African Diaspora, showing that it represents only its most recent chapter.

This article examines the invisibility of Afro-French youth authors in a publishing landscape that is paradoxically increasingly sensitive to the issue of diversity. Based on interviews I conducted with self-published Afro-French female authors of children's literature, this article gives ample space for the authors to explain their motivations for writing for young people, their choice of publication form, and the freedom and limits that accompany self-publishing.

African governments and their political structures are now increasingly constituted of returning diaspora. The thesis explores the international and domestic political processes through which diaspora return to politics and influence the Somali-speaking subnational and national administrations of the Republic of Somaliland, Puntland Member State of Somalia, and the Federal Government of Somalia from 1985 until 2018. These processes are traced across the three contexts and chronologically from the irredentist fight of the 1980s, through state formation and reconstruction processes after 1991, and up to contemporary politics. In each context, different historical and conflict legacies, state formation processes (including relationships with the international system) and internal elite pacts shape the opportunity structures for diaspora politicians to contest and influence politics. Divergences emerge in trends in leadership succession, including the rise and fall of diaspora administrations, as well as in the forms of alliance building and local resistance that emerge against periods of diaspora rule. This thesis is particularly concerned with how international actors and statebuilding agendas may confer undue legitimacy on diaspora politicians and empower them to challenge existing political arrangements and systems of clan governance. As such, this thesis contributes to key academic debates about clan politics and limited stateness, the symbolic valence of expertise, and the politics of state formation.

This article provides a sociological analysis of the disadvantaged African Canadian migrants’ experiences and challenges of the integration process in the province of Ontario. In this qualitative study, migrants discussed the challenges of resettlement, livelihood, health, and social well-being from their perspectives. They shared their personal experiences with housing, health services, lack of work, and access to social support services. Data used in this research come from transcribed stories gathered through intensive one-on-one interviews with 26 African Canadian migrants, each lasting 1−2 hours, and three focus groups with 30 others. The 56 participants in the study were recruited from three Ontario cities of Ottawa, Toronto, and Kitchener. The survey covered the period from March 2013 to October 2017. Using the grounded theory (GT) method, interviews were transcribed, coded, categorised, and analysed using NVivo 10. In this study, participants have shared their experiences with racism and discrimination, and most have cited lack of access to adequate social programs, employment support, and resettlement services as the most significant barriers to meaningful social and economic integration. They reiterated the importance of employment support and social services programs tailored toward migrants’ needs with an emphasis on socio-political, cultural, and economic integration.

This article evaluates the British siege and occupation of Havana (1762-1763) as an event in the history of the African diaspora and racial slavery in the Atlantic world. People of African descent made up half the population of Cuba at this time, and played a central role in the events of the invasion and occupation. This paper draws upon archival sources in the U.S., Britain, Jamaica, Cuba, and Spain to investigate how the men and women of an interconnected African diaspora responded to this imperial conflict. Este artículo evalúa la invasión y la ocupación británicas de La Habana (1762-1763), como un acontecimiento en la historia de la diáspora africana y la esclavitud racial en el mundo atlántico. Las personas de ascendencia africana componían la mitad de la población de La Habana en ese momento, y desempeñaron una función central en los sucesos de la invasión y la ocupación. Este artículo hace uso de fuentes de archivos históricos de los Estados Unidos, Gran Bretaña, Jamaica, Cuba y España para investigar cómo los hombres y mujeres de una diáspora africana interrelacionada respondieron a este conflicto imperial.

This article, based on 16 months of in-depth interviews and participant observation conducted over five years, explores the participation of young Afro-Italian women entrepreneurs in new initiative...

This essay reexamines the figure of Franz Kafka (1883–1924) in light of his largely ignored, recursive links to circum-Caribbean and Black Atlantic processes of racialized exploitation and corporal punishment. When we centre Kafka’s extensive biographical and literary engagements with these processes, the persistent debate over Kafka’s status as a Holocaust prophet emerges in a new light. Kafka’s archival trail connects his lifelong attention to African enslavement and New World plantation economies to his nightmarish vision of murderous bureaucracies – a connection that crystallizes concretely in his 1919 short story “In the Penal Colony.” The archival and aesthetic connections direct us to a historiographical one, namely the increasingly excavated genealogical linkages between the Holocaust and anterior genocidal depredations in Africa and the New World under the auspices of European colonialism. This historiographical reorientation allows us to recast, in a global frame, the debate over Kafka’s status as a prophet of world history, a debate that has heretofore operated through the exclusion of the transatlantic slave trade. Kafka’s extensively documented attunement to colonial political economies provides formal, figural mechanisms that not only link the juridical–economic worlds of Caribbean slavery and Hitler’s Third Reich, but also anticipate, and disable, the dehistoricized, Eurocentric appropriation of his textual archive as a premonition of Auschwitz.

In the last twenty years, we have seen substantial transformations both in the place that is attributed to the peoples, cultures and traditions of African origin in the formation of Brazilian society, and in the way national identity is approached in the debates and discussions that are dedicated to the investigation of relations in the contemporary world. These transformations take a path that reflects a new look at the presence of these peoples and cultures, often informed and influenced by a concept that has gained prominence in the discussions in both the academic world and militancy: the African diaspora. However, the model or perspective of the African diaspora that is being articulated in these investigations and discourses is rarely explicit. Outside Brazil, the notion of the diaspora, and more specifically of the African diaspora, is not recent. Since the end of the 19th century it was present in the United States, having an important role as a locus of belonging, contributing to the building of solidarities and political agendas of the black American social movements. In addition, the notion of the African diaspora was essential for the construction, institutionalization and postulation of theoretical-methodological paradigms for what is now (recently) termed African-American Studies. In this sense, this work aims to elaborate a brief genealogy of the notion of African diaspora. Through mapping the way African-American intellectuals worked with categories such as “race,” “culture,” “affiliation,” and “belonging” in the late 19th century, we present the emergence conditions of the concept.

Made available in DSpace on 2021-06-25T15:02:05Z (GMT). No. of bitstreams: 0 Previous issue date: 2021-09-01 In despite of recent and dizzying popularization of the concept of African diaspora in the national context, we have rarely find in Brazilian academic productions, any indication or delimitation about the different models, theoretical and methodological perspectives and approaches that constitute the broad field of African Diaspora Studies. In this context, this article is useful for carrying out the following two tasks. The first one concerns a brief reconstruction of the roots and routes from which Brazil and peoples of African origin who settled here (voluntary and / or involuntary) were enrolled and re-enrolled, through a contingent relationship, in the African diaspora. The second task has as main objective to present to the Brazilian public a qualified set of discussions around this important concept, taking into account, on the one hand, divergent theoretical positions, including specific approaches in areas of knowledge (literary criticism, history, sociology, anthropology) and, on the other hand, contributions from different regions of the world and in different contexts (Americas, Caribbean, Africa, Europe and Asia). Univ Fed Sao Carlos UFSCar, Dept & Programa Posgrad Sociol, Sao Carlos, Brazil Univ Estadual Paulista Julio de Mesquita Filho UN, Dept Sociol & Antropol, Marilia, SP, Brazil Univ Estadual Paulista Julio de Mesquita Filho UN, Programa Posgrad Ciencias Sociais, Marilia, SP, Brazil Univ Integracao Int Lusofonia Afro Brasileira UNI, Inst Humanidades & Letras, Campus Males, Sao Francisco Do Conde, BA, Brazil Transnacionalismo Negro & Diaspora Africana UFSCa, Grupos Pesquisa Enfoques Antropol GEA UNESP, Sao Carlos, Brazil Grp Antropol Caribe Global USP, CANIBAL, Sao Paulo, Brazil Univ Estadual Paulista Julio de Mesquita Filho UN, Dept Sociol & Antropol, Marilia, SP, Brazil Univ Estadual Paulista Julio de Mesquita Filho UN, Programa Posgrad Ciencias Sociais, Marilia, SP, Brazil Transnacionalismo Negro & Diaspora Africana UFSCa, Grupos Pesquisa Enfoques Antropol GEA UNESP, Sao Carlos, Brazil

Made available in DSpace on 2021-06-25T11:56:25Z (GMT). No. of bitstreams: 0 Previous issue date: 2021-09-01 What is it to be Black? What are the contours of this subjectivity and the conditions that position this subject in the networks, flows, forces and narratives that institute it? The task that we propose in this article, is to offer a genealogical path way about the how in which such questions, coextensive with different black intellectual traditions and modernity itself, took shape and crossed the formulations of three specific intellectuals: W. E. B. Du Bois, Frantz Fanon and Stuart Hall. We have argue that not only is there both a route between the thinking of these scholars, which offers a critical status for speculation about the constitution of such a subject/subjectivity, as there is between them and the black intellectual traditions that represent the following proposition: there is possible to enunciate a existence that is not neither oppositional nor reactive, but becoming yourself an Afro-diasporic subject. Transnacionalismo Negro & Diaspora Africana UFSCa, Grupos Pesquisa Enfoques Antropol GEA Unesp, Sao Carlos, Brazil Grp Antropol Caribe Global USP, CANIBAL, Sao Paulo, Brazil Univ Integracao Int Lusofonia Afrobrasileira UNIL, Inst Humanidades & Letras, Campus Males, Sao Francisco Do Conde, BA, Brazil Univ Fed Sao Carlos UFSCar, Dept & Programa Posgrad Sociol, Sao Carlos, Brazil Transnacionalismo Negro & Diaspora Africana UFSCa, Grupos Pesquisa Enfoques Antropol GEA Unesp, Sao Carlos, Brazil

Orientador: Inaicyra Falcão dos Santos Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: Este trabalho tem como objetivo ampliar o campo teórico-prático que situa corpo, cultura e colonialidade a partir de uma perspectiva transversal que tanto avalia os impactos das eurocentricidades nas concepções epistemológicas do território da dança, quanto aponta caminhos que interpelam criticamente tais realidades. A análise dos significados da diáspora, esfera do movimento e da relação, que dá corpo a formas de habitar o mundo e o diálogo crítico entre dança, antropologia e educação, reverberam em uma pedagogia de dança que denominamos Corpo em Diáspora, fundamentada em técnicas, estéticas e poéticas oriundas das formas africanizadas de escrita de si que compõem a multiplicidade brasileira. A experiência etnográfica municia a investigação sobre a técnica Germaine Acogny, sua origem e história, seus fundamentos técnicos e simbólicos, bem como as relações diretas com os contextos brasileiros através da experiência com o Balé da Cidade de São Paulo. Abordando esse contexto fortalecemos as relações sul-sul e redimensionamos o contato com as realidades sócio culturais africanas. A análise empreendida também aponta caminhos para ampliar os recursos estéticos fomentadores de práticas criativas em dança Abstract: This work aims to broaden the theoretical-practical field that places body, culture and coloniality in a transversal perspective that both evaluates the impacts of Eurocentricities on the epistemological perspectives of the dance territory, and points out the ways that critically address such realities. The analysis of the meanings of diaspora, sphere of movement and relationship, which give form to ways of inhabiting the world and the critical dialogue between dance, anthropology and education, reverberate in a dance pedagogy which we call Body in Diaspora; based on techniques, and aesthetic and poetic origins of the Africanized forms of self-writing that make up the Brazilian multiplicity. The ethnographic experience brings together research on the Germaine Acogny technique, its origin and history, its technical and symbolic foundations as well as the direct relations with the Brazilian contexts through the experience with Balé of the City of São Paulo. Addressing this context we strengthen South-South relations and resize our contact with African socio-cultural realities. The analysis also points out ways to expand aesthetic resources that foster creative practices in dance Doutorado Teatro, Dança e Performance Doutora em Artes da Cena

Orientador: Robert Wayne Andrew Slenes Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas Resumo: Essa tese busca analisar como se articularam noções religiosas, sociais, políticas e identitárias em torno da figura do Caboclo, presente nos cultos afro-brasileiros, e também protagonista da festa "cívico-popular" que comemora a Independência do Brasil na Bahia, onde centro-africanos provavelmente tiveram participação importante na criação e manutenção de seu símbolo. O culto a caboclo, mais conhecido e abordado pelas ciências sociais e estudos afro-brasileiros sobre a Macumba carioca, Umbanda, Pajelança amazônica, Jaré do Maranhão, entre outros, e tacitamente reconhecido como figura principal nesses contextos, foi tratado ao longo do tempo como a síntese da mestiçagem nos candomblés, fruto de profundas interações entre africanos e ameríndios, o que de certa maneira significava deteriorar a pureza africana pretendida nesses terreiros. Seu lugar no panteão afro-brasileiro foi devidamente dissimulado, escondido, dando lugar às marcas de "pureza" e "tradição" próprias do discurso de africanidade muitas vezes presente nesses cultos. Em uma análise mais profunda, no entanto, é possível reconhecer, no complexo que envolve o culto a Caboclo, elementos fortemente ligados às cosmovisões dos povos da zona Atlântica da África Centro-Ocidental, especialmente na região que compreende três grandes culturas regionais: Kongo, Umbundu e Ovimbundu. Esses grupos compartilhavam bases culturais similares, interagindo continuamente entre si, o que facilitou a forja de uma identidade calcada em heranças culturais comuns na experiência da diáspora. A partir da análise de fontes escritas, como crônicas de missionários, relatos de viajantes e periódicos, combinadas a fontes de outras naturezas, como vestígios de línguas centro-africanas no léxico do culto, a tradição oral dos pontos cantados, a cultura visual encontrada nesses cultos, como os pontos riscados, vestimentas e iconografia dos caboclos, é possível desvendar sentidos contidos em práticas culturais de centro-africanos e seus descendentes no contexto diaspórico, as quais servem como pistas para compreender de que forma suas noções cosmológicas compartilhadas se prestaram para o desenvolvimento de uma identidade partilhada. Identidade essa que, no desenrolar do cotidiano e dos embates sociais a que estavam submetidos, também servia de resistência ao peso da escravidão e seus desdobramentos na sociedade altamente racializada no Brasil do século XIX e primeiras décadas do século XX Abstract: This dissertation analyzes how religious, social, political and identity notions were articulated around the Caboclo, which is present in Afro-Brazilian cults and also has a central role in the "civic-popular" celebration of Brazil Independence in Bahia. Central Africans probably had played an important role in creating and maintaining this symbol in these celebrations. The caboclo cult was more knew and approached in Afro-Brasilian studies about Macumba carioca, Umbanda, Pajelança, Jaré do Maranhão, Encantaria do Tambor de Mina, among others. This cult has been recognized as the main figure in these contexts and was treated over time as a mestizaje synthesis in Candomblés. In this view, Caboclo cult was understood as a fruit of deep interactions between Africans and Amerindians, which represented a danger to a "African purity" that these communities have longed for. The Caboclo place in the Afro-Brazilian pantheon was properly concealed in order to give a way of "purity" and "tradition" marked in discourses often present in these cults. However, in a deeper analysis is possible to recognize elements around the Caboclo complex, which are strongly linked to worldviews from Atlantic zone of West Central Africa, especially in region that encompasses Kongo, Umbundu and Ovimbundu regional cultures. These groups had shared similar cultural basis, interacting continuously among themselves, which had facilitated the emergence of identity processes based on common cultural heritages in diaspora experience. This study is based on written sources such as missionary chronicles, travelers' reports and periodicals, combined with sources of another natures such as traces of Central African languages in the cult lexicon, the pontos cantados in oral tradition, the visual culture found in these cults such as caboclo's clothes and iconography. Analysing these sources is possible to unveil meanings embedded in cultural practices of Central Africans and their descendants in diasporic context, which work as clues to understand how their cosmological notions made possible a shared identity construction. This identity construction also served as a resistance to slavery and its unfolding in a highly racialized brazilian society in nineteenth-century and first decades of twentieth-century Doutorado História Social Doutora em História CNPQ 141996/2013-7

Equiano’s World (www.equianosworld.org) is a website that chronicles the life and times of Gustavus Vassa (c. 1741–1797), who is known most frequently by his birth name, Olaudah Equiano. Vassa became well known in Britain after the publication of his autobiography in 1789 and for his prominent role in the movement for abolition of the British slave trade, which was only finally enacted in 1807, ten years after his death. The associated database includes all known documentation on Vassa and information relevant to the study of his life. Foremost among these materials is his autobiography, The Interesting Narrative of Olaudah Equiano, or Gustavus Vassa, the African, which was republished nine times in his lifetime. Other documentation includes contemporary newspaper accounts, legal documents, and images from his life experiences. The website addresses issues arising from the context of Vassa’s life, including his place of birth, his name, and his influence on the abolition movement. It demonstrates that he only wanted to be known by the name he was given when he was enslaved rather than by his birth name; even today he is best known as Olaudah Equiano or even simply Equiano, even though Equiano was not a surname. His unusual experience as an enslaved servant to a British naval officer during the Seven Years’ War and afterwards to a merchant in the Caribbean gave him particular insight into the horrors of slavery and his commitment to its abolition. Because of the education he received on British ships and subsequently in London after he purchased his own freedom, he stands out as a prominent and literate intellectual and political activist. His autobiography continues to be read widely and taught in university courses. The project is part of a broader initiative that explores the testimonies and personal profiles of Africans who were enslaved during the era of slavery, most of whom were taken to the Americas.The article outlines the structure of the website into seven sections: first, a Home page that includes a project history, acknowledgements, technical details, and a discussion of the “Best Practices” that underlie the project. The second section focuses on Context, examining key settings from the interior of the Bight of Biafra where Vassa was born, the slave trade of the late eighteenth century, the Middle Passage across the Atlantic, the Seven Years’ War, and London and Britain in the late eighteenth century. The section on his travels has a chronological timeline and maps relating to them. The Associates section contains biographical sketches and images of his family, those whom he knew while he was enslaved, his associates in the Abolition movement, his co-religionists, and his connections in scientific and military circles. It also includes a list of individuals who subscribed to his autobiography. The section on Studying Equiano includes his autobiography, a list of its editions, and over 200 legal documents, letters, and newspaper notices and accounts. The Resources section includes a bibliography of several hundred items that discuss Vassa and his work, as well as audio and visual resources, links to websites on Vassa, slavery and diaspora. This article discusses technical details of website construction, which uses a backend known as Regenerated Identities (RegID). The website relies on open-source content and has a search function that enables location of people, places, and periods relevant to Vassa’s life. Equiano’s World (www.equianosworld.org) est un site web qui fait la chronique de la vie et de l’époque de Gustave Vassa (env. 1741-1797), plus connu sous son nom de naissance, Olaudah Equiano. Vassa est devenu connu en Grande-Bretagne après la publication de son autobiographie en 1789 et pour son rôle prépondérant dans le mouvement pour l’abolition de la traite des esclaves britanniques, finalement décrétée en 1807, dix ans après son décès. La base de données associée au site inclut toute la documentation connue sur Vassa et les informations pertinentes pour l’étude de sa vie. L’élément majeur parmi ces contenus est son autobiographie, The Interesting Narrative of Olaudah Equiano or Gustavus Vassa, the African (publiée sous le titre français La véridique histoire par lui-même d’Olaudah Equiano, Africain, esclave aux Caraïbes, homme libre) qui a été rééditée neuf fois de son vivant. Parmi les autres documents, on trouve notamment des articles de journaux, des documents officiels et des images de ses expériences de vie. Le site web aborde les questions soulevées par le contexte de la vie de Vassa, y compris son lieu de naissance, son nom et son influence sur le mouvement abolitionniste. Il démontre qu’il ne voulait être connu que sous son nom d’esclave, Gustave Vassa, plutôt que sous son nom de naissance ; encore à ce jour, il est mieux connu sous le nom d’Olaudah Equiano, ou même simplement Equiano, qui n’était même pas un nom de famille. Son expérience atypique d’esclave au service d’un officier de marine britannique pendant la guerre de Sept Ans et ensuite au service d’un marchand dans les Caraïbes lui a octroyé une connaissance approfondie des horreurs de l’esclavage et a été à l’origine de son engagement pour l’abolition. Grâce à l’éducation qu’il a reçue sur les navires britanniques, puis à Londres après avoir racheté sa propre liberté, il se démarque comme un éminent intellectuel instruit et militant. Son autobiographie est toujours amplement lue et enseignée dans les universités. Le projet fait partie d’une initiative plus large qui explore les témoignages et profils individuels d’Africains assujettis à l’ère de l’esclavage, dont la plupart ont été emmenés aux Amériques. L’article expose les grandes lignes de la structure du site web en sept sections : d’abord, une page d’accueil qui comprend un historique du projet, des remerciements, des détails techniques et un débat sur les « bonnes pratiques » à la base du projet. La deuxième section s’attache au contexte, par l’examen d’éléments-clés de l’intérieur du golfe du Biafra où Vassa est né : la traite des esclaves de la fin du xviiie siècle, le Passage du Milieu transatlantique, la guerre de Sept Ans, et Londres et la Grande-Bretagne à la fin du xviiie siècle. Cette section sur ses voyages présente une chronologie et des cartes associées. La section sur les associés contient des croquis biographiques et des images des membres de sa famille, de ceux qu’il a connus pendant son esclavage, de ses associés du mouvement abolitionniste, de ses coreligionnaires et de ses connaissances dans les cercles scientifiques et militaires. Elle comprend également une liste de personnes qui ont soutenu financièrement son autobiographie. Cette section sur l’étude d’Equiano comprend son autobiographie, une liste des rééditions, et plus de deux cents documents officiels, lettres, avis et articles de journaux. La section ressources comprend une bibliographie de plusieurs centaines d’items autour de Vassa et de son œuvre, ainsi que des ressources audio et visuelles, des liens vers des sites concernant Vassa, l’esclavage et la diaspora. Cet article débat des détails techniques de la construction d’un site web qui utilise une interface appelée Regenerated Identities (RegID). Le site repose sur des contenus open source et présente une fonction de recherche qui permet de cibler des noms de personnes, de lieux et des périodes pertinentes de la vie de Vassa. Equiano’s World (www.equianosworld.org) es un sitio web que hace la crónica de la vida y de la época de Gustavus Vassa (1741–1797, aproximadamente), más conocido por su nombre de nacimiento, Olaudah Equiano. Vassa se hizo conocido en Gran Bretaña luego de la publicación de su autobiografía en 1789 y por su papel preponderante en el movimiento para la abolición de la trata de los esclavos británicos, decretada finalmente en 1807, diez años después de su muerte. La base de datos del sitio incluye toda la documentación conocida sobre Vassa y las informaciones pertinentes para el estudio de su vida. El elemento mayor entre estos contenidos es su autobiografía, The Interesting Narrative of Olaudah Equiano, or Gustavus Vassa, the African (publicada en castellano con el título de Narración de la vida de Olaudah Equiano, el africano, escrita por él mismo. Autobiografía de un esclavo liberto del siglo xviii), reeditada nueve veces en vida del autor. Entre los documentos se encuentran en particular artículos de diarios, documentos oficiales e imágenes de sus experiencias de vida. El sitio web aborda las cuestiones relacionadas con el contexto de la vida de Vassa, incluyendo su lugar de nacimiento, su nombre y su influencia en el movimiento abolicionista. Demuestra que quería ser conocido únicamente por su nombre de esclavo, Gustavus Vassa, y no por su nombre de nacimiento; hoy se lo conoce más por el nombre de Olaudah Equiano, o simplemente Equiano, que ni siquiera era un apellido. Su experiencia atípica de esclavo al servicio de un oficial naval británico durante la Guerra de los Siete Años y luego al servicio de un comerciante en el Caribe le otorgó un conocimiento profundo de los horrores de la esclavitud, lo que dio origen a su compromiso por la abolición. Gracias a la educación que recibió en las naves británicas, y más tarde en Londres, después de haber comprado su propia libertad, se destaca como un eminente intelectual, instruido y militante. Su autobiografía sigue siendo muy leída y estudiada en las universidades. El proyecto forma parte de una iniciativa más amplia que explora los testimonios y perfiles individuales de africanos sometidos en la época de la esclavitud, cuya amplia mayoría fue trasladada al continente americano.El artículo expone las grandes líneas de la estructura del sitio web en siete secciones: en primer lugar, una página de inicio que comprende la historia del proyecto, agradecimientos, detalles técnicos, y un debate sobre las “buenas prácticas” que sustentan el proyecto. La segunda sección apunta al contexto, a través del examen de elementos clave del interior del golfo de Biafra, donde nació Vassa: la trata de esclavos de fines del siglo xviii, el Pasaje del Medio transatlántico, la Guerra de los Siete Años, Londres y Gran Bretaña a fines del siglo xviii. La sección sobre sus viajes presenta una cronología y mapas adjuntos. La sección sobre los asociados contiene croquis biográficos e imágenes de los miembros de su familia, de quienes conoció durante su esclavitud, de sus asociados en el movimiento abolicionista, de sus correligionarios y de sus conocidos en los círculos científicos y militares. Contiene también una lista de personas que ayudaron a financiar su autobiografía. La sección sobre el estudio de Equiano comprende su autobiografía, una lista de reediciones, y más de doscientos documentos oficiales, cartas, avisos y artículos en los diarios. La sección recursos comprende una bibliografía de cientos de ítems sobre Vassa y su obra, como también recursos de audio y visuales, vínculos a sitios sobre Vassa, la esclavitud y la diáspora. El artículo debate detalles técnicos de la construcción de un sitio web que utiliza una interfaz llamada Regenerated Identities (RegID). El sitio se basa en contenidos open source y presenta una función de búsqueda que permite dar con nombres de personas, lugares y períodos relacionados con la vida de Vassa. Equiano’s World (www.equianosworld.org) é um website que propõe a crónica da vida e do tempo de Gustave Vassa (c. 1741–1797), mais conhecido pelo seu nome de nascimento, Olaudah Equiano. Vassa tornou-se famoso na Grã-Bretanha depois da publicação de sua autobiografia em 1789 e pelo seu papel importante no movimento da abolição do trato de escravos britânico, decretada finalmente em 1807, dez anos depois de sua morte. A base de dados associada ao site inclue toda a documentação conhecida sobre Vassa e as informações pertinentes para o estudo de sua vida. O elemento principal entre estes conteúdos é sua autobiografia, The Interesting Narrative of Olaudah Equiano or Gustavus Vassa, the African (publicado em francês com o título La véridique histoire par lui-même d’Olaudah Equiano, Africain, esclave aux Caraïbes, homme libre) que foi reeditada nove vezes durante a sua vida. Entre os outros documentos, encontra-se nomeadamente artigos de jornais, documentos oficiais assim como imagens de suas experiências de vida. O site web aborda os problemas colocados pelo contexto da vida de Vassa, incluindo seu lugar de nascimento, seu nome e sua influência sobre o movimento abolicionista. Mostra como ele queria ser conhecido pelo seu nome de escravo, Gustave Vassa, antes que pelo seu nome de nascimento; ainda hoje, é mais conhecido pelo nome de Olaudah Equiano, ou simplesmente Equiano, que nem era um sobrenome. Sua experiência atípica de escravo ao serviço de um oficial da marinha britânica durante a guerre de Sete Anos e depois ao serviço de um negociante nas Caraíbas tem-lhe dado um conhecimento aprofundado dos horrores da escravidão e originou o seu envolvimento na abolição.A educação que recebeu nos navios britânicos, e a seguir em Londres, depois de ter comprado sua liberdade, permitiram que se tornasse um grande intelectual instruído e militante. Sua autobiografia continua sendo largamente lida e comentada nas universidades. O projeto faz parte de uma iniciativa mais ampla que explora as testemunhas e os perfis individuais de Africanos escravizados no tempo da escravidão, sendo a maioria levados para as Américas.Este artigo apresenta a estrutura do website em sete secções : primeiro, uma Página de apresentação que inclue um histórico do projeto, agradecimentos, pormenores técnicos e uma discussão sobre as « boas práticas » na base do projeto. A segunda secção enfoca o Contexto, examinando elementos-chaves do interior do golfo do Biafra onde Vassa nasceu : o trato de escravos no final do século XVIII, o Middle Passage transatlântico, a guerra de Sete Anos, e Londres e a Grã-Bretanha no final do século XVIII. A secção sobre suas viagens apresenta uma cronologia e mapas referentes. A secção sobre os Associados contem esboços biográficos e imagens dos membros de sua família, das pessoas que conheceu durante a sua escravidão, de seus associados no movimento abolicionista, de seus correligionários, e das suas conexões com os círculos científicos e militares. Inclue também uma lista das pessoas que financiaram sua autobiografia. A secção sobre o Estudo de Equiano inclue sua autobiografia, uma lista das edições, e mais de duzentos documentos oficiais, cartas, avisos e artigos de jornais. A secção Recursos inclue uma bibliografia de várias centenas de itens referentes a Vassa e sua obra, assim como recursos audio e visuais, links para outros sites sobre Vassa, a escravidão e a diáspora. Este artigo discute os detalhes técnicos da construção de um website que usa uma interface chamada Regenerated Identities (RegID). O site baseia-se sobre conteúdos open source e apresenta uma função de pesquisa que permite enfocar nomes de pessoas, de lugares e de períodos pertinentes da vida de Vassa.

This study explored how social media is used as a destination marketing tool for the sustainability of heritage festival quality in Nigeria, drawing on the theory of planned behavior. The festival, which is an exploration of heritage, was specifically premeditated to celebrate the slave trade period by highlighting the unique connection of African American history to the diaspora ancestors who were literally taken away as slaves through “the point of no return” in Badagry, Nigeria. A structured questionnaire was utilized as a research instrument to gather information aimed at examining the influence of social media (SM), website quality (WQ), and online word of mouth (eWOM) on tourists’ festival satisfaction (FS) and festival revisiting intention (FRI). Data were gathered from samples of 473 diaspora tourists at Badagry Diaspora Festival in Nigeria and analyzed using partial least square structural equation modelling (PLS-SEM) with the aid of WarpPLS (7.0). The findings of the study revealed that social media (SM), festival quality (FQ), website quality (WQ), and electronic word of mouth (eWOM) had a positive and significant relationship with tourists’ festival satisfaction. Additionally, this study found that festival quality had a positive impact on the intention of the tourists to revisit the Badagry Diaspora Festival because tourist attitude is influenced by the socio-cultural background of tourists. Moreover, the result revealed the partial mediating effect of festival satisfaction in the relationship between (a) SM, (b) FQ, (c) WQ, and (d) eWOM and tourists’ festival satisfaction. Similarly, cultural motivation was also found to mediate the relationship between tourists’ festival satisfaction and festival revisiting intension (RI). Based on the findings, the implications of the festival sustainability and future research directions were discussed.

This research investigates the identity and culture of Ghanaians in Toronto between 1960s and 2000—a visible minority group in Canada whose experiences are often categorized within other identities and whose history have engendered little investigations. The accounts of thirty-one Ghanaian immigrants who live(d) in Toronto between the 1960s and 2000 were examined to understand the influence of gender, age, race and culture on Ghanaian immigrants’ identity and cultural practices in Toronto. The project traced transnational relations among Ghanaians and Ghanaian associations in Toronto from the 1960s to 2000. The study also considers whether Canada’s multiculturalism has contributed to the autonomy of Ghanaian culture in Toronto. In interrogating the concepts of culture, identity, diaspora, multiculturalism and transnationalism, the study observed that Ghanaian immigrants in Toronto (1960s-2000) (re)negotiated and (re)defined their identity, cultural needs, individual and group relations and place in Ghana and Canada.

Orientador: Jefferson Cano Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas Resumo: A presente dissertação de mestrado atenta para a dimensão sociolinguística da experiência dos africanos escravizados levados ao Império do Brasil pelo contrabando de africanos, que Joaquim Nabuco denominou de "Trilogia infernal", encenada nos "sertões da África", no "mar" e nas "fazendas" do sudeste brasileiro. Meu objetivo foi investigar como o repertório linguístico dos africanos contribuiu para construir as "estrofes e prosódias" do Atlântico Sul e abordar a questão da comunicação em cada um dos palcos da "trilogia infernal" para, em seguida, buscar entender como a formação de novas linguagens, e os subsequentes intercâmbios culturais que elas permitiram, foram mobilizadas por muitos africanos escravizados na luta quotidiana contra a massiva escravização ilegal no Império do Brasil entre 1831 e c.1850. Dada a importância das rotas atlânticas que ligavam o centro-sul brasileiro com a região do Congo e de Angola, na África, a pesquisa concentrou suas atenções nos centro-africanos e suas habilidades linguísticas, isto é, como eles aprendiam e manejavam o português, negociavam comunidades de fala a partir de suas línguas maternas e intercambiavam suas bagagens culturais. Com isso, foi possível perceber como a questão da língua se articulava com as relações de poder e econômicas do contrabando de escravos e da escravidão ilegal em meio ao processo de construção do Estado Imperial Abstract: This dissertation aims the sociolinguistic dimension of the enslaved Africans' experience brought to Brazilian Empire by the illegal slave trade, that Joaquim Nabuco called the "Trilogy of hell," staged in "Africa", "the ocean" and "plantations" in southeastern Brazil. My goal was to investigate how Africans' linguistic repertoire helped to build the South Atlantic "strophes and prosodies" and address the issue of communication in each stage of the illegal slave trade to seek understand how the formation of new languages and the subsequent cultural exchanges were mobilized by enslaved Africans in daily struggle against massive illegal enslavement in the Brazilian Empire between 1831 and c.1850. Given the importance of the Atlantic routes that connected southeastern Brazil to Congo region and Angola, this research has focused its attention on Central Africans and their language skills, that is, how they learned and handled Portuguese language, negotiated speech communities from their mother tongues and exchange its cultural baggage. Thus, it becomes possible understand how the "language question" was linked with economic and power relations during Brazilian contraband and illegal enslavement amidst the process of State building in Brazilian Empire Mestrado História Social Mestre em História

Creativity is woven into the culture of Black America. Our histories and struggles as members of the minoritized African Diaspora are recorded and passed on in song and story, in movement and design. We are – and have been – the creators of an evolving culture that is simultaneously underestimated and desired by dominant culture. This othering poses real and pressing threats to our lives and livelihoods, as we are consumed and exploited to the point of erasure; and yet we keep creating. But why? What is creativity to the Black American living in such a predatory society? And how do I, as a Black creative minoritized in a Healing profession, engage with it? How do you play when you’re prey? These questions form the basis for an heuristic exploration into a video blog project entitled “Black Creative Healing,” where Black creatives are recorded engaging in conversation and collaboration over concepts relating to Blackness, Creativity, and the Healing process. Through arts-based analysis of past collaborations, available publicly on Youtube, I will investigate my own motivations, inspirations and roadblocks to the creative process as a Black healer. I will interrogate the directions and intentions laid bare by my creative endeavors and seek to define a central ethos by which other Black creatives may find themselves seen and encouraged, in the interest of finding balance between the “me” that is – and has been – prey, and the “me” that has only ever known – and been known by – play.

Submitted by Rafael Castro (rafael.castro@unesp.br) on 2021-05-18T22:27:39Z No. of bitstreams: 1 TESE RAFA Y CASTRO FINAL.pdf: 24701237 bytes, checksum: 82419d2e2f0a1e26b3c5e03db3357f92 (MD5) Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2021-05-20T19:03:44Z (GMT) No. of bitstreams: 1 castro_r_dr_ia.pdf: 24701237 bytes, checksum: 82419d2e2f0a1e26b3c5e03db3357f92 (MD5) Made available in DSpace on 2021-05-20T19:03:44Z (GMT). No. of bitstreams: 1 castro_r_dr_ia.pdf: 24701237 bytes, checksum: 82419d2e2f0a1e26b3c5e03db3357f92 (MD5) Previous issue date: 2021-03-30 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) Esta pesquisa identifica, a partir da diáspora africana, pontos de convergência entre o can-domblé e as baterias das escolas de samba. Utilizamos conceitos expostos por Béhague (1994), Graeff (2015), Hall (2003), Hesse (1971) e Kubik (1979), referentes a características que foram trazidas por diversas etnias e aqui foram apropriadas, mantidas e transformadas, aspectos estes caracterizados pela transculturação, etnicidade e pela compreensão do ritmo como fenômeno multidimensional. As transcrições e análises foram desenvolvidas com base em aspectos musicais (técnicos e interpretativos) observados in loco, através de pesquisa par-ticipativa como membro atuante em alguns terreiros de candomblé e em baterias das escolas de samba, mais especificamente no Ilê de Oxalufã (Ketu), na Casa de Angola Kyloatala e na bateria do Grêmio Recreativo Cultural e Social Escola de Samba (GRCSES) Império de Casa Verde, todos localizados na região metropolitana da cidade de São Paulo. Observamos que muitas das estratégias adotadas pelos atores responsáveis pela transformação e manutenção desses padrões resultam em diversas ambiguidades e são realizadas muitas vezes de forma inconsciente. Identificamos que a produção musical e a identificação cultural, apesar de diver-sas dubiedades interpretativas ou por influências do meio, continuam sendo desenvolvidas a partir de estruturas rítmicas e por conceitos mais amplos de ritmo, herdados via diáspora afri-cana e norteadores de processos coletivos nos terreiros de candomblé e nas baterias das escolas de samba – instituições responsáveis pela divulgação destes saberes diaspóricos. This research identifies, from the African diaspora, points of convergence between candomblé and the baterias of the samba schools. We use concepts exposed by Béhague (1994), Graeff (2015), Hall (2003), Hesse (1971) and Kubik (1979), referring to characteristics that were brought by different ethnicities and were appropriated, maintained and transformed here, aspects that are characterized for transculturation, ethnicity and for understanding rhythm as a multidimensional phenomenon. The transcriptions and analyzes were developed based on musical aspects (technical and interpretive) observed in loco, through participatory research with auto etnographic narrative insertions in candomblé terreiros and in baterias das samba schools, more specifically in Ilê de Oxalufã, in Casa de Angola Kyloatala and at the drum section of the Grêmio Recreativo Cultural Social Escola de Samba (GRCSES) Império de Casa Verde, all located in the metropolitan área of the city of São Paulo. We observed that many of the strategies adopted by the actors responsible for transforming and maintaining these standards result in several ambiguities and are often carried out unconsciously. We identified that musical production and cultural identification, despite various interpretive doubts or by influences from the environment, continue to be developed based on rhythmic structures and broader concepts of rhythm, inherited via the african diaspora and guiding collective processes in candomblé terreiros and in the baterias of samba schools - institutions responsible for the dissemination of this diasporic knowledge. 001

Orientador: Aldair Carlos Rodrigues Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas Resumo: A presente dissertação investiga as dimensões da diáspora africana ao longo das tentativas de ocupação, exploração e construção de uma fábrica de ferro, localizada no termo da Vila de Sorocaba. O recorte cronológico abarca o período de descoberta dos depósitos de ferro pelas autoridades coloniais, no final do século XVI, até a instalação da Real Fábrica de Ferro São João do Ipanema nas primeiras décadas do século XIX. Apesar das fontes utilizadas, em sua maioria registros oficiais, também foi possível apreender a importância de outros sujeitos como indígenas, mamelucos, africanos e seus descentes, nas explorações das minas de ferro. Através da comparação dos projetos iluministas portugueses para os sertões do Atlântico Sul, a partir da segunda metade do século XVIII, em São Paulo e em Angola, foi possível compreender a importância da história centro-africana, suas técnicas e saberes empregados na transformação do minério de ferro em vários tipos de objetos. Desse modo, a pesquisa almeja contribuir com a historiografia que, recentemente, vem investigando a participação dos sujeitos locais na implementação dos projetos iluministas portugueses, mostrando outros aspectos das narrativas e da história das técnicas, das ciências e dos saberes, utilizados nos projetos coloniais para exploração, transformação da natureza e ocupações dos sertões Abstract: This dissertation investigates the dimensions of the African diaspora during the attempts to occupy, explore and build an iron factory located at the boundaries of Vila de Sorocaba. The chronological cut includes the period of discovery of iron deposits by the colonial authorities, at the end of the 16th century, until the installation of the Royal Iron Factory São João do Ipanema in the first decades of the 19th century. In conjunction with the sources used, mostly official records, it was also possible to apprehend the importance of other subjects, such as indigenous people, Mamelukes, Africans and their descendants, in the exploitation of the iron mines. By comparing the Portuguese illuminist projects for the South Atlantic hinterlands from the second half of the 18th century in São Paulo and Angola, it was possible to understand the importance of Central African history, its techniques and knowledge used in the transformation of the iron ore on various types of objects. Thus, the research aims to contribute to the historiography that, recently, has been investigating the participation of local subjects in the implementation of Portuguese enlightenment projects, showing other aspects of the narratives and the history of techniques, sciences and knowledge used in colonial projects for exploration, transformation of nature and occupations of the hinterlands Mestrado Política, Memória e Cidade Mestra em História CAPES 1763999

While it is well established now that the middle passage did not entirely separate Africans who were forcibly brought to the Americas from their home cultures and traditions, these connections are often studied and understood in the form of survivals or ancestral memory. This paper argues that in major urban centers in Brazil until around the time of World War I, West Africans not only managed to recreate Islamic communities and intellectual traditions, but maintained important contacts with their homelands. In much the same way that scholars have argued that the Sahara constituted an avenue of exchange and connection between North Africa and Bilad al-Sudan, I argue here that the Atlantic Ocean was not an insurmountable barrier but provided opportunities for African Muslims to extend the traditions of Bilad al-Sudan into Brazil—albeit to a much lesser extent.

Este artigo analisa como os artistas da diáspora africana no Brasil engajam com espaços institucionais de memória coletiva e com o mundo das artes em seus novos lares, e consideramos o que isso implica para as políticas da memória no Brasil e além. Descrevemos a parceria de produção de imagens e performances entre Shambuyi Wetu, artista congolês que vive em São Paulo, e nós, uma antropóloga brasileira e um britânico. Discutimos algumas questões colocadas no nosso encontro com os artistas da diáspora: Como histórias difíceis podem ser representadas, e quais as implicações de diferentes representações? O que é simplificado - e o que é complexificado - no questionamento transnacional de histórias racistas nacionais? O que significa para um artista africano falar sobre o sofrimento dos negros no Brasil? This article analyzes how artists from the African diaspora living in Brazil engage with the institutional spaces of collective memory and with the world of the arts in their new home; we consider what this implies for the politics of memory in Brazil and beyond. We describe the partnership behind the production of images and performances between Shambuyi Wetu, a Congolese artist living in São Paulo, and us, a Brazilian and a British anthropologist. We discuss some questions catalysed by our work with artists from the diaspora: How can difficult histories be represented, and what are the implications of different representations? What is simplified - and what is made more complex - in the transnational questioning of national racist stories? What does it mean for an African artist to talk about the suffering of blacks in Brazil?