By Morgan Van Beck

As a double major in Political Science and Hispanic Studies with a minor in Latino/Latin American Studies, I thought that I had a pretty good grasp on Latin American history and culture. While this was not incorrect, I was not aware of just how complex Brazil is and how little I really knew about it. None of my Hispanic Studies classes touched upon Brazil, and aside from speaking Portuguese rather than Spanish, it has a very distinct culture and history from the rest of Latin America. What I’ve learned while living in Salvador and traveling around Bahia is that a history of repression and inequality breeds resistance, which in turn creates culture. In short, resistance is culture. 

It helps to turn back the clock to 1500 when the Portuguese first landed in Bahia and started the vicious process of colonization. This led to the forced enslavement and relocation of millions of Africans to Brazil to work on plantations and in mines (Periera 2020). Hundreds of years later, in 1888, Brazil was the last country in the western hemisphere to abolish slavery (Periera 2020). The fact that it took so long to abolish slavery shows how integral it was to the Brazilian economy and how many salves suffered. Salvador is the city in Brazil with the highest percentage of the population being Afro-Brazilian. “Bahia is a state marked by racial inequality,” but it is also marked by a strong presence of traditions of African origin (Pinho 2020, 1). While in Salvador, we saw not only this inequality, but also many cultural elements that sprouted from African traditions and were preserved as a form of resistance. 

A prime example of resistance is salve revolts and the formation of quilombos. While in Minnesota, we learned about historic slave revolts in Bahia and about the quilombo communities that were formed by escaped slaves (dos Santos 2024). Quilombos had contact with the outside world and actively traded, but they were also perfect microcosms to preserve African traditions and resist the cultural impositions of the Europeans. We visited Quilombo Kaonge while in Brazil and were able to see for ourselves how the descendants of escaped slaves maintained the traditional practices that their ancestors preserved. We had the opportunity to learn about the cough syrup and palm oil that they produce and to learn from them about the importance of resisting cultural imposition. 

Carnival might be Brazil’s most famous event. People around the world know what carnival is, but they don’t know where it came from. Carnival has roots in African music, dance, and performance, and when we went to the carnival museum, we learned all about the lesser-known African history (at least for people in the US) of carnival. At the end of the nineteenth century and the beginning of the twentieth century, whites were threatened by African cultural elements in carnival and did their best to “civilize” carnival by emphasizing more European elements (Pinho 2020, 7). However, carnival still retains its African influence. This pattern repeats across Brazilian cultural elements. In response to repression by white elites, Afro-Brazilians resisted and preserved their African-rooted traditions while creating a rich Brazilian culture.

Another example of resistance becoming culture is the practice of candomblé. Candomblé is a religion brought to Brazil by slaves from Africa. We were first introduced to it in the book Crooked Plow, where many of the characters actively practiced candomblé (Vieira Junior 2019). Honestly, I didn’t entirely understand candomblé while we were reading the book back in Minnesota, but since being here, we have had a chance to learn a lot more about the religion that is also a symbol of resistance. Rather than submit to pressure by the Catholic church, African slaves were able to preserve their rich religious history. Now, Candomblé is celebrated as part of Bahian identity. We saw statues of orishas on our ride from the airport and now, after visiting various candomblé temples and hearing lectures about it, we have come to understand just how important it is to life here. ​

Brazilian music and dance are also heavily influenced by African traditions brought by slaves and preserved as a form of resistance. Now, Afro-Brazilians honor and remember their ancestors by continuing to learn these styles of music and dance. We were lucky enough to participate in a samba class, where we immediately noticed strong African rhythms and drumming in the music. We also went to a percussion workshop with Mario Pam, who taught us that drumming and music were not only used as tools of resistance by slaves and their immediate descendants, but by modern Brazilians as well. Afro-Brazilians today are still using music to express themselves and decry the inequalities that they suffer. This means that modern culture is still being shaped by Afro-Brazilian resistance.

Like percussive music and samba dancing, capoeira is another distinctive element of Brazilian culture that has its roots in African traditions. Capoeira is an Afro-Brazilian martial art with elements of dance, music, and acrobatics. It exists today because of efforts by Afro-Brazilians to preserve and promote their culture and heritage. Before coming to Brazil, I had no clue what capoeira was, but now, I see it everywhere. We participated in two Capoeira workshops (one in Salvador and one in Lencois) and saw it performed as part of a folkloric ballet. However, its pervasiveness in culture means that we’ve also seen people doing capoeira at the beach, in parks, and in other public places. It’s just one more element of popular Brazilian culture that comes from resistance efforts by slaves and their descendants.  

​After nearly three weeks in Brazil, one of the things that I noticed the most was the prevalence of Afro-Brazilian resistance, which forms critical parts of Brazilian culture. Almost every day we saw examples of it, and they were not limited to the subjects I discussed above. We also saw Afro-Brazilian resistance in educational institutions, graffiti/street art, and so many other things. Race, inequality, and culture are all woven together into a complex knot. The oppression and inequality that Black Brazilians faced led them to create a rich culture of resistance that they are still contributing to today as inequality and racism continue to take new forms. Brazilian culture is distinctly marked by African traditions introduced by slavery, and it would not be the same without them. Therefore, to fully appreciate Brazilian culture, we need to understand its roots in African tradition and Afro-Brazilian resistance. 

Sources:
Dos Santos, Pedro. “Slave Revolts in Bahia.” YouTube. Uploaded by Pedro dos Santos, 13 February 2024, https://www.youtube.com/watch?v=WO_syIfkYVQ.

Pereira, Anthony. Modern Brazil a very short introduction. Oxford, United Kingdom: Oxford University Press, 2020.
​
Pinho, Osmundo. “Race and Cultural Politics in Bahia.” In Oxford Research Encyclopedia of Latin American History, 2020.
 
Vieira Junior, Itamar. Crooked Plow. Verso Books, 2019. 

Morgan Van Beck is a senior Political Science and Hispanic Studies double major with a minor in Latino/Latin American Studies. She is originally from Sartell, Minnesota. Morgan's most formative educational experience was traveling around Guatemala with the Guatemala Human Rights Commission, which inspired the theme of her senior distinguished thesis: human rights abuses in post-conflict societies. Morgan recently received a Fulbright grant to teach English in Colombia and will be moving there shortly after graduation. ​

By Allison Parker and Joselyn Rubio-Correa

During our first week here in Salvador, Brazil, we’ve felt the vibrant and strong influence of Afro-Brazilian culture. The city reflects the traditions of African origin that live on today. Before our departure, we learned about the current racial and gender inequalities in Brazil, and specific to the state of Bahia. Salvador was, originally, the capital of Bahia during the period when the Portuguese enslaved the Indigenous people of Brazil and Africans. Although the Portuguese attempted to control and diminish Indigenous and African culture, the people and traditions held strong. As our professor quotes “oppression leads to resistance”. Examples of oppression and attempts to erase culture in Afro-Brazilians would be in the 1900’s when the religions of Candomblé and Umbanda were illegal to practice and labeled as “the devil” in the eyes of Christianity. Although Candomblé and Umbanda are no longer illegal, they continue to be demonized by the Christian church, as noted by Alcides, Pai De Santo. In addition, Capoiera, an Afro-Brazilian traditional practice, was criminalized and illegal to practice in the late 1800’s and into the 1900’s. Nationally, the practice was outlawed and people who practiced Capoiera faced harmful consequences and even death. However, it was still practiced in secret, passed down to the children and is now recognized as a national practice or symbol belonging to Afro-Brazilians. 

The Candomblé religion originated from the religious syncretism of West African religions and Christianity. Unlike Christianity, in Candomblé there is no belief of a devil, heaven, or hell. To become a follower of Candomblé, you have to know Portuguese and be initiated into the religion by a pai de santo (priest). Once you have been accepted into the religion, you are assigned an Orixá (god) and it is with you until death. Followers of Candomblé worship many different Orixás and often provide them with offerings as a way of giving thanks.

Another tradition practiced is the art of Capoeira. As defined by Osmundo Pinho, social anthropologist in Bahia, “Capoeira is the expressive cultural African origin that combines ritual, dance, and body fight, nowadays practiced as a sport around the world” (Pinho, 2020). We learned that Capoeira is an art form like a dance that resembles a fight. However, Capoeira can be in the form of a real fight if a person feels threatened. As we were humbled by our flexibility and coordination skills, we learned the value and belief of Capoeira. Music, dance, movements and spirituality are crucial in the practice of Capoeira. The art is within the spiritual energy called axé (Rehard, 2021). Rehard uses a definition quoted by the scholar Barabara Browning “pure potentiality, the power-to-make-things-happen”. Rehard states that “Capoeiristas are able to engage in bodily dialogues with each other while using personal agency to shape the flow of the game for their own advantage” (Rehard, 2021). From our first-hand sight, capoeira is a controlled, strong, elegant practice that takes dedication, skill, and passion. The capoeiristas should never lose eye contact with one another, even when they are upside down or flipping. During our trip to Lençóis, Brazil, we were able to watch many Capoeira performances by students and teachers. In all the performances, the dancers moved in sync with one another and always watched one another, to prepare for their partner's next move. For musical expression, we saw the berimbau, atabaque, pandeiro, and agogo. (Itacare, 2024). Singing and clapping are encouraged as the audience gathers around the roda, or ring.
 

Both of these Afro-Brazilian traditions focus on the connection to corpo, the Portuguese word for body. Capoeira uses the body as a form of dance and expression while Candomblé uses the body to connect with nature and the environment. Our time here has shown us the importance of the connection between the mind and body as well as our place in relationship to the natural world. 

Sources:
Itacaré. “Capoeira - Itacaré Beach - Bahia - Brazil.” Www.itacare.com, 2024, www.itacare.com/itacare/capoeira/. Accessed 21 May 2024.
​
Pinho, Osmundo. “Race and Cultural Politics in Bahia.” Oxford Research Encyclopedia of Latin American History, 17 Dec. 2020, https://doi.org/10.1093/acrefore/9780199366439.013.946. Accessed 23 May 2024.
 
Rehard, Abby. ““Axé, Capoeira!”” ReVista, 25 Jan. 2021, revista.drclas.harvard.edu/axe-capoeira/. Accessed 21 May 2024.

Allison Parker is a sophomore at CSB+SJU pursuing a major in Sociology with an Anthropology concentration, and a minor in Global Health. Her hometown is Belview, located in southwest Minnesota. She’s interested in learning about social behaviors and better understanding social, health, and cultural life issues. She looks forward to experiencing Brazilian culture and applying her studies abroad in Salvador. ​

By Grace Terlinden

The biggest learning experience so far on the trip has been learning the influence that slavery had on Brazil. As Xavier Vatin mentioned in his lecture on, “The African Diaspora in Bahia: A Socio-Anthropological Perspective” there were over eight million slaves whom are thought to be brought to Brazil largely from Angola, Benin, Congo, and others (Brazil An Inconvenient Truth). All documentation of enslaved peoples were burned after abolition in 1888 which inhibits opportunities for Brazilians to connect with their African heritage, however the cultural influence from Africa cannot be dismissed or destroyed (Vatin 2022).  The impact enslaved peoples had on Brazilian culture remains today through music, dance, and has implications on all aspects of Brazilian life, and still effects politics today.

Music in Brazil still maintains many of it’s African characteristics and genres that were created by Africans. The lecture at the beginning of the percussion workshop with Mario Pam and Ilê Ahiê taught us that many of the musical genres that today Brazilians enjoy such as samba, jazz, and blues were all created by Africans. An outlet in which this musical influence shines through is during carnaval. Although carnaval started as a European tradition, but expanded into what it is today, because of black artists. An important aspect to carnaval is showcasing the Afro-Brazilian music styles such as Samba (Eakin 2017). The Afro-Brazilian influence of carnaval is not always appreciated, and has received backlash from the state. Marshall Eakin explained this struggle for representation and accreditation in his chapter Samba, Carnaval, and Getúlio Vargas and said, “The lower classes that created and sustained the escolas de samba began a long struggle with the representatives of the State as each attempted to control and determine the direction of carnaval with samba at its center” (2017). This quote probes that although African influence has made Brazilian music and carnaval what it is today, they are not always properly acknowledged for their success. As seen with carnaval, music is often accompanied with dance, and in the case of Brazil, dance is also heavily influenced by the enslaved people.

Some of the most popular forms of dance in Brazil were either created or heavily influenced by enslaved peoples. Capoeira was created by slaves in order to defend themselves from their oppressors, but presently it is less about self-defense and more of a dance. In our workshop with Mestre Sapoti, he explained that today Capoeira is used to remember the atrocities of slavery and to keep pushing towards racial equality (2022).  It is a common misconception that enslaved peoples were not pushing back against oppression, but amidst the tyranny, Capoeira is proof that all along enslaved people were constantly fighting back. Gladys Mitchell-Walthour stated in their book The Politics of Blackness: Racial Identity and Political Behavior in Contemporary Brazil, “Running away and revolts were forms of resistance. There were a number of revolts led by enslaved people” (2017). Afro-Brazilians created many forms of art such as dance and music as a form of resistance, and in the case of Capoeira as a revolt against slave owners. Not only did Afro-Brazilians create a lot of the music and dance enjoyed today in Brazil, but they did it in spite of the violence their oppressors held over their heads.

The influence of slavery in Brazil has sparked my interest since being here, because although slavery is often thought to have happened a long long time ago and some consider it’s impacts to no longer exist. It didn’t really hit me how little time has passed since slaveries abolition until taking to our tour guide Fredi who showed me a picture of his father-in-law whose father was a slave.  This interaction was important to my understanding about the individual as well as collective impacts that slavery still has on Brazil and internationally. Slavery’s influence on Brazilian culture is certainly important, but the individual impacts it still has today should be acknowledged. The “color-blind” ideology that has been popularized in Brazil as a form of complete racial equality is therefore the quite opposite of equal. Without acknowledging the cultural and social implications that the legacy of slavery has on Brazil will only exacerbate racial inequality. Raising awareness and giving credit to Afro-Brazilians who have made positive influences on music, dance, and culture is also an important step towards repairing racial inequalities.
 
Works Cited:
 
Brazil An Inconvenient Truth : BBC Documentary. 2020. Video.
 
Eakin, Marshall C. 2017. «Communicating and Understanding Mestiçagem: Radio, Samba, and
Carnaval». Chapter in . Becoming Brazilians: Race and National Identity in Twentieth-
Century Brazil, 79–106. New Approaches to the Americas. Cambridge: Cambridge University Press. doi:10.1017/9781316800058.004.
 
Eakin, Marshall C. 2017. «The Sounds of Cultural Citizenship». Chapter in . Becoming
Brazilians: Race and National Identity in Twentieth-Century Brazil, 200–219. New Approaches to the Americas. Cambridge: Cambridge University Press. doi:10.1017/9781316800058.008.
 
Mitchell-Walthour, Gladys L. 2017. The Politics of Blackness: Racial Identity and Political
Behavior in Contemporary Brazil. Cambridge Studies in Stratification Economics:
Economics and Social Identity. Cambridge: Cambridge University Press. doi:10.1017/9781316888742.