Made available in DSpace on 2016-04-26T14:55:47Z (GMT). No. of bitstreams: 1 Janaina de Figueiredo.pdf: 18132479 bytes, checksum: 7d36946619c7949a41613ad75bf658fc (MD5) Previous issue date: 2016-03-04 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / In this paper I place the memory of the angola candomblé in Santos city, indentifying the caboclo s role in this religious structure. The memories pointed out a fixed point in space, which is the pier. The pier became the scenery, the landscape, in which the memory of a candomblé by the sea was anchored. In the speaker s voices, the masts, the sails, the streetcars, the streets and the city allies have expressed themselves as walking rhetoric and also pieced together the web in which several practices and cultural dynamics were attached. In this net of sense and meaning the angola nation takes a privileged spot in this analysis. We defend that the caboclo is a key component in this religious structure of this nation. This entity brought, as one tries to argue, a kind of unity to the angola candomblé. One of the premises which involves the caboclo s analysis consists in giving him the role to keep angola candomblé memory and identity. This thesis is a paper about the memory in many ways like: the researcher s view, the crossed memories, the memory guardians role, the caboclo s performances, and other aspects / Neste trabalho situo a memória do Candomblé Angola na cidade de Santos, identificando o papel do caboclo nessa estrutura religiosa. As lembranças apontaram um ponto fixo no espaço, qual seja o cais do porto. Este se tornou o cenário, a paisagem, em que a memória de um Candomblé à beira-mar estava ancorada. Nas vozes dos interlocutores, os mastros, as velas, os bondes, as ruas e os becos da cidade se manifestaram como retóricas caminhatórias e, igualmente, recompuseram o tecido pelo qual diversas práticas e dinâmicas culturais estavam atadas. Nessa rede de sentidos e significados, a nação Angola ocupa lugar privilegiado nesta análise. Defendo que o caboclo constitui peça fundamental na estrutura religiosa dessa nação. Essa entidade trouxe, como se tenta argumentar, certa unidade ao Candomblé Angola, marcado por cisões em seu interior. Umas das premissas que envolve a análise do caboclo consiste em lhe atribuir o papel de manutenção da memória e identidade do Candomblé Angola. Esta tese constitui um trabalho sobre a memória em muitos sentidos: no olhar do pesquisador, nas lembranças entrecruzadas, no papel dos guardiões da memória, nas performances do caboclo, entre outros aspectos.

Tendo como foco a religião, a cultura negra é estudada em dois momentos: em África e no Brasil. Em África, considerando o período entre os séculos XII e XVI, realizamos uma síntese abrangendo, aspectos geográficos, históricos, políticos, econômicos e de organização social, relativa à África Bantu e a África Ocidental, caracterizando o cotidiano, a ideologia humanista e aspectos significativos da religião e magia. Numa perspectiva interpretativa e dinâmica, analisamos a vida e a morte como processo cultural, onde os ritos estão presentes no dia-a-dia e marcam, sobretudo, os momentos importantes da vida individual e coletiva, na dimensão material e espiritual. A interpenetração de culturas embasa nosso pressuposto de unidade na diversidade e diversidade na unidade. No Brasil, tratamos da religião trasladada e da religião reelaborada. De maneira resumida caracterizamos o cenário europeu entre os séculos XVI e XIX, para situar o tráfico de escravos e a ideologia do colonizador no mesmo período. xi Apoiados no conceito de reinterpretação, verificamos as religiões dos negros no novo ambiente, buscando o início e o desenvolvimento de uma forma específica: o Candomblé. No Candomblé como sistema religioso, apesar da aparente dicotomia (rito nàgó e rito bantu), procuramos caracterizá-lo como uma manifestação da cultura negra, como bloco, em oposição à branca, evidenciando a contradição vivida pelos adeptos que se inserem na ideologia ocidental e praticam ritos sustentados pela visão de mundo negro-africana tradicional. Numa abordagem de antropologia interpretativa, utilizamos os rudimentos da teoria da relatividade mas, preocupamo-nos também, em inserir o trabalho numa perspectiva de antropologia estética. / Negro culture is studied over two different periods in two distinct locations, firstly in Africa and then in Brazil. In Africa, the main period considered is between the XII and XVI centuries. We synthesized several topics such as geography, history, politics, economy and social organization pertaining to Bantu Africa and West Africa. This context is used to describe daily life, human ideology and significant aspects of magic and religion. Using a dynamic and an interpretative perspective, we analyzed life and death as a cultural process. Also emphasized are the daily rituals and other customs marking important events in individual and communal life, from both a spiritual and a material dimension. Our interpretation of cultures supports our presupposition of unity though diversity and diversity through unity In Brazil, we focused on the transferred religion and its evolution. In a summarized fashion, we characterize the European scenario in between the XVI and XIX centuries. This helps us put into context the slave trade and the ideology of the colonizers during this time. xiii Supported by the concept of reinterpretation, we address the religion of these Africans in their new environment, and search for the beginnings and evolution of a specific system of religion called Candomblé. In spite of a dichotomy between the Nàgó and Bantu rites, we characterize Candomblé as a unified manifestation of Negro culture, and as a form of opposition to the White religion. We also reveal the contradiction experienced by the Candomblé adepts, who were inserted into Western ideology yet continue to practice rites sustained by a traditional African vision of the world. In our interpretative anthropology approach, we utilized the rudiments of relativity theory, and also strived to insert our work within the perspective of esthetic anthropology.

Tendo como foco a religião, a cultura negra é estudada em dois momentos: em África e no Brasil. Em África, considerando o período entre os séculos XII e XVI, realizamos uma síntese abrangendo, aspectos geográficos, históricos, políticos, econômicos e de organização social, relativa à África Bantu e a África Ocidental, caracterizando o cotidiano, a ideologia humanista e aspectos significativos da religião e magia. Numa perspectiva interpretativa e dinâmica, analisamos a vida e a morte como processo cultural, onde os ritos estão presentes no dia-a-dia e marcam, sobretudo, os momentos importantes da vida individual e coletiva, na dimensão material e espiritual. A interpenetração de culturas embasa nosso pressuposto de unidade na diversidade e diversidade na unidade. No Brasil, tratamos da religião trasladada e da religião reelaborada. De maneira resumida caracterizamos o cenário europeu entre os séculos XVI e XIX, para situar o tráfico de escravos e a ideologia do colonizador no mesmo período. xi Apoiados no conceito de reinterpretação, verificamos as religiões dos negros no novo ambiente, buscando o início e o desenvolvimento de uma forma específica: o Candomblé. No Candomblé como sistema religioso, apesar da aparente dicotomia (rito nàgó e rito bantu), procuramos caracterizá-lo como uma manifestação da cultura negra, como bloco, em oposição à branca, evidenciando a contradição vivida pelos adeptos que se inserem na ideologia ocidental e praticam ritos sustentados pela visão de mundo negro-africana tradicional. Numa abordagem de antropologia interpretativa, utilizamos os rudimentos da teoria da relatividade mas, preocupamo-nos também, em inserir o trabalho numa perspectiva de antropologia estética. / Negro culture is studied over two different periods in two distinct locations, firstly in Africa and then in Brazil. In Africa, the main period considered is between the XII and XVI centuries. We synthesized several topics such as geography, history, politics, economy and social organization pertaining to Bantu Africa and West Africa. This context is used to describe daily life, human ideology and significant aspects of magic and religion. Using a dynamic and an interpretative perspective, we analyzed life and death as a cultural process. Also emphasized are the daily rituals and other customs marking important events in individual and communal life, from both a spiritual and a material dimension. Our interpretation of cultures supports our presupposition of unity though diversity and diversity through unity In Brazil, we focused on the transferred religion and its evolution. In a summarized fashion, we characterize the European scenario in between the XVI and XIX centuries. This helps us put into context the slave trade and the ideology of the colonizers during this time. xiii Supported by the concept of reinterpretation, we address the religion of these Africans in their new environment, and search for the beginnings and evolution of a specific system of religion called Candomblé. In spite of a dichotomy between the Nàgó and Bantu rites, we characterize Candomblé as a unified manifestation of Negro culture, and as a form of opposition to the White religion. We also reveal the contradiction experienced by the Candomblé adepts, who were inserted into Western ideology yet continue to practice rites sustained by a traditional African vision of the world. In our interpretative anthropology approach, we utilized the rudiments of relativity theory, and also strived to insert our work within the perspective of esthetic anthropology.

Minkisi (sing. nkisi) were sacred objects that housed ancestral spirits and were used for divination, healing and social justice by the Kongo people of Central Africa. When the Kongo were brought as slaves to the New World, they contributed significantly to the development of African American artistic and spiritual culture. In the Caribbean, aspects of minkisi have been retained in the creolized spiritual beliefs of Haitian Vodou, Cuban Palo Monte Mayombe and Brazilian Candomble. In North America, evidence of Kongo influence is apparent in examples of folk art and culture, including quilts, mojo hands, Afro-Carolinian face vessels, memory jugs and burial sites. In the twentieth and twenty-first centuries, artists appear to have recontextualized elements of minkisi within their work, among these James “Son Ford” Thomas, James Van Der Zee, Betye and Alison Saar, Willie Cole and Renee Stout, creating a link between the Kongo past and the American present.

Ethnographic collections in western museums such as the Royal Albert Memorial Museum (RAMM) carry many meanings, but by definition, they represent an intercultural encounter. This history of this encounter is often lost, overlooked, or obscured, and yet it has bearing on how the objects in the collection have been interpreted and understood. This thesis uncovers the hidden history of one particular collection in the RAMM and examines the multiple meanings that have been attributed to the objects in the collection over time. The Richard Dennett Collection was made in Africa in the years when European powers began to colonise the Congo basin. Richard Edward Dennett (1857-1921) worked as a trader in the Lower Congo between 1879 and 1902. The collection was accessioned by the RAMM in 1889. The research contextualises the collection by making a close analysis of primary source material which was produced by the collector and by his contemporaries, and includes publications, correspondence, photographs and illustrations which have been studied in museums and archives in Europe and North America. Dennett was personally involved with key events in the colonial history of this part of Africa but he also studied the indigenous BaKongo community, recording his observations about their political and material culture. As a result he became involved in the institutions of anthropology and folklore in Britain which were attempting to explain, classify and interpret such cultures. Through examining Dennett’s history this research has been able to explore the Congo context, the indigenous society, and those European institutions which collected and interpreted BaKongo collections. The research has added considerably to the museum’s knowledge about this collection and its collector, and the study responds to the practical imperative implicit in a Collaborative Doctoral Project, by proposing a small temporary exhibition in the RAMM to explore these histories and meanings. In making this proposal the research considers the current curatorial debate concerning responsible approaches to colonial collections, and assesses some of the strategies that are being employed in museums today.