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This qualitative study examines the social, spiritual and political role the Black Oneness Churches play in Black communities. It also provides an anti-colonial examination of the Afro-Caribbean Oneness churches to understand how it functioned in the formation and defense of the emerging Black communities for the period 1960-1980. This project is based on qualitative interviews and focus groups conducted with Black Clergy and Black women in the Oneness church of the Greater Toronto area. This study is based on the following four objectives: 1. Understanding the central importance of the Black Oneness Pentecostal Church post 1960 to Black communities. 2. Providing a voice for those of the Black Church that are currently underrepresented in academic scholarship. 3. Examining how the Black Church responds to allegations of its own complicities in colonial practices. 4. Engage spirituality as a legitimate location and space from which to know and resist colonization. The study also introduces an emerging framework entitled: Whiteness as Theology. This framework is a critique of the theological discourse of Whiteness and the enduring relevance of the Black Church in a pluralistic Afro-Christian culture. The data collected reveal that while the Black Church operated as a social welfare institution that assisted thousands of new black immigrants, the inception of the church was political and in protest to racism. Hence, the Black Church is a product of white racism, migration and colonization. The paradox of the Black Church lies in its complicity in colonization while also creating religious forms of resistance. For example, the inception of the Afro-Caribbean Oneness Church was an anti-colonial response to the racism in the White Church. But 40 years later, the insidious nature of colonization has weaved through the church and “prosperity theology” as an impetus of colonialism has reshaped the social justice role of Black Churches.

In this study, seven rap songs by hip hop icon Tupac Shakur were examined to determine if the ideology of the Black Panther Party exists within the song lyrics of his politically oriented music. The study used content analysis as its methodology. Key among the Ten Point Program tenets reflected in Tupac’s song lyrics were for self-determination, full employment, ending exploitation of Blacks by Whites (or Capitalists), decent housing, police brutality, education, liberation of Black prisoners, and the demand for land, bread, housing, education, clothing, justice, peace, and a United Nations plebiscite.

Esta pesquisa visa refletir a respeito das imbricações entre política e economia observadas a partir da Feira Preta; um evento que promove atividades de cultura e comércio voltadas à comunidade negra, organizado anualmente na cidade de São Paulo. Tendo como plano de referências o contexto político-econômico brasileiro dos últimos quinze anos marcado, entre outras coisas, pela ampliação das condições de acesso ao ensino superior e pelo estímulo a manifestações culturais não-hegemônicas , elaboro uma análise etnográfica das redes de relações constituídas por jovens negros/negras, identificados no contexto desta Feira como empreendedores da cultura, os quais agenciam diferentes concepções de cultura negra na composição de espaços de reconhecimento e troca, onde lazer, celebração, consumo e engajamento se interseccionam. Atentando para as diferentes lógicas econômicas (monetárias e não monetárias) em ação, bem como para a complexidade do termo empreendedorismo, privilegio a análise do modo como mecanismos de solidariedade e de participação política se articulam, impulsionando a construção de novos imaginários e espaços reivindicativos. Por fim, destaco o protagonismo de mulheres negras, universitárias, na rearticulação das formas de identificação e mobilização estética e política no Brasil contemporâneo. / This research aims to reflect on the entanglement of politics and economy that take place at the Black Fair (Feira Preta); an event that promotes cultural and trade activities aimed at \"black community\", organized annually in the city of São Paulo. Having the Brazilian political-economic context of the last fifteen years as background marked, among other things, by the expansion of access to higher education and the encouragement of nonhegemonic cultural events I present an ethnographic analysis of the relational networks of black youth, identified in the context of this Fair as \"cultural entrepreneurs\", who weave different conceptions of \"black culture\" into spaces of recognition and exchange, where leisure, celebration, consumption and engagement intersect. Paying attention to the different economic logics (monetary and non-monetary) in action, as well as the complexity of the term \"entrepreneurship\", I focus the analysis on how solidarity mechanisms and political participation are articulated, boosting the construction of new imaginative and spatial claims. Finally, I highlight the role of black college women, upon the re-articulation of the forms of identification and aesthetic and political mobilization in contemporary Brazil.

O presente estudo visa à análise e interpretação da criação poética de Mário de Andrade ligada às questões do negro em sua época. Ancora-se na análise e interpretação de três poemas em que se pode identificar diferentes representações na chave do losango negro, isto é, o negro como um dos elementos que compõem a veste do poeta arlequinal. Os poemas: Reconhecimento de Nêmesis, de 1926 e publicado em 1941, que guarda as questões do sujeito lírico relacionadas ao conteúdo mestiço do artista, no campo individual; Poemas da Negra, de 1928, que representam o momento no qual o sujeito lírico entra em comunhão com a musa negra e a eleva ao um plano cósmico, igualando o eu poético e a mulher; e Nova canção de Dixie, escrito em 1944 e de publicação póstuma, que manifesta o profundo incômodo do poeta com a violenta prática racista nos Estados Unidos da América da primeira metade do século XX. Além desses três textos contemplados no corpus, servem à análise as parcelas referentes ao tema, encontradas no conjunto da criação do escritor publicada e inédita, incluindo manuscritos em sua marginalia e matrizes de sua criação, associadas ou não a notas marginais. Esta pesquisa entende que, na multiplicidade poética de Mário de Andrade, há um sujeito lírico negro e, outro, solidário com o negro que abordam, e ultrapassam, denúncias do preconceito de cor e discussões dos conteúdos negros do poeta, para alcançar também referências ao negro na esfera da arte e do amor, enquanto felicidade, beleza e completude. De acordo com o pensamento adorniano, este trabalho busca analisar, em um universo individual, na construção particular de uma linguagem, a expressão de uma voz poética que, muitas vezes, mantém uma relação com o sujeito coletivo1. O estudo apoia-se em conceitos nas áreas da Teoria Literária, Crítica Genética, Estudos Culturais, Psicanálise, assim como nos estudos sobre o negro nas áreas de História, Sociologia e Antropologia. / This study aims to analyze and interpret Mário de Andrade\'s poetic creation linked to black issues in his time. It is grounded on the analysis and interpretation of three poems in which one can identify different representations in the key of Losango Negro, eg the black as one of the elements that make up the vest of the arlequinal poet. The poems: \"Reconhecimento de Nêmesis from 1926 and published in 1941, which keeps the issues of lyrical subject-related to the mestizo artist content, at the individual field; \"Poemas da Negra\", 1928, representing the time in which the lyrical subject enters into communion with the black muse and raises it to an ethereal plane, equaling the poetic self and the woman; and \"Nova Canção de Dixie\", written in 1944 and published posthumously, which expresses the deep nuisance of the poet with the violent racist practice in the first half of the twentieth century in the United States. In addition to these three texts included in the corpus, the plots on the topic are considered in the analysis, which were found at the writer\'s both published and unpublished work, including manuscripts in his marginalia and dies of his creation, associated or not with marginal notes. This research considers that at the poetic multiplicity of Mário de Andrade, there is a black poetic self and a lyrical subject who are supportive/empathic with the black they represent, transpassing the denouncement of color prejudice and discussions regarding the poet\'s black content, to also achieve references to black in the sphere of art, love as happiness, beauty and completeness. According to Adorno\'s thought, this paper analyzes at a single universe, in the particular construction of a language, the expression of a poetic voice that often maintains a relationship with the collective subject. The study draws on concepts in the areas of Literary Theory, Genetic Criticism, Cultural Studies, Psychoanalysis, as well as studies on the black in the fields of history, sociology and anthropology.

Made available in DSpace on 2016-04-27T16:32:38Z (GMT). No. of bitstreams: 1 Rafael dos Santos Nunes.pdf: 584671 bytes, checksum: d7a6134922d50177f12723a423291b42 (MD5) Previous issue date: 2012-04-23 / Fundação Carlos Chagas / The 1940 s and 1950 s were target by deep political and socioeconomic transformations in Brazil, with the Vargas Era and the end of the II World War. Through these events emerges a social movements in the struggle for democracy and better living conditions. As the city of Rio de Janeiro was the Federal Capital at the time, became the main focus of the changes in the period. In 1944, the Teatro Experimental do Negro (TEN) started, a social movement of black people that was a legacy of struggles they have sown and promoted changes to the black population through artistic representations, the studies on the blackness and the inclusion of black poblation and recovery of your identity. TEN developed their actions in the midst of a new configuration of society, which led to profound changes in social movements, especially in times of turmoil. In this paper, the performance of the TEN is analyzed by means of empirical research journal Quilombo, life, problems and aspirations of blackness in Brazil, produced by the TEN and represents of the primary source for this action. Beginning by the historical context of the Rio de Janeiro period, the living conditions in Brazil, focusing on the participation of blacks people and their social conditions and presents aspects of the history of TEN and its consequences especially in aspects related to education, this paper seeks to analyze and present relations with education found in texts written at the newspaper Quilombo, unveiled by examination of newspaper content, focusing on relations with the training and education for education, appreciation of culture and enlightenment of the general population among the peculiarities of the black population / As décadas de 1940 e 1950 foram marcadas por profundas transformações políticas e socioeconômicas no Brasil, com a Era Vargas e o final da segunda Guerra Mundial. Através desses acontecimentos surge uma gama de movimentos sociais na luta por democracia e melhores condições de vida. Em razão de a cidade do Rio de Janeiro ser a Capital Federal à época, tornou-se o principal foco das transformações no período. No ano de 1944, surge o Teatro Experimental do Negro (TEN), um movimento social de negros que constituiu um legado de lutas que semearam e promoveram transformações para a população negra através das representações artísticas, dos estudos sobre o negro e pela inclusão dos negros e da valorização de sua identidade. O TEN desenvolveu suas ações em meio a uma nova configuração de sociedade, que propiciou profundas mudanças nos movimentos sociais, sobretudo em período de tantas turbulências. Neste trabalho, a atuação do TEN é analisada por meio de pesquisa empírica do jornal Quilombo, vida, problemas e aspirações do negro, produzido pelo próprio TEN, e que representa a fonte primária para essa empreitada. Iniciando pelo contexto histórico do Rio de Janeiro do período, as condições que vivia o Brasil, enfocando a participação dos negros e suas condições sociais e posteriormente apresentando aspectos da história do TEN e seus desdobramentos principalmente nos aspectos ligados a educação, o presente trabalho procura analisar e a apresentar as relações com educação presentes nos textos escritos do jornal Quilombo, descortinadas através de exame do conteúdo do jornal,com foco nas relações com a formação pela educação e escolaridade, valorização da cultura e do esclarecimento da população em geral em meio às particularidades da população negra

Made available in DSpace on 2016-04-27T19:31:06Z (GMT). No. of bitstreams: 1 Nivaldo Osvaldo Dutra.pdf: 4415868 bytes, checksum: 8b15085324986c45e27625cf92d6b8d1 (MD5) Previous issue date: 2015-03-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Using the oral memory, as a source, the present study is to discuss and endorse the playing fields, experiences, strengths, daily struggles, practices and experiences concerning the remaining community quilombola Mangal / Barro Vermelho, located in the rural township of Sitio do Mato-BA in the Médio São Francisco. What we try to understand in this work are the forms of struggle and resistance of these people, as well as cultural landmarks that particularise this community and how they collaborate for their identity formation as well as understand the socioeconomic and cultural dynamics of these citizens today: its difficulties, challenges, struggles, the relationships that are built and reconstructed in the daily life, questioning these new relationships that are forged in the social dynamics of these residents. Being located in the community são franciscana region, where since the sixteenth century the black presence appeared as a determining factor in the socioeconomic and cultural background of the region, mainly in the creation and management of cattle, but also in agricultural production and relationship with the river, talking about the living conditions of these individuals, their social relations with other communities. We discuss the denomination of the term quilombo and their transformations over time, and the political struggle that today the remaining communities have to face for self recognition. Finally, we understand the importance of education in the continuity and updating traditions and to build the identity of these new people / Utilizando a memória oral como fonte, o presente estudo busca apresentar e referendar os campos de atuação, vivências, resistências, lutas cotidianas, práticas e experiências referentes à comunidade remanescente quilombola de Mangal/Barro Vermelho, localizada na zona rural do município de Sítio do Mato-BA, na região do Médio São Francisco. O que buscamos compreender neste trabalho são as formas de resistência desses sujeitos, os marcos culturais que particularizam essa comunidade e como colaboram para a sua formação identitária, bem como compreender a dinâmica socioeconômica e cultural desses sujeitos na atualidade: suas dificuldades, desafios, lutas, as relações que são construídas e reconstruídas no cotidiano, sem deixar, é claro, de problematizar essas novas relações que se forjam na dinâmica social desses moradores. Sendo a comunidade localizada na região são franciscana, onde, desde o século XVI, a presença negra se apresentou como um fator determinante na formação socioeconômica e cultural da região, principalmente, na criação e manejo do gado, na produção agrícola e na relação de vivências com o rio, historicizamos as condições de vida desses sujeitos e suas relações com outras comunidades. Apresentamos uma discussão sobre a denominação do termo quilombo, suas transformações ao longo do tempo, bem como da luta política que, na atualidade, as comunidades remanescentes têm que enfrentar para o autorreconhecimento. Por fim, buscamos compreender a importância da educação para continuidade e atualização das tradições e para construção da identidade desses novos sujeitos

A presente dissertação trata sobre a trajetória de Abdias do Nascimento durante o período de seu autoexílio nos Estados Unidos, entre 1968 e 1981. Na pesquisa, verificamos a hipótese que preconiza ser esse momento decisivo para mudança da autoimagem do autor, que sai do Brasil como artista e retorna como liderança do ativismo negro internacional. Investigamos os fatos e experiências do autor no período, passando pelas atividades, redes pessoais e sua participação em diversos congressos e seminários internacionais. A pesquisa é delineada em dois eixos: discurso e imagem. Discurso envolve a abordagem de Nascimento acerca de cultura negra e sua crítica à democracia racial, que articulariam uma interlocução com elementos conceituais transnacionais, presentes no discurso negro no âmbito internacional. Em relação à imagem, tentamos abordar como o autor, a partir de sua discurso ideológico e atuação, reconstrói sua autoimagem, projetando em seu retorno a posição de liderança negra do ativismo internacional e de pensador da diáspora. Para tanto, analisamos as obras artísticas e políticas do período, bem como elementos anteriores tratados pela literatura sociológica, para evidenciar as formas dessa reconstrução. / This dissertation deals with the trajectory of Abdias do Nascimento during his selfexile period in the United States, from 1968 to 1981. In this research, we verify the hypothesis that claims that this moment was decisive in changing the authors self-image, since he leaves Brazil as an artist and returns as a leader of black international activism. We investigate the facts and experiences of the author during this period, which include activities, personal networks and his participation in several international congresses and seminars. The research is divided into two axes: discourse and image. Discourse involves Nascimentos approach regarding black culture and his criticism of racial democracy, which would articulate an interlocution with transnational conceptual elements, present in the black discourse in an international scope. Regarding image, we try to tackle how the author, based on his ideological discourse and action, reconstructs his self-image, projecting on his return the position of black leader of international activism and of thinker of the diaspora. For such, we analyzed artistic and political pieces from the period, as well as previous elements dealt with by sociological literature, to indicate how this reconstruction took place.

A presente dissertação trata sobre a trajetória de Abdias do Nascimento durante o período de seu autoexílio nos Estados Unidos, entre 1968 e 1981. Na pesquisa, verificamos a hipótese que preconiza ser esse momento decisivo para mudança da autoimagem do autor, que sai do Brasil como artista e retorna como liderança do ativismo negro internacional. Investigamos os fatos e experiências do autor no período, passando pelas atividades, redes pessoais e sua participação em diversos congressos e seminários internacionais. A pesquisa é delineada em dois eixos: discurso e imagem. Discurso envolve a abordagem de Nascimento acerca de cultura negra e sua crítica à democracia racial, que articulariam uma interlocução com elementos conceituais transnacionais, presentes no discurso negro no âmbito internacional. Em relação à imagem, tentamos abordar como o autor, a partir de sua discurso ideológico e atuação, reconstrói sua autoimagem, projetando em seu retorno a posição de liderança negra do ativismo internacional e de pensador da diáspora. Para tanto, analisamos as obras artísticas e políticas do período, bem como elementos anteriores tratados pela literatura sociológica, para evidenciar as formas dessa reconstrução. / This dissertation deals with the trajectory of Abdias do Nascimento during his selfexile period in the United States, from 1968 to 1981. In this research, we verify the hypothesis that claims that this moment was decisive in changing the authors self-image, since he leaves Brazil as an artist and returns as a leader of black international activism. We investigate the facts and experiences of the author during this period, which include activities, personal networks and his participation in several international congresses and seminars. The research is divided into two axes: discourse and image. Discourse involves Nascimentos approach regarding black culture and his criticism of racial democracy, which would articulate an interlocution with transnational conceptual elements, present in the black discourse in an international scope. Regarding image, we try to tackle how the author, based on his ideological discourse and action, reconstructs his self-image, projecting on his return the position of black leader of international activism and of thinker of the diaspora. For such, we analyzed artistic and political pieces from the period, as well as previous elements dealt with by sociological literature, to indicate how this reconstruction took place.

This qualitative study examines the social, spiritual and political role the Black Oneness Churches play in Black communities. It also provides an anti-colonial examination of the Afro-Caribbean Oneness churches to understand how it functioned in the formation and defense of the emerging Black communities for the period 1960-1980. This project is based on qualitative interviews and focus groups conducted with Black Clergy and Black women in the Oneness church of the Greater Toronto area. This study is based on the following four objectives: 1. Understanding the central importance of the Black Oneness Pentecostal Church post 1960 to Black communities. 2. Providing a voice for those of the Black Church that are currently underrepresented in academic scholarship. 3. Examining how the Black Church responds to allegations of its own complicities in colonial practices. 4. Engage spirituality as a legitimate location and space from which to know and resist colonization. The study also introduces an emerging framework entitled: Whiteness as Theology. This framework is a critique of the theological discourse of Whiteness and the enduring relevance of the Black Church in a pluralistic Afro-Christian culture. The data collected reveal that while the Black Church operated as a social welfare institution that assisted thousands of new black immigrants, the inception of the church was political and in protest to racism. Hence, the Black Church is a product of white racism, migration and colonization. The paradox of the Black Church lies in its complicity in colonization while also creating religious forms of resistance. For example, the inception of the Afro-Caribbean Oneness Church was an anti-colonial response to the racism in the White Church. But 40 years later, the insidious nature of colonization has weaved through the church and “prosperity theology” as an impetus of colonialism has reshaped the social justice role of Black Churches.