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Kimberly Cleveland highlights the work of five Brazilian artists from all over the country who work in a wide range of media, including photography, sculpture, and installation art. She shows how each conveys “blackness” through his or her unique visual vocabulary and points out the ways this reflects their lived experiences.
"The book provides a deeper understanding of modern art in the Brazilian context, moving the focus away from the self-declared avant-gardes and towards a broad panorama of modernizing tendencies throughout the period, 1890 to 1945. The backdrop of sertão, favelas, carnival and samba - often left out of accounts that restrict readings of modernism to erudite arenas like literature, fine art or architecture - are foregrounded in an attempt to situate artistic discourses within the social and political struggles of the period. Race, class and ideological conflict are given priority as tools for deconstructing complex debates, too often taken at face value or misread as merely reflexive of European phenomena. The anthropophagic movement (Antropofagia) rates special attention in teasing out the meanings of primitivism in the Brazilian context. The book examines a range of visual cultural materials including paintings, periodicals, graphics and photographs, revealing a hidden archive that calls into question the very essence of how modernism is usually perceived in Brazil. The enduring presence of archaism and violence behind an appearance of modernity reveals itself to be not an anomaly, but rather a product of the tensions inherent to the enduring oligarchical structures of Brazilian culture and society"--
The first study to bring together a number of prints, photographs, paintings, and sculptures of black wet nurses in Brazil, from the from the 19th through 21st centuries. This is an important book for art history, Latin American, and African diaspora collections.
One hundred years ago in Brazil the rituals of Candomblé were feared as sorcery and persecuted as crime. Its cult objects were fearsome fetishes. Nowadays, they are Afro-Brazilian cultural works of art, objects of museum display and public monuments. Focusing on the particular histories of objects, images, spaces and persons who embodied it, this book portrays the historical journey from weapons of sorcery looted by the police, to hidden living stones, to public works of art attacked by religious fanatics that see them as images of the Devil, former sorcerers who have become artists, writers, and philosophers. Addressing this history as a journey of objectification and appropriation, the author offers a fresh, unconventional, and illuminating look at questions of syncretism, hybridity and cultural resistance in Brazil and in the Black Atlantic in general.
This book explores the history of African tangible and intangible heritages and its links with the public memory of slavery in Brazil and Angola. The two countries are deeply connected, given how most enslaved Africans, forcibly brought to Brazil during the era of the Atlantic slave trade, were from West Central Africa. Brazil imported the largest number of enslaved Africans during the Atlantic slave trade and was the last country in the western hemisphere to abolish slavery in 1888. Today, other than Nigeria, the largest population of African descent is in Brazil. Yet it was only in the last twenty years that Brazil's African heritage and its slave past have gained greater visibility. Prior to this, Brazil's African heritage and its slave past were completely neglected. This is the first book in English to focus on African heritage and public memory of slavery in Brazil and Angola. This interdisciplinary study examines visual images, dance, music, oral accounts, museum exhibitions, artifacts, monuments, festivals, and others forms of commemoration to illuminate the social and cultural dynamics that over the last twenty years have propelled--or prevented--the visibility of African heritage (and its Atlantic slave trade legacy) in the South Atlantic region. The book makes a very important contribution to the understanding of the place of African heritage and slavery in the official history and public memory of Brazil and Angola, topics that remain understudied. The study's focus on the South Atlantic world, a zone which is sparsely covered in the scholarly corpus on Atlantic history, will further research on other post-slave societies. African Heritage and Memories of Slavery in Brazil and the South Atlantic World is an important book for African studies and Latin American studies. It is especially valuable for African Diaspora studies, African history, Atlantic history, history of Brazil, history of slavery, and Caribbean history.
Modernity in Black and White provides a groundbreaking account of modern art and modernism in Brazil. Departing from previous accounts, mostly restricted to the elite arenas of literature, fine art and architecture, the book situates cultural debates within the wider currents of Brazilian life. From the rise of the first favelas, in the 1890s and 1900s, to the creation of samba and modern carnival, over the 1910s and 1920s, and tracking the expansion of mass media and graphic design, into the 1930s and 1940s, it foregrounds aspects of urban popular culture that have been systematically overlooked. Against this backdrop, Cardoso provides a radical re-reading of Antropofagia and other modernist currents, locating them within a broader field of cultural modernization. Combining extensive research with close readings of a range of visual cultural production, the volume brings to light a vast archive of art and images, all but unknown outside Brazil.
Black Milk is the first in-depth analysis of the visual arts that effloresced around slavery in Brazil and North America in the eighteenth and nineteenth centuries. Exploring prints, photographs, paintings, sculptures, ceramics, and ephemera, it will change everything we knew, or thought we knew, about the visual archive of Atlantic slavery.
Published on the occasion of the exhibition at Tate Liverpool, 29 January until 25 April 2010.
For most of the twentieth century, Brazil was widely regarded as a "racial democracy"-a country untainted by the scourge of racism and prejudice. In recent decades, however, this image has been severely critiqued, with a growing number of studies highlighting persistent and deep-seated patterns of racial discrimination and inequality. Yet, recent work on race and racism has rarely considered gender as part of its analysis. In Negras in Brazil, Kia Lilly Caldwell examines the life experiences of Afro-Brazilian women whose stories have until now been largely untold. This pathbreaking study analyzes the links between race and gender and broader processes of social, economic, and political exclusion. Drawing on ethnographic research with social movement organizations and thirty-five life history interviews, Caldwell explores the everyday struggles Afro-Brazilian women face in their efforts to achieve equal rights and full citizenship. She also shows how the black women's movement, which has emerged in recent decades, has sought to challenge racial and gender discrimination in Brazil. While proposing a broader view of citizenship that includes domains such as popular culture and the body, Negras in Brazil highlights the continuing relevance of identity politics for members of racially marginalized communities. Providing new insights into black women's social activism and a gendered perspective on Brazilian racial dynamics, this book will be of interest to students and scholars of Latin American Studies, African diaspora studies, women's studies, politics, and cultural anthropology.