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Iorubás: Origens, Oduduwa E Oralidade

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Iorubás: Origens, Oduduwa E Oralidade UNIVERSIDADE DE BRASÍLIA FACULDADE DE ARQUITETURA E URBANISMO PROGRAMA DE PÓS-GRADUAÇÃO EM ARQUITETURA E URBANISMO CLAUDIO FRANCISCO FERREIRA DA SILVA ARQUITETURA E ICONOGRAFIA NO ODUDUWA TEMPLO DOS ORIXÁS (MONGAGUÁ – TEMPO PRESENTE) Brasília 2020 CLAUDIO FRANCISCO FERREIRA DA SILVA ARQUITETURA E ICONOGRAFIA NO ODUDUWA TEMPLO DOS ORIXÁS (MONGAGUÁ – TEMPO PRESENTE) Tese apresentada ao Programa de Pós-Graduação em Arquitetura e Urbanismo da Faculdade de Arquitetura e Urbanismo da Universidade de Brasília, como requisito parcial para obtenção do grau de Doutor em Arquitetura e Urbanismo. Área de Concentração: Teoria, História e Crítica Orientadora: Profa. Dra. Elane Ribeiro Peixoto. Brasília 2020 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. SILVA, Cláudio Francisco Ferreira da. Arquitetura e iconografia no Oduduwa Templo dos Orixás (Mongaguá – Tempo presente) / Cláudio Francisco Ferreira da Silva – Brasília: UnB / 2020. 367.:il Orientadora: Profa. Dra. Elane Ribeiro Peixoto. Tese (Doutorado) – Universidade de Brasília, Faculdade de Arquitetura e Urbanismo, Programa de Pesquisa e Pós-Graduação em Arquitetura e Urbanismo. 2020. Bibliografia: f.: 335-353 1.Arquitetura sacra. 2. Iconografia/iconologia. 3. Oduduwa Templo dos Orixás. 4. Orixás. 5.Escultura iorubá. 6. Brasília/DF – tese. I. PEIXOTO, Elane Ribeiro. II. Universidade de Brasília, Faculdade de Arquitetura e Urbanismo, Programa de Pesquisa e Pós-Graduação em Arquitetura e Urbanismo. III. Título. Tese apresentada ao Programa de Pós-Graduação em Arquitetura e Urbanismo da Faculdade de Arquitetura e Urbanismo da Universidade de Brasília, como requisito parcial para obtenção do grau de Doutor em Arquitetura e Urbanismo. Resultado da Avaliação: _________________________________________________ Banca Examinadora: ______________________________________________________________________ Profa. Dra. Elane Ribeiro Peixoto PPG-FAU/UnB (orientadora) ______________________________________________________________________ Profa. Dra. Márcia Metran de Mello FAV/UFG (membro externo) ___________________________________________________________________ Profa. Dra. Maria Therezinha Ferraz Negrão de Mello HIS/UnB (membro externo) ______________________________________________________________________ Prof. Dr. Andrey Rosenthal Schlee PPG-FAU/UnB (membro interno) ______________________________________________________________________ Prof. Dr. Reinaldo Guedes Machado PPG-FAU/UnB (membro suplente) para: Rosânia Morais e Iyalorixá Iyá-Lena Axabi de Yewá Por isso, se há alegria, é com um misto de aflição, Se há desespero, nunca é sem um fio de esperança. A vida, mesmo se longa, sempre será curta. Curta demais para se acrescentar algo. Wislawa Szymborska SUMÁRIO Agradecimentos .............................................................................................................. 10 Resumo ........................................................................................................................... 12 Abstract ........................................................................................................................... 13 Lista de figuras ............................................................................................................... 14 Introdução ....................................................................................................................... 21 Capítulo 1 - Arte afro-brasileira: mas o que isso significa? ........................................... 38 1.1. Entre o catolicismo, a representação negra e as divindades africanas..................... 38 1.2. Um pouco de teoria e história da arte afro-brasileira: primórdios e assentamentos 56 1.2.1. Nina Rodrigues: mestiçagem e arte sacra negra............................................ 56 1.2.2. Modernismo, feitiço e macumba ................................................................... 61 1.2.3. Arthur Ramos: erudição, sincretismo e aculturação ...................................... 66 1.2.4. Roger Bastide: estética, bipolaridade e pontos de umbanda ......................... 72 1.2.5. Mario Barata: sistematização e sobrevivência .............................................. 77 1.2.6. Clarival do Prado Valladares: iconologia e iconografia ................................ 82 1.2.7. Rubem Valentim: sinal e símbolo ................................................................. 94 1.2.8. Mariano Carneiro da Cunha: metodologia e história da arte ...................... 101 1.3. Um sincretismo sim, um sincretismo não .............................................................. 108 Capítulo 2 - Iorubás: origens, Oduduwa e oralidade .................................................... 128 2.1. Sim, mas quem são os Iorubás? ............................................................................. 128 2.1.1. Entre a mitologia e a história....................................................................... 131 2.1.2. Abeokutá, a cidade ...................................................................................... 137 2.1.3. Os Iorubás e o Candomblé .......................................................................... 146 2.1.4. Nigéria ......................................................................................................... 151 2.1.5. Síkírù Sàlámì, o Babá King, Professor King ............................................... 159 2.2. Oralidade ............................................................................................................... 166 Capitulo 3 – Arquitetura e Paralelismo ........................................................................ 182 3.1. Edson Carneiro: a planta do barracão, o edifício principal ................................... 183 3.1.1. Candomblé do Engenho Velho ................................................................... 190 3.2. Roger Bastide: a área do terreiro ocupada: barracão, Ilê orixá, casa dos mortos e mata .............................................................................................................................. 192 3.3. Raul Lody: retorno ao Axé Ilê Nassô, ixé e peji ................................................... 198 3.4. O Candomblé em São Paulo .................................................................................. 205 3.5. Oduduwa Templo dos Orixás: história do tempo presente.................................... 209 3.6. Oduduwa Templo dos Orixás: percepção e projeto............................................... 220 3.6.1. Percepção .................................................................................................... 222 3.6.2. O Projeto ..................................................................................................... 251 Capitulo 4 - Iconografia e convergência....................................................................... 270 4.1. Iconografia e iconologia ........................................................................................ 272 4.2. Arte sacra iorubá .................................................................................................... 280 4.2.1. Susanne Wenger e Nova Arte Sacra ........................................................... 285 4.2.2. Adébísí Àkànjí e Adébísí Nurudeen Adésísà .............................................. 295 4.3. Orixás: iconográfica e iconologia .......................................................................... 303 4.3.1. Iconografia e iconologia dos Orixás............................................................ 315 5. Considerações finais ................................................................................................. 332 6. Bibliografia ............................................................................................................... 335 7. Glossário¹ .................................................................................................................. 354 Agradecimentos Ao Babá King, pela confiança em nosso trabalho. À Professora Doutora Elane Ribeiro Peixoto, minha orientadora. Ao Programa de Pós-Graduação em Arquitetura e Urbanismo da Faculdade de Arquitetura e Urbanismo da Universidade de Brasília, que viabilizou a construção da tese. Aos participantes da Banca de Defesa: Profa. Dra. Márcia Metran de Mello, Profa. Dra. Maria Therezinha Ferraz Negrão de Mello, Prof. Dr. Andrey Rosenthal Schlee e Prof. Dr. Reinaldo Guedes Machado. Aos participantes da Banca de Qualificação: Prof. Dr. Andrey Rosenthal Schlee, Prof. Dr. Pedro Paulo Palazzo de Almeida e Prof. Dra. Alice Maria de Araújo Ferreira. Aos arquitetos Luis Octavio de Faria e Silva e Anália Amorim. Aos escultores Adébísí Àkánjí, Adébísí Nurudeen Adésísà. À Susanne Wenger Foundation and the Adunni Olorisha Trust. À Tânia Sàlámì. À família Oduduwa: Oduduwa Templo dos Orixás, Templo Grande Família Oduduwa, Templo Egbé Oduduwa, Templo Ìyá Àgbà e Templo de Orixá Ifá Aje. Um agradecimento especial à Iyalorixá Iyá-Lena Axabi de Yewá e Babá Fernando. Aos templos e terreiros: Templo Egbé Aiyê, Ilê Axé Bara Leji, Seara Espírita Luz da Verdade Cabocla Jurema, Tenda de Umbanda Ogum Rompe, Ilê Odé Axé Opô Inle e Ilê Asé Sangonyi Osá Esú. À (o) Márcia Maria Ferreira da Silva, Joe Rodrigues, Lidiane Souza, Emília Soares, Maria Fofa, Rita de Cássia Freitas, Maria Eduarda Pontes, Nise Machado e Melo, Jasmina Audic, Bety Morais, João Felipe Stangherlin, Renan Machado e Melo Riehl, Henrique Augusto Gabriel, Pai Juca Violeiro,
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