Frewer, Lynn J. (author), Behrens, Jorge H. (author), Barcellos, Maria N. (author), Nunes, T.P. (author), Franco, Bernadette D.G.M. (author), Destro, Maria T. (author), and Landgraf, Mariza (author)
Format:
Journal Article
Publication Date:
2010
Published:
Brazil
Location:
Agricultural Communications Documentation Center, Funk Library, University of Illinois Box: 176 Document Number: C30223
The intensification of ethno-racial protest in Latin America has led to the adoption of targeted legislation for Black and indigenous populations, signaling a new moment in race politics in this region. Existing literature has failed to account for this shift either because it held that race was not salient in Latin America, or it presumed that racial hierarchy existed, but that the obstacles to Black mobilization were insurmountable. Argues that the literature must contend with this new reality of “Black politics” in Latin America.
Analyzes the socioeconomic history of the slave system of Minas Gerais in Brazil from 1776 to 1821. Transition from slave-based economy to agricultural and cattle economy; Economic dependence on slave labor; Slave importation; Contributing factors to decline of slave practices.
Seeks to quantify how socioeconomic, health care, demographic, and geographic effects explain racial disparities in low birth weight (LBW) and preterm birth (PTB) rates in Brazil. Methods. Focused on disparities in LBW and PTB prevalence between infants of African ancestry alone or African mixed with other ancestries, and European ancestry alone. Differences in prenatal care use and geographic location were the most important contributors, followed by socioeconomic differences. The model explained the majority of the disparities for mixed African ancestry and part of the disparity for African ancestry alone.
Studies of racial subordination in Brazil usually stress the puzzling co-existence of racial inequality with Brazil's self image as a racial democracy. Frequently, they identify the absence of racial conflict and a clear white black distinction as explanations for the low level of black political mobilization. In doing this, these studies unreflectedly take the United Sates as a universal model of racial subordination of which Brazilian difference is a mere variation.
Review the books The Disappearance of the Dowry: Women, Families, and Social Change in Sao Paulo, 1600-1900, by Muriel Nazzari, Family and Frontier in Colonial Brazil: Santana De Parnaiba, 1580-1822, by Alida C. Metcalf, The Family in Bahia, Brazil, 1870-1945, by Dain Borges, and Gosto Do Pecado: Casamento E Sexualidade Nos Manuais De Confessores Dos Seculos XVI E XVII, by Angela Mendes de Almeida.;
Investigates the interface between gender, color/race and public health in Brazil, focusing on the importance of reproductive health for the formation of a black feminism in the country, between the years 1975 to 1993.
Through an examination of the recording Gargalhada (pega na chaleira), a chansonnette sung by Eduardo das Neves, the origin of the expression 'pegar na chaleira' (bootlicking) is traced, while some inconsistencies in the online catalogue of the Instituto Moreira Salles are revealed. Probably recorded in 1906, six years before the establishment of the Odeon plant in Rio, the piece was labeled a lundu, a paradigmatically Afro-Brazilian genre, in the 1915–26 catalogues. The music and laughter that Neves appropriates for himself were created by George Washington Johnson, the first black star of early sound recording, and reused in other Casa Edison (Brazilian Odeon) recordings on sale from 1913 to 1919. But while the former North American slave ridicules himself in accordance with white stereotypes, the self-designated Creole stages a satire on the behavior of upperclass men in Rio de Janeiro. In this process, the coon song turns into its antithesis., unedited non–English abstract received by RILM] Um exame do fonograma Gargalhada (pega na chaleira), cançoneta por Eduardo das Neves, expõe a origem da expressão “pegar na chaleira” e revela incongruências nos critérios de catalogação online do Instituto Moreira Salles. Provavelmente datada de 1906, a gravação aparece como um “lundu” em catálogos comerciais de 1915–1926, e as mesmas ideias musicais foram reaproveitadas em outros registros sonoros da Casa Edison comercializados entre 1913 e 1919. A música e o gargalhar que Neves reaproveita foram criados por George Washington Johnson, o primeiro astro negro da gravação mecânica. Mas enquanto o ex-escravo norte-americano se auto-ridiculariza de acordo com estereótipos brancos, o autodenominado “crioulo” encena uma sátira ao comportamento masculino das classes dominantes do Rio. Neste processo, a coon song transforma-se na antítese do gênero.
