DOCSLIB.ORG

Fernanda Leandro Ribeiro a CONCEPÇÃO DE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fernanda Leandro Ribeiro a CONCEPÇÃO DE Pontifícia Universidade Católica de São Paulo (PUC-SP) Fernanda Leandro Ribeiro A CONCEPÇÃO DE RIQUEZA NO IFÁ E NAS RELIGIÕES AFRO-BRASILEIRAS Mestrado em Ciências da Religião São Paulo 2014 Pontifícia Universidade Católica de São Paulo (PUC-SP) Fernanda Leandro Ribeiro A CONCEPÇÃO DE RIQUEZA NO IFÁ E NAS RELIGIÕES AFRO-BRASILEIRAS Mestrado em Ciências da Religião Dissertação apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de MESTRE em Ciências da Religião sob a orientação do Prof. Dr. Silas Guerriero. São Paulo 2014 AGRADECIMENTOS Agradeço a meu Babá, Pai Rivas e a toda a minha comunidade de santo porque foi o terreiro que me trouxe até a academia. Em especial, Valéria Ribeiro, Hilário, Rosimeire, Flavia, Marta, Antônio Luz, Vera, Suzana, Andreia, Maria Alice, Rodrigo, Carolina, Claudia, Erica, João, Olavo, José Roberto, Maria Elise e Neuza pela ajuda e o apoio de sempre. Agradeço à FTU, pela sábia, audaciosa e apaixonada proposta de unir o saber religioso e o saber cientifico, respeitando e incentivando a pluralidade religiosa. Agradeço ao professor Pedro Vasconcellos, que me despertou o interesse pelo estudo dos mitos, dos rituais e da oralidade e me acompanhou no início desse caminho, como meu orientador. Agradeço ao professor Silas Guerriero, que aceitou ser meu orientador no meio do caminho, retraçando-o junto comigo, sempre muito parceiro e cuidadoso. Agradeço ao Programa de Pós-Graduação em Ciências da Religião da Puc-SP, em especial aos professores Ênio Brito, Fernando Londono, João Décio Passos, Afonso Ligório e Frank Usarski pelas diversas contribuições nas disciplinas. E pela proposta multidisciplinar, também audaciosa. Agradeço a todos os colegas de classe, pelas experiências compartilhadas: Lucia, Sula, Altran, Leandro, Anuar, Sumaia, Maria Elise, Patricia, Olavo, Murilo, Patrick, Wagner e todos os outros. Agradeço à minha família Neuza, Luis Fernando, Luis, Sani, Luis Henrique, Adriana, Lionel, Mariana, Mateus, Rafael, Luisa, Pedro, João e Diego, pelo apoio e compreensão. Agradeço aos amigos e colegas Maria Olivia, Ivie, Raquel, Rosangela, Fúlvia, Teresa, Celso, Alan, Claudia Gama, Denise, Fernanda Pimentel, Larissa, Alexandre, Monica, Rodrigo, Henais, Mariana, Sônia F., Fabio, Gabriela, Fernando, Fernanda, Olivia, Marina, Celso e Carolina, pelo incentivo, pelos cafés e risadas. Por fim, agradeço à CAPES, pelo incentivo da bolsa concedida. DEDICATÓRIA Dizem os iorubás que o que separa os vivos dos mortos é a respiração. Dedico essa dissertação aos nossos ancestrais no orun, que são, como diz meu Babá, os “mais vivos” e ao meu ancestral no aiyê, meu Babá, Pai Rivas, que me ensina a ser cada dia mais viva. RESUMO Essa dissertação consiste em uma pesquisa bibliográfica. Ele tem como objetivo primeiro compreender qual a concepção de riqueza no Ifá entre os iorubás, na África ocidental, em segundo, como essa divinação ocorre no Brasil e por fim, qual a concepção de riqueza do Ifá no Brasil e sua possível influência nas religiões afro-brasileiras. O Ifá é um sistema divinatório utilizado pelas sociedades iorubás, localizadas na Nigéria e no Benin, na África ocidental. Ele veicula o conhecimento oral dos iorubás por meio de uma mitologia, organizada em 256 signos chamados odus, que significa “caminhos”. Os mitos são declamados pelos babalawôs (adivinhos) durante a consulta oracular, conforme os odus que saem no jogo. Os iorubás acreditam que por meio da consulta, o babalawô é capaz de antever o futuro e mais do que isso, de propiciar “bons caminhos”. Isso porque, ele intervém na relação entre o mundo sobrenatural (orún) e o mundo humano (àiyé). Muitos iorubás vieram para o Brasil durante o período da escravidão. Aqui, suas práticas religiosas, dentre elas a divinação de Ifá, se misturaram com outras tradições religiosas africanas, bem como com as tradições religiosas indígenas autóctones e de origem europeia (catolicismo e kardecismo). Desse modo, a tradição iorubá, juntamente com essas outras tradições, influencia as religiões afro-brasileiras. Constatamos que o Ifá é pouco utilizado no Brasil, ele foi praticamente substituído pelo jogo de búzios. No entanto, os mitos de Ifá estão presentes nas religiões afro- brasileiras, fundamentando, inclusive, alguns rituais. Diferentemente da África, aqui eles aparecem associados aos orixás e não aos odus. A riqueza para os iorubás, expressa no Ifá, é entendida como riqueza material. Os iorubás acreditam que para se ter riqueza é necessário estar em harmonia com o mundo sobrenatural e ter boas relações com as outras pessoas. No Brasil, devido ao contexto social ser bastante diferente, constatam-se algumas mudanças em relação à concepção de riqueza. No pouco que se sabe sobre a prática do Ifá no Brasil, apesar de diferenças nos métodos do jogo, essa concepção se mantém. Nas religiões afro-brasileiras, em especial, na umbanda e no candomblé, permanece o sentido de espiritualidade associado à riqueza, porém, o mesmo não acontece com o sentido de socialização. Nessas religiões, enriquecer não significa aumentar a rede de relações sociais, bem como redes de relações sociais não propiciam necessariamente riqueza. Observamos a importância das famílias de santo em ambas como meio de identificação, pertencimento e legitimação social, os quais podem, de forma indireta, contribuir para a melhoria das condições financeiras de seus adeptos. Em relação ao sentido de espiritualidade nas religiões afro-brasileiras, do mesmo modo que acontecia entre os iorubás, as dificuldades financeiras, assim como problemas de saúde, afetivos e espirituais, são entendidos como desequilíbrios, sendo tratados nos ritos por meio de intervenções mágico-religiosas. Palavras-chave: riqueza, Ifá, espiritualidade, divinação, mito, religiões afro- brasileiras, socialização. ABSTRACT This dissertation consists of a literature search. It aims first to understand what the concept of wealth in Ifa among yoruba in West Africa, second, how this divination occurs in Brazil and finally, what the Ifa concept of wealth in Brazil and its possible influence on african- brazilian religions. The Ifá is a divination system utilized by iorubas societes, in Nigéria and Benin, in West África. He conveys the oral knowledge of Yoruba mythology by a organized in 256 odus called signs, which means "way”. Myths are recited by babalawós (diviners) during the oracular consultation as the odus leaving the game. The Yoruba believe that through consultation, the Babalawó is able to foresee the future and more than that, to provide "good ways". That's because, he intervenes in the relationship between the supernatural world (orún) and the human world (aiye). Many Yoruba came to Brazil during the period of slavery. Here, their religious practices, among them the Ifa divination, mingled with other african religious traditions, as well as with indigenous religious traditions and european origin (Catholicism and spiritualism). Thus, the Yoruba tradition, along with these other traditions, influences the african-Brazilian religions. The Ifa is little used in Brazil. The búzios game is more utilized. However, the myths of Ifa are present in african - brazilian religions, even basing some rituals. Unlike Africa, here they appear associated with deities and not to odus. Wealth for the yoruba, expressed in Ifa, is understood as material wealth. The yoruba believe that to have wealth you must be in harmony with the supernatural world and have good relationships with other people. In Brazil, due to the social context is quite different, they find themselves some changes on the design of wealth. In the little that is known about the practice of Ifa in Brazil, despite differences in the methods of the game, this concept remains. In african -brazilian religions, especially candomblé and umbanda, remains the sense of spirituality associated with wealth, however, the same does not happen with the sense of socialization. In these religions, rich does not mean increasing the network of social relations and networks of social relations do not necessarily provide wealth. We note the importance of families holy in both as a means of identification, belonging and social legitimacy, which may indirectly contribute to improved financial conditions of its adherent. Regarding the sense of spirituality in african - brazilian religions, just as happened among the yoruba, financial difficulties, as well as health problems, emotional and spiritual are understood as imbalances being treated in the rites though interventions magical- religious. Keywords: wealth, Ifa, spirituality, divination, myth, african - brazilian religions, socialization. 7 LISTA DE TABELAS Tabela 1. Figuras básicas que formam os 256 odu (ABIMBOLA, 1977, p. 20-21)........................................ 35 Tabela 2. Os 16 odu principais (ABIMBOLA, 1977, p. 21)........................................................................... 36 Tabela 3. Os 16 odus principais (RIVAS NETO, 2002, p. 334)..................................................................... 87 LISTA DE FIGURAS Figura 01 - Mapa África ocidental (HERNANDEZ, 2008, p. 114; 200). Os iorubás vivem onde atualmente se localizam Benin e Nigéria, principalmente na região sudoeste da Nigéria........... 17 Figura 02 - Vegetação da África ocidental (savana e floresta) (COSTA E SILVA, 1996, p. 9 APUD PRIORE E VENÂNCIO, 2004, p. 4)............................................................................... 18 Figura 03 – Babalawo com Ifá (Bascom, 1991) .......................................................................
Load more

Recommended publications
  • P E E L C H R Is T Ian It Y , Is L a M , an D O R Isa R E Lig Io N
    PEEL | CHRISTIANITY, ISLAM, AND ORISA RELIGION Luminos is the open access monograph publishing program from UC Press. Luminos provides a framework for preserving and rein- vigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Christianity, Islam, and Orisa Religion THE ANTHROPOLOGY OF CHRISTIANITY Edited by Joel Robbins 1. Christian Moderns: Freedom and Fetish in the Mission Encounter, by Webb Keane 2. A Problem of Presence: Beyond Scripture in an African Church, by Matthew Engelke 3. Reason to Believe: Cultural Agency in Latin American Evangelicalism, by David Smilde 4. Chanting Down the New Jerusalem: Calypso, Christianity, and Capitalism in the Caribbean, by Francio Guadeloupe 5. In God’s Image: The Metaculture of Fijian Christianity, by Matt Tomlinson 6. Converting Words: Maya in the Age of the Cross, by William F. Hanks 7. City of God: Christian Citizenship in Postwar Guatemala, by Kevin O’Neill 8. Death in a Church of Life: Moral Passion during Botswana’s Time of AIDS, by Frederick Klaits 9. Eastern Christians in Anthropological Perspective, edited by Chris Hann and Hermann Goltz 10. Studying Global Pentecostalism: Theories and Methods, by Allan Anderson, Michael Bergunder, Andre Droogers, and Cornelis van der Laan 11. Holy Hustlers, Schism, and Prophecy: Apostolic Reformation in Botswana, by Richard Werbner 12. Moral Ambition: Mobilization and Social Outreach in Evangelical Megachurches, by Omri Elisha 13. Spirits of Protestantism: Medicine, Healing, and Liberal Christianity, by Pamela E.
    [Show full text]
  • A Musical Analysis of Afro-Cuban Batá Drumming
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2019 Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming Javier Diaz The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2966 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MEANING BEYOND WORDS: A MUSICAL ANALYSIS OF AFRO-CUBAN BATÁ DRUMMING by JAVIER DIAZ A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2019 2018 JAVIER DIAZ All rights reserved ii Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming by Javier Diaz This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor in Musical Arts. ——————————— —————————————————— Date Benjamin Lapidus Chair of Examining Committee ——————————— —————————————————— Date Norman Carey Executive Officer Supervisory Committee Peter Manuel, Advisor Janette Tilley, First Reader David Font-Navarrete, Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming by Javier Diaz Advisor: Peter Manuel This dissertation consists of a musical analysis of Afro-Cuban batá drumming. Current scholarship focuses on ethnographic research, descriptive analysis, transcriptions, and studies on the language encoding capabilities of batá.
    [Show full text]
  • As an Expression of Yorùbá Aesthetic Philosophy
    ISSN 2039-2117 (online) Mediterranean Journal of Vol 9 No 4 ISSN 2039-9340 (print) Social Sciences July 2018 Research Article © 2018 Ajíbóyè et.al.. This is an open access article licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License (http://creativecommons.org/licenses/by-nc-nd/3.0/). Orí (Head) as an Expression of Yorùbá Aesthetic Philosophy Olusegun Ajíbóyè Stephen Fọlárànmí Nanashaitu Umoru-Ọ̀ kẹ Department of Fine and Applied Arts, Obafemi Awólọ́ wọ University, Ile-Ife, Nigeria Doi: 10.2478/mjss-2018-0115 Abstract Aesthetics was never a subject or a separate philosophy in the traditional philosophies of black Africa. This is however not a justification to conclude that it is nonexistent. Indeed, aesthetics is a day to day affair among Africans. There are criteria for aesthetic judgment among African societies which vary from one society to the other. The Yorùbá of Southwestern Nigeria are not different. This study sets out to examine how the Yorùbá make their aesthetic judgments and demonstrate their aesthetic philosophy in decorating their orí, which means head among the Yorùbá. The head receives special aesthetic attention because of its spiritual and biological importance. It is an expression of the practicalities of Yorùbá aesthetic values. Literature and field work has been of paramount aid to this study. The study uses photographs, works of art and visual illustrations to show the various ways the head is adorned and cared for among the Yoruba. It relied on Yoruba art and language as a tool of investigating the concept of ori and aesthetics. Yorùbá aesthetic values are practically demonstrable and deeply located in the Yorùbá societal, moral and ethical idealisms.
    [Show full text]
  • 1 Eshu, Do Not Undo Me, Do Not Falsify the Words of My Mouth, Do Not Misguide the Movements of My Feet, You Who Translates Yeste
    Eshu, do not undo me, Do not falsify the words of my mouth, Do not misguide the movements of my feet, You who translates yesterday’s words, Into novel utterances, Do not undo me, I bear you sacrifice. 1 Introduction Thescopeofthisworkistopoint outat thewayhowIshmaelReed,asuccessfulAfro Americanwriter,rewritesthetropeofthetrickster.Threenovelswrittenbyhim werechosen toillustrate howineachofthesehechangesthe roleofthetrickster anduses himfor achievingdifferent purposes.Thethesisofthis workisthat,gradually,inthescope ofthese threenovels,theroleofthetrickster changesandthe powerheisabletoexert,upontheface ofthesocietyinwhichheoperates,rises.Thushiscapabilitytoaffectortrickpeopleisfar greaterinthethirdnovelthanitis inthefirst.Also,hisinterestshaschangedfromcaring solelyforhis personalneeds,asitis presentedinthefirstnovel,toenactingattemptsto positivelychangethewholesocietyof NorthAmerica,asit isdepictedinthethirdbook. Wherethefirstnovelcaptures thetrickster’ssole wishforrevengeandtheseconddescribes thetrickster’selusiveattempttofreetheAfroAmericancommunity,thelast portraitsthe tricksterdoinghis best inordertosavethewholeof NorthAmerica. InYellowBackRadioBroke-Down thetrickster characterhasashismaingoalthe enactmentofhisownpersonalvendettaandhethusfollowsonlythecourseofhisintentions, anddoesn’t takeheedofanyother person’sneeds.InMumboJumbo theroleofthe trickster haschangedandthetrickstercharacter,PapaLaBas,triestofindthetext ofa mysterious plague,calledJesGrew,whichifheweresuccessfulwouldfreetheAfroAmerican communityfromoppressionofthe white
    [Show full text]
  • Robyn Attebury Brazil Unit
    Robyn Attebury Brazil Unit: Day 1 “Take a Walk Along the Coast” Objectives: Using the “12 Cultural Keys,” students explore elements of Brazilian culture by investigating it through photos. Students draw on their knowledge of U.S. and world history to understand the distribution of wealth and separation of peoples across the regions. Materials: student copies of “12 Cultural Keys” handout (attached, from David Matthews), Fulbright Group Project Abroad photos of Brazil (by Judy Nelson and Robyn Attebury), world map, map of Brazil, slave trade routes map (produced by UNESCO, attached) Procedure: 1. Warm-up: Students write for 4-5 minutes about what they know about Brazil. Jot down everything and anything they know about Brazil or talk about any personal experiences with this region of the world. 2. Explain rationale for learning about Brazil. Explain Brazil Portfolio project. Keep all materials during this week’s unit on Brazil. Due following Monday for evidence of your discovery of Brazil, and for a grade. 3. Hand out student copies of “12 Cultural Keys.” Look at ABCs of surveying a nation or culture and investigating its people. Lessons this week will fall into “Cultural Keys” categories. 4. Using Brazil map, talk about Brazil’s geographies. Discuss country in terms of agriculture, politics, education, class, race and ethnicity, music, interior and coast. 5. After looking at the slave trade routes map, students discuss placement of Brazilian populations within country. Students should draw on knowledge of U.S. and world history. Is slavery the reason Salvador has the highest African-descended population in the Americas? What keeps the populations where they are? Are there any nomadic populations, and what makes them move? Examine the effects of climate, government, imports and exports, poverty and wealth, and foreign relations (e.g., with the rest of the Americas, Europe, Africa, etc.).
    [Show full text]
  • African Concepts of Energy and Their Manifestations Through Art
    AFRICAN CONCEPTS OF ENERGY AND THEIR MANIFESTATIONS THROUGH ART A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Renée B. Waite August, 2016 Thesis written by Renée B. Waite B.A., Ohio University, 2012 M.A., Kent State University, 2016 Approved by ____________________________________________________ Fred Smith, Ph.D., Advisor ____________________________________________________ Michael Loderstedt, M.F.A., Interim Director, School of Art ____________________________________________________ John R. Crawford-Spinelli, D.Ed., Dean, College of the Arts TABLE OF CONTENTS LIST OF FIGURES………………………………………….. iv ACKNOWLEDGMENTS …………………………………… vi CHAPTERS I. Introduction ………………………………………………… 1 II. Terms and Art ……………………………………………... 4 III. Myths of Origin …………………………………………. 11 IV. Social Structure …………………………………………. 20 V. Divination Arts …………………………………………... 30 VI. Women as Vessels of Energy …………………………… 42 VII. Conclusion ……………………………………….…...... 56 VIII. Images ………………………………………………… 60 IX. Bibliography …………………………………………….. 84 X. Further Reading ………………………………………….. 86 iii LIST OF FIGURES Figure 1: Porogun Quarter, Ijebu-Ode, Nigeria, 1992, Photograph by John Pemberton III http://africa.si.edu/exhibits/cosmos/models.html. ……………………………………… 60 Figure 2: Yoruba Ifa Divination Tapper (Iroke Ifa) Nigeria; Ivory. 12in, Baltimore Museum of Art http://www.artbma.org/. ……………………………………………… 61 Figure 3.; Yoruba Opon Ifa (Divination Tray), Nigerian; carved wood 3/4 x 12 7/8 x 16 in. Smith College Museum of Art, http://www.smith.edu/artmuseum/. ………………….. 62 Figure 4. Ifa Divination Vessel; Female Caryatid (Agere Ifa); Ivory, wood or coconut shell inlay. Nigeria, Guinea Coast The Metropolitan Museum of Art, http://www.metmuseum.org. ……………………… 63 Figure 5. Beaded Crown of a Yoruba King. Nigerian; L.15 (crown), L.15 (fringe) in.
    [Show full text]
  • Embodying Black Religions in Africa and Its Diasporas Yolanda Covington-Ward & Jeanette S
    embodying black religions in africa and its diasporas yolanda covington-ward & jeanette s. jouili, editors Embodying Black Religions in Africa and Its Diasporas religious cultures of african and african diaspora people Series editors: Jacob K. Olupona, Harvard University, Dianne M. Stewart, Emory University, and Terrence L. Johnson, Georgetown University This book series examines the religious, cultural, and politi cal expressions of African, African American, and African Ca rib bean traditions. Through transnational, cross- cultural, and multidisciplinary approaches to the study of religion, the series investigates the epis- temic bound aries of continental and diasporic religious practices and thought and explores the diverse and distinct ways African- derived religions inform culture and politics. The series aims to establish a forum for imagining the centrality of Black religions in the for- mation of the “New World.” Embodying Black Religions in Africa and Its Diasporas Yolanda Covington- Ward and Jeanette S. Jouili, editors Duke University Press Durham and London 2021 © 2021 duke university press Cover art: Frank Wimberley, All rights reserved Siempre (Always), 1998. Printed in the United States of Amer i ca on acid- free paper ∞ Collage of cut painted paper Proj ect editor: Lisa Lawley with pastel, 22¼ × 27Ð Designed by Courtney Leigh Richardson inches. © Frank Wimberley. Typeset in Whitman and Helvetica Neue by Westchester Courtesy of the artist and Publishing Services. the Saint Louis Art Museum, The Thelma and Bert Ollie Library of Congress Cataloging- in- Publication Data Memorial Collection, Gift of Names: Covington-Ward, Yolanda, [date] editor. | Jouili, Ronald and Monique Ollie. Jeanette Selma, editor. Title: Embodying Black religions in Africa and its diasporas / Yolanda Covington-Ward and Jeanette S.
    [Show full text]
  • Santería: from Slavery to Slavery
    Santería: From Slavery to Slavery Kent Philpott This, my second essay on Santería, is necessitated for two reasons. One, requests came in for more information about the religion; and two, responses to the first essay indicated strong disagreement with my views. I will admit that my exposure to Santería,1 at that point, was not as thorough as was needed. Now, however, I am relying on a number of books about the religion, all written by decided proponents, plus personal discussions with a broad spectrum of people. In addition, I have had more time to process what I learned about Santería as I interacted with the following sources: (1) Santería the Religion,by Migene Gonzalez-Wippler, (2) Santería: African Spirits in America,by Joseph M. Murphy, (3) Santería: The Beliefs and Rituals of a Growing Religion in America, by Miguel A. De La Torre, (4) Yoruba-Speaking Peoples, by A. B. Ellis, (5) Kingdoms of the Yoruba, 3rd ed., by Robert S. Smith, (6) The Good The Bad and The Beautiful: Discourse about Values in Yoruba Culture, by Barry Hallen, and (7) many articles that came up in a Google search on the term "Santería,” from varying points of view. My title for the essay, "From Slavery to Slavery," did not come easily. I hope to be as accepting and tolerant of other belief systems as I can be. However, the conviction I retained after my research was one I knew would not be appreciated by those who identified with Santería. Santería promises its adherents freedom but succeeds only in bringing them into a kind of spiritual, emotional, and mental bondage that is as devastating as the slavery that originally brought West Africans to the New World in the first place.
    [Show full text]
  • Legba No Brasil – Transformações E Continuidades De Uma Divindade
    http://dx.doi.org/10.1590/2238-38752019v925 1 Universidade de São Paulo (USP), Departamento de Antropologia, São Paulo, SP, Brasil [email protected] https://orcid.org/0000-0002-1253-5681 Vagner Gonçalves da silva i Legba NO BRASIL – transformaçõES E continuidades DE UMA divindade ExU Legba DEMÔNIO – VISÕES CRUzadas 1 Exu, Elegbara e Legba são, entre os povos iorubas e fon-ewe situados na África Ocidental, divindades mensageiras, dinâmicas, temidas e respeitadas, que de- vem ser saudadas em primeiro lugar para não atrair confusão ou vingança. São deuses tricksters que questionam, invertem ou quebram regras e comportamen- tos. São associados aos processos de fertilidade e, sob a forma de um falo ere- to, cultuados em altares públicos localizados na frente das casas, nos mercados ago., 2019 ago., – e nas encruzilhadas. Quando seu culto foi “descoberto” pelos europeus iniciou- se um processo no qual essas divindades foram associadas ao imaginário do mal, da desordem e da repressão sexual (ao demônio cristão e muçulmano) e, 468, mai. 468, – posteriormente ao mundo pré-moderno (primitivo), ao imaginário das forças antagônicas da modernidade, entre as quais estava, sobretudo, o pensamento mágico presente nas religiões que não passaram pelo processo da secularização ou burocratização. A associação entre o falus no altar de Exu-Legba e o das iconografias do diabo pode ser revelador desse processo. Os ritos pagãos, assim vistos e con- denados pela Igreja católica na Europa e entre os povos catequizados fora dela, incluíam as cerimônias de fertilidade nas quais era comum o uso de emblemas associados aos órgãos sexuais masculinos e femininos.
    [Show full text]
  • ALAIANDÊ Xirê DESAFIOS DA CULTURA RELIGIOSA AFRO-AMERICANA NO SÉCULO XXI ORGANIZAÇÃO VAGNER GONÇALVES DA SILVA ROSENILTON SILVA DE OLIVEIRA JOSÉ PEDRO DA SILVA NETO
    ORGANIZAÇÃO VAGNER GONÇALVES DA SILVA ROSENILTON SILVA DE OLIVEIRA JOSÉ PEDRO DA SILVA NETO ALAIANDÊ XirÊ DESAFIOS DA CULTURA RELIGIOSA AFRO-AMERICANA NO SÉCULO XXI ORGANIZAÇÃO VAGNER GONÇALVES DA SILVA ROSENILTON SILVA DE OLIVEIRA JOSÉ PEDRO DA SILVA NETO ALAIANDÊ XIRÊ DESAFIOS DA CULTURA RELIGIOSA AFRO-AMERICANA NO SÉCULO XXI ORGANIZAÇÃO VAGNER GONÇALVES DA SILVA ROSENILTON SILVA DE OLIVEIRA JOSÉ PEDRO DA SILVA NETO DOI: 10.11606/9786550130060 ALAIANDÊ XIRÊ DESAFIOS DA CULTURA RELIGIOSA AFRO-AMERICANA NO SÉCULO XXI São Paulo 2019 Os autores autorizam a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fns de estudo e pesquisa, desde que citada a fonte. Universidade de São Paulo Reitor: Vahan Agopyan Vice-reitor: Antonio Carlos Hernandes Faculdade de Educação Diretor: Prof. Dr. Marcos Garcia Neira Vice-Diretor: Prof. Dr. Vinicio de Macedo Santos Direitos desta edição reservados à FEUSP Avenida da Universidade, 308 Cidade Universitária – Butantã 05508-040 – São Paulo – Brasil (11) 3091-2360 e-mail: [email protected] http://www4.fe.usp.br/ Catalogação na Publicação Serviço de Biblioteca e Documentação Faculdade de Educação da Universidade de São Paulo A316 Alaiandê Xirê: desafos da cultura religiosa afro-americana no Século XXI / Vagner Gonçalves da Silva, Rosenilton Silva de Oliveira, José Pedro da Silva Neto (Organizadores). São Paulo: FEUSP, 2019. 382 p. Vários autores ISBN: 978-65-5013-006-0 (E-book) DOI: 10.11606/9786550130060 1. Candomblé. 2. Cultura afro. 3. Religião. 4. Religiões africanas. I. Silva, Vagner Gonçalves da. II. Oliveira, Rosenilton Silva de. III. Silva Neto, José Pedro. IV. Título.
    [Show full text]
  • How I See the Yoruba See Themselves
    Studies in Visual Communication Volume 5 Issue 1 Fall 1978 Article 3 1978 How I See the Yoruba See Themselves Stephen Sprague Recommended Citation Sprague, S. (1978). How I See the Yoruba See Themselves. 5 (1), 9-29. Retrieved from https://repository.upenn.edu/svc/vol5/iss1/3 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/svc/vol5/iss1/3 For more information, please contact [email protected]. How I See the Yoruba See Themselves This contents is available in Studies in Visual Communication: https://repository.upenn.edu/svc/vol5/iss1/3 When I photographed in Nigeria, I mostly used a medium format camera and often a tripod. I always obtained the subject's permission and cooperation before photographing and invariably framed the sub­ ject straight-on. This turned out to be the way the HOW I SEE THE YORUBA Yoruba expected a good photographer to work, so I SEE THEMSELVES was immediately accorded respect among the Yoruba photographers and in the community, and I was se~­ dom refused permission to photograph. I know that 1f I had been making candid photographs with a small STEPHEN SPRAGUE camera I would have met with a great deal of suspi­ cion and little understanding or respect. Though our manner of working may be similar, my Photographers and photographic studios are preva­ photographs are obviously quite different from those lent throughout many areas of Africa today, and par­ taken by Yoruba photographers. While photograph­ ticularly in West Africa many indigenous societies ing, I tried to be conscious of my own training in the make use of photography.
    [Show full text]
  • Ori, Ritual and Yoruba Drama of Existence
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 17, Issue 1 (Nov. - Dec. 2013), PP 42-47 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Ori, Ritual and Yoruba Drama of Existence Lekan Balogun Victoria University of Wellington, New Zealand Abstract: By their nature, rituals cannot provide scientific link between cause and effect, yet for their functional value they produce results. The Yoruba understanding expressed through belief in Ori as a potent vehicle through which man confronts life draws attention to this reality. Drama has also functioned in underlining this fact. The paper engages this Yoruba ritual concept and makes a case for an authentic Yoruba (African) value by exploring this aspect of the people’s ritual, through an exploration of Wole Soyinka’s Death and the King’s Horseman. By examining the character of Elesin Oba and his son, Olunde, showing how each comes to the understanding and the crucial perception of their individual Ori, and the exploration of their iwa, the paper shows the essential place of that aspect of the people’s belief in their lives and worldview. Keywords: archetypes, consciousness, cosmos, performative art, ritual. I. Introduction In the introduction to the essay, “Prayers to the Orisha: a look at Santeria”, Elizabeth Caudillo asks “Who owns your head?”(2)[1].This is one of the most significant ontological questions, which the Yoruba worldview concerns itself with and, indeed, provides an answer to. Ori is made up of the prefix “o” that stands for the individual, male/female and the suffix “ri” which means “to perceive” and both freely translate as “seat of perception”, or in Western theological term, “seat of consciousness”, or in Taoism, the “unknowable I” at the centre of self-awareness”(Awo Fatunmbi, 45)[2].
    [Show full text]