Book contents
- Frontmatter
- Contents
- Notes on Yoruba Orthography
- Preface
- Acknowledgments
- Introduction: Negotiating Cultural Production in a Racial Democracy
- 1 Two Faces of Racial Democracy
- 2 Quilombhoje as a Cultural Collective
- 3 Beyond the Curtains: Unveiling Afro-Brazilian Women Writers
- 4 (Un)Broken Linkages
- 5 The Tropicalist Legacy of Gilberto Gil
- 6 Afro-Brazilian Carnival
- 7 Film and Fragmentation
- 8 Ancestrality and the Dynamics of Afro-Modernity
- 9 The Forerunners of Afro-Modernity
- 10 (Un)Transgressed Tradition
- 11 Ancestrality, Memory, and Citizenship
- 12 Quilombo without Frontiers
- 13 Ancestral Motherhood of Leci Brandão
- Conclusion: The Future of Afro-Brazilian Cultural Production
- Notes
- Bibliography
- Index
- Rochester Studies in African History and the Diaspora
2 - Quilombhoje as a Cultural Collective
Published online by Cambridge University Press: 12 September 2012
- Frontmatter
- Contents
- Notes on Yoruba Orthography
- Preface
- Acknowledgments
- Introduction: Negotiating Cultural Production in a Racial Democracy
- 1 Two Faces of Racial Democracy
- 2 Quilombhoje as a Cultural Collective
- 3 Beyond the Curtains: Unveiling Afro-Brazilian Women Writers
- 4 (Un)Broken Linkages
- 5 The Tropicalist Legacy of Gilberto Gil
- 6 Afro-Brazilian Carnival
- 7 Film and Fragmentation
- 8 Ancestrality and the Dynamics of Afro-Modernity
- 9 The Forerunners of Afro-Modernity
- 10 (Un)Transgressed Tradition
- 11 Ancestrality, Memory, and Citizenship
- 12 Quilombo without Frontiers
- 13 Ancestral Motherhood of Leci Brandão
- Conclusion: The Future of Afro-Brazilian Cultural Production
- Notes
- Bibliography
- Index
- Rochester Studies in African History and the Diaspora
Summary
The hero or heroine of an immersion narrative must be willing to forsake highly individualized mobility in the narrative's least oppressive social structure for a posture of relative stasis in the most oppressive environment, a loss that is only occasionally assuaged by the newfound balms of group identity.
—Robert Stepto, From Behind the VeilA enunciação em primeira pessoa revela a determinação do poeta de desvencilhar-se do anonimato e da “invisibilidade” a que relegou sua condição de descendente de escravos ou de exescravos e, mesmo após a Abolição, sua situação estranhamento em uma sociedade que não o convocou a participar em igualdade de condições.
[The first-person articulation reveals the poet's determination to defend himself from the anonymity and “invisibility” to which his condition of descendant of slaves or ex-slaves has relegated him—in a society that even after Abolition, strangely, did not invite him to participate in equal opportunities.]
—Zilá Bernd, Literatura negraWhen in 1975 Thales de Azevedo, in Democracia racial, predicted a possibility of an “Afro-Brazilian Literature,” little did he know that twenty-five years after that prediction there would actually be a set of works on that very subject with a prominent status by that name. In Azevedo's formulation, Afro-Brazilian literature is by nature, an arm of protest, “sendo embora de protesto contra a situação social de contato com a sociedade branca, não tem o negro condições de escapar à própria contra-imagem que dele faz o branco” (105; given its nature of protest against social conditions fomented by its contact with the white society, the Afro-Brazilian cannot escape a counter-image against that projected by whites).
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- Afro-BraziliansCultural Production in a Racial Democracy, pp. 51 - 79Publisher: Boydell & BrewerPrint publication year: 2009