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Carybé: Uma Construção da Imagética do Candomblé Baiano
Este livro discorre sobre a obra do artista plástico Carybé, especificamente em suas ilustrações e produções gráficas, no período compreendido entre 1950 e 1980. A pesquisa desenvolvida considera a mitologia e a ritualística de origem negro-africana-iorubá como uma de suas poéticas, aproxima sua imagética, em diferentes momentos, à manifestação do candomblé queto por uma maior visibilidade e inclusão social, também procura pontuar os principais aspectos de sua construção a partir da metade do século XIX. São analisadas quatro produções: a Coleção Recôncavo (1951), a série "Das visitações da Bahia" (1974) e os livros O Mural dos Orixás (1979) e Deuses Africanos no Candomblé da Bahia (1993). Ao considerar a abordagem da história da arte afro-brasileira, numa perspectiva estética e etnológica, procura-se compreender a plástica de Carybé inserida na formação identitária brasileira.
Selling Black Brazil
In the early twentieth century, Brazil shifted from a nation intent on whitening its population to one billing itself as a racial democracy. Anadelia Romo shows that this shift centered in Salvador, Bahia, where throughout the 1950s, modernist artists and intellectuals forged critical alliances with Afro Brazilian religious communities of Candomblé to promote their culture and their city. These efforts combined with a growing promotion of tourism to transform what had been one of the busiest slaving depots in the Americas into a popular tourist enclave celebrated for its rich Afro-Brazilian culture. Vibrant illustrations and texts by the likes of Jorge Amado, Pierre Verger, and others contributed to a distinctive iconography of the city, with Afro-Bahians at its center. But these optimistic visions of inclusion, Romo reveals, concealed deep racial inequalities. Illustrating how these visual archetypes laid the foundation for Salvador’s modern racial landscape, this book unveils the ways ethnic and racial populations have been both included and excluded not only in Brazil but in Latin America as a whole.
African-Brazilian Culture and Regional Identity in Bahia, Brazil
Examines how in the middle of the twentieth century, Bahian elites began to recognize African-Bahian cultural practices as essential components of Bahian regional identity. Previously, public performances of traditionally African-Bahian practices such as capoeira, samba, and Candomblé during carnival and other popular religious festivals had been repressed in favor of more European traditions.
Carybé
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As artes de Carybé
A major documentation and study of the art of and the artist Hector Julio Paride Bernabé, (b. Argentina 1911, lived and worked in Brazil - d. 1997) best known as Carybé. The book is comprised of color reproductions of his noted paintings, murals, drawings, book illustrations and sculptures. Artist Carybé, as he was best known was a world famous painter, illustrator, ceramist, and sculptor, an Argentinean who chose to become a "baiano" (Bahia, Brazil) citizen where the Afro-Brazilian culture strongly influenced his works. Includes a helpful, detailed chronology of the artist's life and work.
Carybé & Verger
The book accompanies the exhibition of two artists who are consecrated in Brazil: Pierre Verger and Carybé. The artistic work of the two who had divergent paths placed them in Bahia in the 1940̓s and they both became great names in Brazilian culture. However, few know that they had created a friendship of 50 years - their partnership resulted in precious contribution for the preservation and spreading of the Afro-Bahian cultural memory. The trajectory of this celebrated partnership is the theme of the book and exhibition organized by Enas Guerra, that also a collaborator of Pierre Verger and has texts by José de Jesus Barreto. It is the first book of the trilogy EntreAmigos (Between Friends) and that it marks the commemoration of the 20 years of the Foundation Pierre Verger.
The Invention of the Brazilian Northeast
Brazil's Northeast has traditionally been considered one of the country's poorest and most underdeveloped areas. In this impassioned work, the Brazilian historian Durval Muniz de Albuquerque Jr. investigates why Northeasterners are marginalized and stereotyped not only by inhabitants of other parts of Brazil but also by nordestinos themselves. His broader question though, is how "the Northeast" came into existence. Tracing the history of its invention, he finds that the idea of the Northeast was formed in the early twentieth century, when elites around Brazil became preoccupied with building a nation. Diverse phenomena—from drought policies to messianic movements, banditry to new regional political blocs—helped to consolidate this novel concept, the Northeast. Politicians, intellectuals, writers, and artists, often nordestinos, played key roles in making the region cohere as a space of common references and concerns. Ultimately, Albuqerque urges historians to question received concepts, such as regions and regionalism, to reveal their artifice and abandon static categories in favor of new, more granular understandings.
