Titlebook: African Roots, Brazilian Rites; Cultural and Nationa Cheryl Sterling Book 2012 Cheryl Sterling 2012 identity.national identity.ritual.trans

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Where Is Africa in the Nation? History as Transformative Praxis,rican/black and choosing a black identity stands as a revolutionary, subversive act aimed at challenging the national consciousness and the processes of power construction and consolidation. Since most Afro-Brazilians are of mixed heritage, the pivotal query is, How is this African and black identit

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,From Candomblé to Carnaval: Secularizing Africa and Visualizing Blackness,ated through his role as the Dragon Masker during carnival in Trinidad, it is the time when the dispossessed can be seen and, by extension, heard. While in Da Matta’s formulation carnival hides sociopolitical realities, for Aldrick, carnival reveals them. Political engagement, we can infer, appears

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Aesthetically Black: The Articulation of Blackness in the Black Arts Movement and Quilombhoje, concept of propaganda to the creation of beauty in truth and freedom. While Walter Benjamin (1969) critiques the attachment to the political in the reproductability of art (224), the Black Arts Movement (BAM) and Quilombhoje call for its intrinsic imbrication, likening artistic production to decolo

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Conclusion: Uma Luta que Nos Transcende,, battles over territory, and battles over oil are testaments to the contestations between hegemonic structures and the Others they have created. Whether identity is constructed by national discourse, state ideologies, and dominant paradigms, or asserted by the speaking self, depends on the ability

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