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In Brazil, images and ideas of Africa have been historically linked to the northeastern state of Bahia, more specifically with the former colonial capital and port city of Salvador. While the city boasts a dense population of people of African or mixed African and European descent, a powerful way that Bahia's blackness has historically been confirmed and perpetuated has been through the continued reproduction of symbols of Africa, both stigmatized and valorized. An essential and insightful medium through which this Bahian Africa can be seen clearly in Salvador is through the city's dance culture. This master's thesis analyzes the way imagined African symbols have been consumed, appropriated, and authenticated through particular embodied dance forms in Salvador, Bahia, Brazil. This imagined Africa, while both feared and adored, has been effectively re-imagined, consumed, and performed many times in Bahia. This consumption of imagined symbols--both traditional and local, as well as exotic and African--has and continues to solidify stereotypes of Africa as a symbolic form loaded with complex and often contradictory notions of authenticity, one that can be seen as a powerful simulacrum with a life of its own, potentially devoid of any true origin.
Dancing Bahia is an edited collection that draws together the work of leading scholars, artists, and dance activists from Brazil, Canada, and the United States to examine the particular ways in which dance has responded to socio-political notions of race and community, resisting stereotypes, and redefining African Diaspora and Afro-Brazilian traditions. Using the Brazilian city of Salvador da Bahia as its focal point, this volume brings to the fore questions of citizenship, human rights, and community building. The essays within are informed by both theory and practice, as well as black activism that inspires and grounds the research, teaching, and creative output of dance professionals from, or deeply connected to, Bahia.
An examination of the meanings of blackness in the Brazilian state of Bahia, which is often called the most African part of Brazil.
Examines how in the middle of the twentieth century, Bahian elites began to recognize African-Bahian cultural practices as essential components of Bahian regional identity. Previously, public performances of traditionally African-Bahian practices such as capoeira, samba, and Candomblé during carnival and other popular religious festivals had been repressed in favor of more European traditions.
Concentrating on the Caribbean Basin and the coastal area of northeast South America, Yvonne Daniel considers three African-derived religious systems that rely heavily on dance behavior--Haitian Vodou, Cuban Yoruba, and Bahamian Candomblé. Combining her background in dance and anthropology to parallel the participant/scholar dichotomy inherent to dancing's "embodied knowledge," Daniel examines these misunderstood and oppressed performative dances in terms of physiology, psychology, philosophy, mathematics, ethics, and aesthetics. "Dancing Wisdom offers the rare opportunity to see into the world of mystical spiritual belief as articulated and manifested in ritual by dance. Whether it is a Cuban Yoruba dance ritual, slave Ring Shout or contemporary Pentecostal Holy Ghost possession dancing shout, we are able to understand the relationship with spirit through dancing with the Divine. Yvonne Daniel's work synthesizes the cognitive empirical objectivity of an anthropologist with the passionate storytelling of a poetic artist in articulating how dance becomes prayer in ritual for Africans of the Diaspora." --Leon T. Burrows, Protestant Chaplain, Smith College'
Landmark interdisciplinary study of religious systems through their dance performances
The ancient tradition of African dance has influenced dance styles all over the world. It is used to commemorate many annual ceremonies and activities, such as rites of passage and the harvest, and it is also an important form of recreation, religious expression, and storytelling. In African Dance, Second Edition, the varied cultures of Africa and their respective dances are explored, along with the effects that colonialism had on the art form.
It’s time to dance in honor of the Gods. Candomblé: Dancing for the Gods explores this remarkable Afro-Brazilian tradition known as the Dance in honor of the Gods. Candomblé’s earliest roots are found in the Yoruba, Fon, and Bantu belief systems brought over from West and Central Africa by enslaved captives of the Portuguese Empire. This informative book provides a complete overview of this beautiful oral tradition and belief system, including: The History of Candomblé Candomblé Nations Religious Practices with Beliefs and Deities Concepts of Good and Evil Rituals And more Discover Candomblé’s rich heritage of temples, priests, music, dance, rituals, and ceremonies. Learn about the Supreme Creator and the many lesser deities known as Orishas. Get to know this unique religion whose rich tradition of African-based music and dance plays an important role. It’s time to discover this vibrant Afro-Brazilian religion known as Candomblé.
A collection of essays by distinguished writers, critics and artists which addresses the discipline of African dance both on the continent and in the wider Diaspora. Includes a contribution from the distinguished Jamaican choreographer Sir Rex Nettleford.
When many people think of African music, the first ideas that come to mind are often of rhythm, drums, and dancing. These perceptions are rooted in emblematic African and African-derived genres such as West African drumming, funk, salsa, or samba and, more importantly, essentialized notions about Africa which have been fueled over centuries of contact between the "West," Africa, and the African diaspora. These notions, of course, tend to reduce and often portray Africa and the diaspora as primitive, exotic, and monolithic. In Africanness in Action, author Juan Diego Díaz explores this dynamic through the perspectives of Black musicians in Bahia, Brazil, a site imagined by many as a diasporic epicenter of African survivals and purity. Black musicians from Bahia, Díaz argues, assert Afro-Brazilian identities, promote social change, and critique racial inequality by creatively engaging essentialized tropes about African music and culture. Instead of reproducing these notions, musicians demonstrate agency by strategically emphasizing or downplaying them.