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Imagens da urbanidade e a cidade-síntese africana na Oréstia, de Pier Paolo Pasolini
In: Revista Maracanan, Heft 24, S. 446-474
The text analyzes historically the presentation of African cities in the film Appunti per un'Orestiade Africana (1969), by filmmaker Pier Paolo Pasolini (PPP), which proposes a historical-mythical interpretation of late 1960's Africa through the Aeschylus's The Oresteia. PPP uses the play to interpret the historical transformations of Africa at that time, portraying urban environments as "neocapitalist", but identifying too in these the signs of archaic culture that showed the resistance of what he called the "Third World" subproletarian culture. We analyze the tropes and icons used as ethnographic keys of interpreting the "other" in the PPP's film and texts. Using iconology and narratology we address the following questions: What is the uniqueness of urbans landscapes presented by PPP? What were and where were the tropes mobilized by the filmmaker? What is the way of seeing/thinking African and Italian otherness of the late 1960s?
Um mundo sem mediações: descolonização africana como teoria política da modernização periférica
In: Griot: Revista de Filosofia, Band 22, Heft 3, S. 149-161
We will use the Fanon's concept of society without mediations, based on structural racism, to explain the regressive tendency proper to societies of peripheric modernization, especially Brazil. From a criticism to Gilberto Freyre and Florestan Fernandes, who both assume a notion of ne-cessitarian sociological objectivism with an apolitical-depoliticized character in order to under-stand the development and the contradictions of current Brazilian society (Freyre's sadism-masochism; Fernandes' idea of Black incapability to protestant ethics due to slavery), both re-fusing structural racism and racial whitening, we will point exactly to (a) the systemic evolution as a White's or colonizer's intentioned and planified political project over the Black/colonized, which is, according us, the effective practical core and role of the formation and development of the colonial society; (b) the inexistence or the fragility of juridical, institutional and normative mediations between these divided and ossified realities of race (Whites over/against Blacks); (c) the direct violence and the permanent regression as the structural tendencies of the constitution and development of a society of peripheric and racialized modernization, including here the eras-ing and falsification of colonial history; and, finally, (d) the intrinsic correlation, once denied by Freyre and Fernandes, and on the contrary affirmed by Fanon, of race and class, race as class, class as race.
"Alguém tem de dizer aos negros a verdade": Olavo de Carvalho sobre a contribuição negro-africana à cultura ocidental
In: Griot: Revista de Filosofia, Band 21, Heft 3, S. 351-374
In the paper, we will study Olavo de Carvalho's thought, focusing on his position regarding Brazilian and American Black movement in its struggle for reparation in terms of colonialism-slavery-racism. We will argue that his refusal of any reparatory praxis to political-cultural minorities and his position of a non-place for Black-African traditions in the context of Western culture/civilization, as with respect to his defense of the inferiority of Black-African culture-civilization when compared to Jewish-Christian, Greek-Latin and Medieval-Renaissance tradition, is pervaded by a dualist metaphysics with a highly anti-modern and anti-modernizing character, in which the dynamic of streamlining of "human drama about universe and eternity" is constituted (a) by the struggle between natural necessity (Behemont) and individual consciousness (Leviathan), that can only be won by the correlation of divine grace given by Jesus Christ and personal direct and immediate interiorization and intuition by each individual with God; (b) by the refusal of politics, history and intersubjective action as basically materialism and, in this sense, as the sphere of totalitarian political ideologies (to which Enlightnment modernity is the biggest example); and, finally, (d) by the centrality of spiritualism, of intimate and direct relation between God and man, mediated by Revelation, which points to the non-existence, in the Olavo de Carvalho' thought, of objective parameters to rational discussion, interaction and justification - that is the reason of his delegitimation of science, politics, history and macro-structural institutional action, and his appeal to methodological, intuitionist and spiritualist individualism.
A história da disseminação dos microrganismos ; The history of the dissemination of microorganisms
Homo sapiens was born with infectious agents that circulated in the common ancestral animal from which both the man and the chimpanzee evolved. We have acquired other microorganisms while still in African territory, in the time of the hunters and gatherers. We have left Africa, have conquered the planet and have become sedentary. We discovered agriculture and animal domestication and, thus, have been invaded by new infectious agents. The microorganisms came along with human locomotion. They were present in the human migrations from Africa, in the military campaigns of Antiquity, in the ocean voyages of discovery, in the colonizations, in the slave trade and so on. The advance in the studies of microorganisms DNA and RNA clarifies the origin and the spread of various infectious diseases. We can then find out how viruses, bacteria and parasites have been globalized since our departure from Africa until the present day. ; O Homo sapiens nasceu portando agentes infecciosos que circulavam no animal ancestral comum ao homem e chimpanzé. Adquirimos outros microrganismos ainda no solo africano, época dos caçadores e coletores. Partimos da África, conquistamos o planeta e nos tornamos sedentários. Descobrimos a agricultura e a domesticação dos animais e, com isso, fomos invadidos por novos agentes infecciosos. Os microrganismos apanharam carona nas locomoções humanas. Estavam presentes nas migrações humanas originadas da África, nas campanhas militares da Antigüidade, nas viagens marítimas de descobrimentos, nas colonizações, no tráfico de escravos e outros. O avanço no estudo do DNA e RNA de microrganismos nos esclarece a origem e o dispersar de várias doenças infecciosas. Descobrimos, então, como estamos globalizando vírus, bactérias e parasitos desde nossa saída da África até os dias atuais.
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Histórias afro-atlânticas: Afro-Atlantic histoires / editors, Adriano Pedrosa, Tomás Toledo ; translation, Adriana Francisco, Alessandra Ribeiro, Patrick Brock
In the most violent and uncertain times of its recent history, Brazil is revisiting the origins of its racial frictions: the slave trade. "Histórias afro-atlânticas" (Afro-Atlantic Histories) is a massive, 380-work survey of African, Latin American, and European art from the past five centuries, chronicling the largest diaspora in modern history. Nearly half of all Africans captured by slave traders were brought to Brazil, from the time the Portuguese arrived, in the 16th century, all the way through the 21st century. The exhibition is a sequel to "Histórias mestiças" (Mestizo Histories), staged four years ago at the Instituto Tomie Ohtake, the cultural center that is also cohosting the current exhibition. Its scope is far-reaching, with pieces by colonial-era Dutch master Albert Eckhout and modern greats Théodore Géricault and Paul Cézanne, as well as contemporary art-world darlings Glenn Ligon, Kara Walker, and Hank Willis Thomas
Traços do proprium cultural africano e sua relação com o sagrado (Features of African culture and conceptions of the sacred) - DOI:10.5752/P.2175-5841.2013v11n29p88
Na esteira da conquista colonial de África, desencadeada na segunda metade do século XIX, alguns antropólogos e missionários europeus, que estabeleceram longa convivência com sociedades de diferentes regiões do continente africano, lograram realizar as primeiras recolhas e sistematizações acadêmicas do imaginário cultural de comunidades tradicionais. Tomando tal contexto como pano de fundo e contraponto, o artigo destaca algumas vozes de teóricos "nativos" (Ki-Zerbo, Hampaté Bâ, Honorat Aguessy), com vistas a explicitar e discutir alguns traços do proprium cultural africano. Na concepção daquelas culturas tradicionais, a religião, assentada no mesmo arco da cultura oral, funda todos os demais componentes da vida social. Sobre tal pressuposto, o texto discute quatro aspectos principais: a concepção (ingênua) de uma unidade cultural africana; a importância da tradição oral para o conhecimento da história e do imaginário das sociedades daquele continente; as imbricações da ação política e das questões culturais; as polarizações (desnecessárias) de Europa versus África para fins de caracterizar adequadamente as culturas africanas.Palavras-chave: Culturas africanas. Religião tradicional africana. Oralidade. AbstractDuring the colonial conquest of Africa, which began in the second half of the nineteenth century, some European missionaries and anthropologists, who have established long acquaintance with some societies from different regions of Africa, managed to make the first academic collection and systematization of African traditional thought. Taking such a context as a backdrop and counterpoint, this article highlights some voices of African theorists (Ki-Zerbo, Hampaté Bâ, Honorat Aguessy), in order to explain and discuss some essential features of African culture. Within the traditional African conception, the religion, founded on the same pillars of oral culture, founds all other components of social life. On this assumption, the text discusses four main aspects: the naive conception of an African cultural unity; the importance of the oral tradition to the knowledge of history and of African imagery; imbrications of political action and cultural issues; unnecessary polarizations of the Europe versus Africa for purposes of adequately characterize African cultures.Keywords: African Cultures. African traditional religion. Orality.
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Güney Afrika sinemasının özgürleşmesi: Apartheid dönemi ve sonrası ; The Liberation of South African Cinema: Apartheid Period and Afterwards
Güney Afrika'da 1948 yılında başlayan Apartheid rejimi 27 Nisan 1994 yılında gerçekleştirilen ülkenin ilk ve çok partili demokratik seçimlerine kadar hâkim yönetim anlayışı olmuştur. Apartheid rejimi hükümetleri medyayı kendi kontrolleri altında tutmak için hem yasalardan hem de idari kontrol gücünden yararlanmıştır. Daniel François Malan ile başlayan ve 1960'larda zirveye ulaşan Apartheid rejimi basını ve tüm medyayı kontrol altına almıştır. Afrikaanca dilinde yayın yapan basın kuruluşları rejimin sözcüsü gibi hareket ederken, muhalif İngilizce basın sansüre maruz bırakılmıştır. Radyo ve televizyon sektörleri de Güney Afrika Yayın Kurumu (South African Broadcasting Corporation – SABC) tarafından kontrol edilmiş ve kurum tam anlamıyla 1980'lerin ikinci yarısından itibaren başlayacak olan liberalleşme dalgasına kadar televizyon ve radyo alanında ülkedeki tekel konumunu korumuştur. Sinemada durum bundan farklı değildir. A Şeması ve B Şeması sübvansiyonlarıyla Apartheid hükümetleri sinema sektörünü kontrol etmiş ve filmlerin otosansüre bağlı olmasını sağlamıştır. Apartheid ideolojisine aykırı filmlerin veya eleştirel filmlerin özgür bir şekilde halka gösterilmesi mümkün olmamıştır. Örneğin, eleştirel bir filmin yönetmeni olan Gibson Kente, How Long (1976) filminin içeriği yüzünden tutuklanmıştır. 1980 – 1990 döneminde üçüncü sinema ve eleştirel filmlerin yükselişe geçmesi ülkenin içinde bulunduğu siyasal ortamla direkt olarak bağlantılıdır. Apartheid rejiminin zayıflaması üzerine üçüncü kuşak sinema ve eleştirel filmler mevcut rejime karşı çok önemli bir sanat aracı olarak karşı durmuştur. Sistem ve hükümet eleştirisi yapmışlardır. Eleştirel filmler ve üçüncü sinema Apartheid rejiminin çözülme yıllarında demokrasi mücadelesini destekler nitelikte Apartheid eleştirisi yapmışlardır. Bu kuşağın en önemli özelliği rejim ve sistem eleştirisi yapmasıdır. Sinema alanına özgürlüğü getiren iki husus vardır. Birincisi, Güney Afrika'nın 1980'lerden itibaren büyük bir yıkıma sebep olabilecek bir iç savaşa doğru sürüklenmesidir. Bundan çekinen Apartheid hükümetleri sadece sinemayı değil, basın ve televizyon olmak üzere birçok medya alanını kısmen de olsa özgürleştirmiştir. Baskıları hafifletmiş ve muhalif gazetelerin yayınlarına izin verilmiştir. Bu ortamdan faydalanan yönetmen ve yapımcılar 1980 – 1990 döneminde üçüncü sinema kuşağını ve eleştirel filmleri beyaz perdeye aktarmışlardır. Sinema alanına özgürlüğü getiren ikinci ve en önemli husus siyasal dönüşümdür. Siyasal dönüşümün neticesinde demokrasiye geçilmesinin temel sebepleri uluslararası baskı, Güney Afrika'ya uygulanan ambargolar, siyahların silahlı mücadelesi ve ülkenin uluslararası toplumdan izole edilmesidir. Sinema Apartheid döneminde hükümetlerin baskısı altındayken siyasal dönüşümden sonra özgürlük ortamına kavuşmuştur. Siyasal dönüşümün en önemliayağı olan anayasa çalışmaları neticesinde 1996 Anayasası yapılmıştır. Bu anayasada medya ve ifade özgürlüğü garanti altına alınmıştır. İfade özgürlüğünün anayasal garanti altına alınması ırksal çeşitliliği ve demokrasisi sayesinde 2000'lerin başında gökkuşağı ulusu olarak nitelenen Güney Afrika'da sinemacıların özgür bir şekilde sanatını icra etmesine olanak tanımıştır. Siyahlar sinemada ayrıma ve ırksal kategorizasyona bağlı olmadan özgür bir şekilde sanatçı ve yapımcı olarak faaliyet göstermeye başlamışlar ve eleştirel yönü kuvvetli filmler çekebilmişlerdir. Makalenin amacı Güney Afrika'da sinemanın Apartheid döneminde ve sonrasındaki değişimini, bu değişimde üçüncü sinema dalgasının etkisini ortaya koymaktır. Bunu anlatabilmek aynı zamanda Apartheid rejiminin siyasal tarihine de değinmeyi gerekli kılar. Güney Afrika'da sinema siyasetten ayrı düşünülemez. Apartheid rejimi sinemayı sansür ve başka araçlarla kontrol altında tutmuştur. Apartheid hükümetlerinin baskısı yumuşadıkça sinemada özgür sesler duyulabilmiştir. Apartheid rejiminin çökmesiyle sinema aktörleri ve yapımcılarının özgürleştiğini görüyoruz. Makalede bu amaca uygun olarak yöntem seçiminde hassasiyetle davranılmış ve gelenekselci – tarihselci yöntem seçilmiştir. Sinemanın gelişimini ve değişimini sosyal ve siyasal bağlamından kopartamayız. Bu sebeple sosyal vakaları bir laboratuvar ortamında çalışmayı öneren davranışsalcı yöntemin yerine tarihsel ve sosyal bağlamında değerlendiren gelenekselci – tarihselci yaklaşım benimsenmiştir. Raymond Aron sosyal bilimlerde ve uluslararası ilişkiler çalışmalarında gelenekselciliği benimseyen bilim insanlarından biridir. Aron'a göre, sosyal vakalar yaşanan sosyal ve siyasal bağlamından kopartılamazlar. Bu sebeple makalede sinemanın gelişimi tarihsel ve sosyal olaylar bağlamında ele alınmış ve gelenekselci yöntem benimsenmiştir. ; In 1948, National Party won the elections under the leadership of Daniel François Malan. François Malan was the founder of Apartheid regime in South Africa. He wanted to divide the country into different races. In this system, black people were isolated from all segments of society and also government of the country. Afrikaans government exploited natural resources of the country and made black people slave and ordinary workers. African National Congress and blacks were organized by Nelson Mandela and his revolutionary friends to topple the regime. In 1980s and 1990s, Apartheid regime was weakened by international isolation, embargoes, economic recession, and armed attacks of African National Congress because of its racist stance. Upon this desperate situation, President of South Africa of that time Frederik Willem de Klerk started the era of political transformation by releasing Nelson Mandela and political prisoners from jail and opening the doors for negotiations. After hard negotiations between governing National Party and African National Congress, on 27 April 1994, African National Congress won the elections and Nelson Mandela was elected as the President of South Africa. In 1996, a new constitution was written. With this constitution, freedom of expression and media was taken under the guarantee of the constitution. This environment freed cinema and other types of media from Apartheid regime's fences. Since that time, South Africa has been called the rainbow nation for its various races, languages, and religions. During Apartheid regime, cinema and other types of media were controlled by Apartheid governments and Afrikaans people. Afrikaans press was the mouthpiece of the governing National Party. English press was censored by Apartheid governments and bureaucrats. Critical press and films were censored. South African Broadcasting Corporation (SABC), which was established in 1936 with an official act, has been the state monopoly of radio and television until the mid-1980s. Also, SABC was the mouthpiece of Apartheid governments. Cinema also has been censored until the mid-1980s. Apartheid governments created and used A Scheme and B Scheme Subsidies to control cinema sector. While A Scheme Subsidy was for English and Afrikaans films, B Scheme Subsidy was created for black films including black actors and languages. Films, which benefited from these subsidies, couldn't become critical of Apartheid governments. Critical films were censored and maybe banned according to their degrees. For instance, Gibson Kente, an important director of Apartheid era, was arrested because of his film called How Long (1976) and its critical context. However, political transformation, which was born because of economic recession, international isolation and armed struggle of African National Congress, changed this desperate situation. In 1980s and 1990s, third cinema and critical films developed in South African cinema. These films and third cinema criticized the system of Apartheid and governments. Also, father figure of state was criticized because of its brutal killings. These films were My Country My Hat (1983), Mathata (1984), Mapantsula (1988), the Chicken Man (1990), and Midnite Rush (1990). These cinema milestones criticized Apartheid regime and the system. Thanks to political transformation, which commenced in the late-1980s by National Party and African National Congress, South African cinema has seen an important freedom environment to produce films until today. While Apartheid regime was preventing black people from being actors and directors of films, in new rainbow nation black people can reach these positions while not being isolated by the whites of society. Ramadan Suleman, Khalo Matabane, Teddy Mattera, Zola Maseko, Ntshavheni Wa Luruli, John Kani, and Madoda Ncayiyana are important actors and directors of the new period. Moreover, in this new period black people can reach the presidency of South Africa. After Apartheid, the National Film and Video Foundation was founded to equally support film directors and actors whatever their races or religions. Today, South African cinema provides equal opportunities for blacks and whites. Blacks can take reasonable share from cinema sector today. The purpose of this article is to show changing nature of cinema during and after Apartheid, and impacts of the wave of third cinema on this changing nature. Being able to explain this also makes it necessary to touch upon political history of the Apartheid regime. Cinema in South Africa can't be separated from politics. The Apartheid regime controlled cinema through censorship and other means. As the pressure of the Apartheid governments decreased, free voices could be heard in the cinema. With the collapse of the Apartheid regime, we see the liberation of cinema actors and producers. In the article, the selection of the method in accordance with this purpose has been carefully treated and the traditionalist – historicist method has been chosen. We cannot isolate the development and change of cinema from its social and political context. Because of this reason, the traditionalist - historicist approach, which evaluates social cases in historical and social context, has been adopted instead of the behavioralist method that suggests working social cases in a laboratory environment. Raymond Aron is one of the scientists who embraced traditionalism in social sciences and international relations studies. According to Aron, social cases cannot be detached from their social and political context. For this reason, the development of cinema is discussed in the context of historical and social events in the article and traditionalist method has been adopted.
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Escravismo no Brasil
Slaves, freedmen, free African descendants, non-free, blacks, ingênuos: Education legislation concerning the black population in nineteenth century Brazil ; Escravos, libertos, filhos de africanos livres, não livres, pretos, ingênuos: negros nas legislações educacionais do XIX
Abstract This paper seeks to discuss the relationship between the legal framework for education and the black population in Brazil, seen through the prism of history of education. It analyzes how this segment of the population has been depicted in laws and imperial ordinances related to instruction, while highlighting the changes and continuities regarding permissions and prohibitions in the access to school enrollment and attendance. Whole sets of laws and regulations were perused regarding primary and secondary education of nine provinces and seven others indirectly, in search of terms that make reference to the legal or racial condition of welcome or unwelcome students. When monitoring the changes in the use of terms throughout the nineteenth century – slaves, non-free, freedmen, blacks, descendants of free Africans, ingênuos – in different provinces, we encounter prohibitions and permissions for the enrollment and/or attendance of blacks between 1835 (when prohibition against enrollment of non-free people was first mentioned) and 1887 (when the last prohibition of slave enrollment occurred). We use Thompson's perspective in regarding the law as a result of disputes and customs in order to offer explanations about the relation between the black population and education when Brazil was an empire. We conclude that the relationship between legal order and education sheds light on the history of education with respect to the presence/absence of blacks in public schools during the Empire. ; Resumo Pretende discutir a relação entre o ordenamento jurídico da educação e a população negra como um aspecto da história da educação brasileira. Analisa como esse segmento da população apareceu em leis e regulamentos imperiais sobre instrução, destacando permanências e mudanças nas permissões e proibições no acesso e frequência à escola. Foram lidos conjuntos integrais de leis e regulamentos da instrução primária e secundária de nove províncias, e indiretamente o de outras sete localidades, em busca de termos que referenciem a condição jurídica ou racial dos alunos permitidos e dos indesejados. Acompanhando as mudanças nas denominações ao longo do período século XIX – escravos, não livres, libertos, pretos, filhos de africanos livres, ingênuos – nas diferentes províncias, destacam-se interdições e permissões para matrícula e/ou frequência negra entre 1835 (ano das primeiras menções à proibição de matrícula a não livres) e 1887 (última proibição à matrícula de escravos). Utiliza a perspectiva thompsoniana da lei como resultado de disputas e costumes a fim de sugerir explicações sobre a relação entre população negra e instrução no Império. Conclui que a relação entre ordenamento legal e educação ilumina a história da educação no que se refere à presença/ausência negra na escola pública do período Imperial no Brasil.
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The Black African migrant faced with the myth of the great stories in Donato Ndongo's The Metro and Nativas by Vi-Makomè ; El migrante negroafricano ante el mito de los grandes relatos en El metro de Donato Ndongo y Nativas de Vi-Makomè
Evidence suggests that the question of migrations nowadays has become a major challenge of political, social and imaginary life of the "Tout-Monde". For this reason there is an undeniable heightening of the intraAfrican, transAfrican and transcontinental migrations. In addition to South-South migrations, migrations to Europe continue to attract more media attention. If mass migration is widespread in the world, it arouses painful memories in the particular case of the post-colonial Black African migrant. The general objective that is intended here is to put in tension, through the two novels El metro and Nativas, respectively by Donato Ndongo-Bidyogo and Inongo Vi Makomè, the myth of the "great story" of the supposedly vigorous sexual prowess of the Black. Another major task of this article is to contribute modestly to the work of demystifying the (sexual) figure of the Black African migrant in Europe/Occident. The choice of these two novels has double importance here. The first one is that they belong to the category of novels called migration novels (which are fully inscribed nowadays in what one can call the "littérature-monde". Secondly, they are novels that bring to light a large part of the problem of migrations, of "migrances" in general and, particularly, the problem of the advent of the postcolonial Black African migrant. The study has largely been based on the theoretical formulations of Victorien Lavou Zoungbo through is book Outsidering… (2007), in which he deals extensively with the question of the "great story of the sexual vigor-prowess of Black". His theoretical formulations in which he proposes a dynamic and operative articulation of the history of Blacks in the Americas seem to fit well with the question of the "presence-history" of Black African migrants in Europe. The study has shown that the myth of "great stories" (particularly the sexual vigor-prowess of Black) can be a factor of visceral rejection or "successful" integration of Black African migrants in Europe/Occident. ; Las migraciones hoy en día se han convertido en un gran desafío de la vida política, social e imaginaria del Tout-Monde. Por lo mismo, hay una innegable acentuación de las migraciones intraafricanas, transafricanas y transcontinentales. A las migraciones Sur-Sur, se añaden las migraciones hacia Europa que siguen captando más la atención de los medios de comunicación. Si la migración masiva está bien difundida en el mundo, despierta recuerdos dolorosos en el caso particular del migrante negro africano postcolonial. El objetivo general que se pretende aquí es poner en tensión, a través de las dos novelas El metro y Nativas, de Donato Ndongo-Bidyogo e Inongo Vi Makomè respectivamente, el mito del "gran relato" de la proeza sexual supuestamente vigorosa del Negro. Otro cometido mayor de este artículo es contribuir modestamente al trabajo de desmitificación de la figura (sexual) del migrante negroafricano en Europa/Occidente. La elección de estas dos novelas tiene aquí una doble importancia. La primera es que pertenecen a la categoría de las novelas llamadas novelas de migración (que se inscriben plenamente hoy en día en lo que se puede llamar la "littérature-monde"). En segundo lugar, son novelas que sacan a la luz una gran parte de la problemática de las migraciones, de las "migrances" en general y, particularmente, la del advenimiento del migrante negroafricano postcolonial. Este estudio se ha basado en gran parte sobre las formulaciones teóricas de Victorien Lavou Zoungbo a través de su libro Outsidering… (2007), en el que aborda ampliamente la problemática del "gran relato del vigor-proeza sexual del negro". Sus formulaciones teóricas en las que propone una articulación dinámica y operativa de la historia de los negros en las Américas parecen encajar bien con la problemática de la "presencia-historia" de los migrantes negro-africanos en Europa. El estudio ha mostrado que el mito de los "grandes relatos" (particularmente el vigor-proeza sexual del Negro) puede ser un factor de rechazo visceral o de integración "exitosa" de los migrantes negroafricanos en Europa/Occidente.
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The Black African migrant faced with the myth of the great stories in Donato Ndongo's The Metro and Nativas by Vi-Makomè ; El migrante negroafricano ante el mito de los grandes relatos en El metro de Donato Ndongo y Nativas de Vi-Makomè
Evidence suggests that the question of migrations nowadays has become a major challenge of political, social and imaginary life of the "Tout-Monde". For this reason there is an undeniable heightening of the intraAfrican, transAfrican and transcontinental migrations. In addition to South-South migrations, migrations to Europe continue to attract more media attention. If mass migration is widespread in the world, it arouses painful memories in the particular case of the post-colonial Black African migrant. The general objective that is intended here is to put in tension, through the two novels El metro and Nativas, respectively by Donato Ndongo-Bidyogo and Inongo Vi Makomè, the myth of the "great story" of the supposedly vigorous sexual prowess of the Black. Another major task of this article is to contribute modestly to the work of demystifying the (sexual) figure of the Black African migrant in Europe/Occident. The choice of these two novels has double importance here. The first one is that they belong to the category of novels called migration novels (which are fully inscribed nowadays in what one can call the "littérature-monde". Secondly, they are novels that bring to light a large part of the problem of migrations, of "migrances" in general and, particularly, the problem of the advent of the postcolonial Black African migrant. The study has largely been based on the theoretical formulations of Victorien Lavou Zoungbo through is book Outsidering… (2007), in which he deals extensively with the question of the "great story of the sexual vigor-prowess of Black". His theoretical formulations in which he proposes a dynamic and operative articulation of the history of Blacks in the Americas seem to fit well with the question of the "presence-history" of Black African migrants in Europe. The study has shown that the myth of "great stories" (particularly the sexual vigor-prowess of Black) can be a factor of visceral rejection or "successful" integration of Black African migrants in Europe/Occident. ; Las migraciones hoy en día se han convertido en un gran desafío de la vida política, social e imaginaria del Tout-Monde. Por lo mismo, hay una innegable acentuación de las migraciones intraafricanas, transafricanas y transcontinentales. A las migraciones Sur-Sur, se añaden las migraciones hacia Europa que siguen captando más la atención de los medios de comunicación. Si la migración masiva está bien difundida en el mundo, despierta recuerdos dolorosos en el caso particular del migrante negro africano postcolonial. El objetivo general que se pretende aquí es poner en tensión, a través de las dos novelas El metro y Nativas, de Donato Ndongo-Bidyogo e Inongo Vi Makomè respectivamente, el mito del "gran relato" de la proeza sexual supuestamente vigorosa del Negro. Otro cometido mayor de este artículo es contribuir modestamente al trabajo de desmitificación de la figura (sexual) del migrante negroafricano en Europa/Occidente. La elección de estas dos novelas tiene aquí una doble importancia. La primera es que pertenecen a la categoría de las novelas llamadas novelas de migración (que se inscriben plenamente hoy en día en lo que se puede llamar la "littérature-monde"). En segundo lugar, son novelas que sacan a la luz una gran parte de la problemática de las migraciones, de las "migrances" en general y, particularmente, la del advenimiento del migrante negroafricano postcolonial. Este estudio se ha basado en gran parte sobre las formulaciones teóricas de Victorien Lavou Zoungbo a través de su libro Outsidering… (2007), en el que aborda ampliamente la problemática del "gran relato del vigor-proeza sexual del negro". Sus formulaciones teóricas en las que propone una articulación dinámica y operativa de la historia de los negros en las Américas parecen encajar bien con la problemática de la "presencia-historia" de los migrantes negro-africanos en Europa. El estudio ha mostrado que el mito de los "grandes relatos" (particularmente el vigor-proeza sexual del Negro) puede ser un factor de rechazo visceral o de integración "exitosa" de los migrantes negroafricanos en Europa/Occidente.
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Filmes e negritude em sala de aula: essa relação é possível?
In: ETD - Educação Temática Digital, Band 15, Heft 1, S. 145-160
This paper presents an experience with teachers who participated in an extension course
conducted during 2008 entitled: "The movies in teaching history and culture african-Brazilian and
African basic education." Guidelines and National Education establish compliance with the Law
10.639/2003 education for ethnic-racial. To discuss and contribute to the education of blackness in
Brazil, this paper discusses the potential of film narratives in the classroom for the teaching of history and
Afro-Brazilian and African culture. The results indicate the existence of potential pedagogical
filmography, even teachers do not know how to exploit their film narratives that help students visualize
the "other." We conclude that the use of films as a source of study or as a pedagogical tool requires a
critical pedagogical action decoding, interpretation and deconstruction of film narratives to understand the
record of human actions depicted on the screen.
The Yoruba in Brazil, Brazilians in Yorubaland: cultural encounter, resilience, and hybridity in the Atlantic world
In: Carolina Academic Press African world series
"The Yoruba in Brazil, Brazilians in Yorubaland focuses on multivalent manifestations of the Yoruba Atlantic. Unique in its examination of an African ethnic group that was implicated in the transatlantic slave trade and that subsequently made the diaspora home (or through other forms of migration returned to the continental "homeland"), this volume argues that despite traumatic encounter with modernity and resilience, the Yoruba Atlantic may be under erasure due to the exigencies of globalization. What we call Yoruba Atlantic today is indeed a hybridized identity. Through colonialism and slavery, historical realities are appropriately anchored in the quest for a Yoruba diaspora, and yet are compounded by the new, shifting migration patterns out of the Yorubaland in the search for greener pastures in a globalized world. The contributors assert the vitality and unity of this group while complicating those same essences through multiple crossroads of shifting historical, cultural, political, and spiritual agencies. This book is part of the African World Series, edited by Toyin Falola, Jacob and Frances Sanger Mossiker Chair in the Humanities, University of Texas at Austin"--The publisher