Andrea Albuquerque Adour da Camara, coordinator
Babalawo Sandro Fatorere, external participant (Afoxé Ómó Ifá)
Sônia Maria de Melo Queiroz, external participant (UFMG)
Elisângela Santos, external participant (CEFET)
Jonas dos Santos Maia, external participant
Jonas Soares Lana, external participant (PUC-RJ)
Lenine Alves dos Santos, external participant (UNICAMP)
Ronal Xavier Silveira, external participant (UFRJ)
Sergio Anderson de Moura Miranda, external participant (UEMG)
Veruschka Bluhm Mainhard, external participant (UFRJ)
Yeda Antonita Pessoa de Castro, external participant (UNEB)
Alberto José Vieira Pacheco, professor
Frederico Machado de Barros, professor
Samuel Araujo, professor
Marcelo Henrique Andrade Coutinho, doctorate student
Antonilde Rosa Pires, masters student
Carlos Eduardo Fecher, masters student
Daniel Salgado da Luz Moreira, masters student
Filipe de Matos Rocha, masters student
Jonas dos Santos Maia, masters student
Ana Daniela dos Santos Rufino, undergraduate student
Paulo André Nascimento de Jesus Maria (undergraduate, colleger)
Eduardo Fonseca de Brito Lyra, high school student
The Africanias Research Group proposes the understanding of the African presence in the different genres of Brazilian music through a systematic study, with the participation of researchers from different areas and institutions. This presence was disseminated since the sixteenth century, when the economic model adopted by Portugal in its colony used slave labor, subjecting the local people, called by their colonizers generically of Indians and African peoples, brought mainly from sub-saharan Africa.
The term Africania was thus made explicit by Yeda Pessoa de Castro: “it designates the black-African linguistic-cultural legacy … which has become the matrix of the construction of a new cultural and linguistic system that in Brazil identifies itself as Brazilian.”
Various African peoples from different ethnic groups, languages and cultures, who have met here, have sung their songs and built their instruments, manifesting their presence in sounds in the new world. Since the sixteenth century there are documents and reports that point to the enchantment provoked by this culture in the travelers’ reports. The encounter between such knowledge and music of European origin was a field of interest of several composers, in different genres and musical styles and made possible the composition of a wide repertoire where we can perceive the echo of the African presence. However, this repertoire is often misunderstood, due to the difficulty of understanding the vocabulary and the African traditions that surround it.
Institutions and Researchers Partners
- CEA (Center for African Studies), UFMG
Researcher: Phd. Sônia Queiroz (Faculty of Letters – UFMG) - NEAB (Center for African Studies) CEFET
Researcher: Phd. Elisângela Santos - Afoxé Ómó Ifá
Researcher: Babalorixa Sandro Fatorere
References
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BÂ, Amadou Hampaté. A tradição viva. In: KI-ZERBO, Josephet ali (Ed.). História da África. v. I: Metodologia e pré-história da África. São Paulo: UNESCO, 1980.
CASTRO, Yeda Pessoa de. Falares africanos na Bahia: um vocabulário afro-brasileiro. Rio de Janeiro: Brazilian Academy of Letters; Topbooks, 2005.
KAGAME, Alexis. A percepção empírica do tempo e concepção da história no pensamentu bantu. In: As culturas e o tempo: estudos reunidos pela UNESCO por Paul Ricoeur e outros. São Paulo: University of São Paulo, 1975.
MACHADO FILHO, Aires da Mata.O negro e o garimpo em Minas Gerais. Rio de Janeiro: José Olímpio, 1943.
MARTINS, Leda. Performances do tempo espiralar. In RAVETTI, Graciella, ARBEX, Márcia (org). Performance, exílio, fronteiras: errâncias territorias e textuais. Belo Horizonte, Pós-Graduação em Letras, Estudos Literários, UFMG, 2002.
MUKUNA, Kasadi wa. Contribuição bantu na música popular brasileira: perspectivas etnomusicógicas. São Paulo: Terceira Margem, 2006.
QUEIROZ, Sônia. Pé preto no barro branco:a língua dos negros da Tabatinga. Belo Horizonte: Editora UFMG, 1998.
Programa de Pós-Graduação em Música da UFRJ 