The Web site will also feature facts on Afro-Brazilians; Brazilian events taking place in the United States and Brazil; updates on Brazilian politics; and the upcoming World Cup and the Olympic Games. Afro-Brazilian.com will also feature articles from noted Brazilian and African American reporters across the United States. According to MercoPress, an independent online news agency, Afro-Brazilians represent the largest ethnic group in Brazil, making up more than 49 percent of the population. Afro-Brazilians have a cultural influence on Brazil that spans from cuisine, literature, sports and art, among others. Some of the little known facts on Afro-Brazilians include: * African culture has been instrumental in the development of Brazilian cuisine. Feijoada, Brazil's staple dish, was developed by African slaves * Blacks and pardos have a low representation on Brazilian television. In 1996 Taís Araujo was the first and only Black actress to be featured as a protagonist in a telenovela
The Philadelphia region was the site of a rare, artistic treat when Balé Folclórico, Brazil's premiere professional folk dance company made a special Black History Month visit. Formed in 1988, the 33-member troupe of dancers, musicians, and singers perform a repertory based on various Bahian folkloric dances of African origin, including: capoeira (a form of martial arts), samba and other cultural traditions celebrated during Carnival. Hailing from Salvador, in the northeastern state of Bahia, Balé Folclòrico represents Bahia's most important cultural manifestations under a contemporary theatrical vision that reflects its popular origins.
There are 38.9 million blacks in the United States. According to the 2000 census there are 75.9 million citizens of Brazil who would be classified as African American in the U.S. Since there are only 91.3 million Brazilian whites, who dominate the country, one wonders why so many blacks are living in poverty in favelas (slums).
KW: Dr. Karanja Ajanaku, (executive editor of the Memphis Tri-State Defender, says: "You seem to be making the point that in the U.S., we are mostly unaware, substantively, of "blacks" in Latin America. Would you speak to how aware or unaware, substantively, "blacks" in Latin America are of African Americans? HLG: No, I didn't see any sign of that, because most of those folks' first identity is a national one, as a Brazilian or a Cuban, not as a black person. For instance, in the Dominican Republic episode, Juan Rodriguez says he never even thought of himself as black until he visited New York. One of the points of the series is that identity is a very complex and ever-shifting matter. We might think that these people are obviously black, but they might not identify themselves that way.
Afro-descendant civil society organizations in Latin America have pursued an important strand of advocacy on reforming national censuses. The aim has been to increase the visibility of Afro-descendant populations through disaggregated data and thus to improve recognition of their distinct identity. Brazil is leading the way on such data collection while other countries are taking first steps, like Argentina and Chile.
History shows close to two million enslaved Africans were taken to South America. A great number of them were taken to Bahia, Brazil, to work on the sugar cane plantations. [Dionisio] has hope for the future of Brazilian Blacks. "If America can elect a Black president, I know that our time will one day come when a Black Brazilian will look after the wellbeing of his or her people. But at the way things are in Brazil, it is only through education that we will one day be equal to the whites, if you know what I mean." At this point, it sounded as if Dionisio was engaged in a monologue. "But many children dream of one day being like Pele, our greatest football star," he continued as he gazed in the distance, his eyes resting on the humming bird doing battle with the sweet nectar. The mention of Pele changed the contour of his face and I could see the veins in his face clearly showing. "Most of our people have let us down. Most, like Pele, can be considered Black, but we have a saying here that 'You are a Black person with a white soul. We say that of Black leaders and football celebrities who do not support any Black agenda."
This spring, Professor [Henry Louis Gates Jr.] returns to PBS with "Black in Latin America," a new four-part, four hour series. Focusing on six Latin American countries - Haiti, the Dominican Republic, Cuba, Brazil, Mexico and Peru - the series explores the influence of the African diaspora on Latin America. On his journey. Gates discovers a shared legacy of colonialism, slavery and people marked by African roots. In his new series. Gates sets out on a quest to discover how Latin Americans of African descent live now, and how their countries acknowledge - or deny - their African past.
Gates notes the striking difference between the numerous statues of European colonists, and even the whitening of the image of Dominicans who have any African heritage in the Dominican Republic, and the statues of Black Haitian independence leaders throughout Haiti.
164 p., Explores four contemporary novels and a film that rely heavily on photographic and mass-media images to illuminate, articulate, and critique modern-day Black urban existence: Patrick Chamoiseau's Texaco (1997), Chris Abani's Graceland (2004), John Edgar Wideman's Fanon , Paulo Lins' Cidade de Deus (1997), and Fernando Meirelles' 2002 film adaptation of Lins' novel City of God . Chapters examine the ways in which photographic and/or mass-media images are used as narrative tropes or devices for representing the material conditions of an emerging slum existence. The author argues that each text reveals a preoccupation with the rise of global urbanism and visual culture as new types of discursive spaces--new kinds of "texts"-- that shape not only the real life of black people, but also the literary landscape of Black writing across the globe.
