![]() Nesta segunda edição, o projeto "Memórias Afro-Atlânticas: as gravações de Lorenzo Turner na Bahia” conta com apoio do Rumos Itaú Cultural 2017-2018. Contudo, na atualidade, os seus registros passaram a representar muito mais: este é, sem dúvidas, um dos mais importantes legados materiais e imateriais sobre a presença e resistência das culturas de matrizes africanas no Brasil. O objetivo de Turner era comprovar a preservação linguística de origem afro em locais e comunidades peculiares da diáspora africana nas Américas. I argue that understanding the samba-de-caruru not only complicates our understanding of the samba-de-roda tradition, but it also paints a more complete picture of Bahia’s religious landscape.Īo longo de sete meses de pesquisas intensivas realizadas em Salvador e no Recôncavo da Bahia no início da década de 1940, o linguista afro-americano Lorenzo Dow Turner (1890-1972) grava, registra e fotografa os mais eminentes sacerdotes e sacerdotisas dos candomblés da época, dentre os quais o babalaô Martiniano Eliseu do Bonfim, o babalorixá Manoel Falefá, o “Rei do Candomblé" Joãozinho da Goméia e a ialorixá Mãe Menininha do Gantois. My aims here are mostly descriptive, as I elucidate how the tradition is practiced (in both ethnographic and musicological details) in the ethnographic present before embarking on a journey through written documentation about it. This essay explores the samba-de-caruru practice from the beginning of the 19th century to the beginning of the 21st. Thus the samba performed at these events is called samba-de-caruru. These events, called rezas or carurus, consist of inviting relatives, friends, and neighbors into one’s home to sing Catholic hymns, perform samba-de-roda, and eat traditional Bahian food, most typically the Bahian okra dish caruru. In private homes throughout the Bahian Recôncavo, Catholic saints are celebrated annually through festivities and feasts. The purpose of this essay is to discuss one of these, the samba-de-caruru. However, many facets of the tradition remain widely unknown and unexplored. Since being proclaimed a UNESCO Masterpiece of the Intangible Heritage of Humanity in 2005, this tradition has becoming increasing well recognized and understood. Samba-de-roda is an Afro-Brazilian musical, choreographic, and poetic tradition from the Recôncavo, a maritime region in the northeastern Brazilian state of Bahia. Consequently, this dissertation, based on over four years of ethnographic fieldwork and historical research (2008-2013), introduces the reza and, at the same time, uses it to develop a broader theoretical perspective about the way in which history plays out in contemporary cultural practices. Despite the fundamental socio-religious value of this tradition, it has largely been neglected in both English- and Portuguese-language academic scholarship. Implicitly, the reza gives participants a means of remembering their own spiritual journeys and evoking a collective Black Atlantic past. Explicitly, this musical ritual plays a vital role in solidifying social relationships and affirming Catholic identity, while also providing the spiritual means to confront quotidian life. The religious celebration includes Catholic Church texts intoned in local melodies, samba dancing, and group feasting. To address these issues, this dissertation focuses on the reza, an annual Catholic patron saint ritual that is practiced in private homes all over the northeastern Brazilian state of Bahia. It is also about how such pasts are employed to understand and negotiate the present. It is an inquiry into how individuals creatively layer personal and collective memories to shape socially shared cultural practices.
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