AFR 315: Afro-Brazilian Diaspora [AFR 315 (#30000); Crosslisted with LAS 310C (#38640) and CL 305D (#33340)] Prof. Niyi Afolabi FALL 2020 MWF 1-2PM @ WEB Office Hours: MW 11-12 (VIA ZOOM) Email: [email protected] Phone: 512-436-8762

Description*: This course focuses on post-abolition Afro-Brazilian life, history, culture, politics, and literature. It engages a wide range of literary texts, socio-cultural movements, visual arts, and cultural performances, while raising a number of questions that would lead to provocative midterm and final research papers, while simultaneously honing students’ writing skills with a number of response papers that may be expanded into a research paper. Most concepts and issues will be illustrated with multimedia clips or movies to ensure that students gain a richer experience of the Afro-Brazilian diaspora world. Some of the questions the course will grapple with include the following: (i) What explains the continued exclusion of Afro- from political power?; (ii) What is the legacy or impact of slavery within this context?; (iii) How is the concept of Africa (re)imagined, distorted, and manipulated in this regard?; (iv)What are the discourses used to justify social inequalities and racial discrimination in ?; (v) How is the “radical” view on discrimination silenced while the “co-opted” perspective is promoted?; (vi) What are the effects of governmental patronage on cultural producers as they negotiate what Carl Degler calls the “mulatto escape hatch” that fits into Gilberto Freyre’s “racial democracy” model; and (vii) What are the limitations of ideology in an era of “globalization” and pragmatism? These among other issues will form the basis of the course which will additionally analyze the social condition that goes beyond the more apparent “culture game”; and must also be seen as a political game towards visibility, participation, gendered equality, and empowerment.

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Objectives: 1. Students will be able to meet requirements for writing and global flags. 2. Students will be exposed to the dynamics of coping mechanism with social inequalities in Brazil as they mostly affect the Afro-Brazilian population. 3. Students will not only be exposed to elements of style, they will also improve their writing skills by having opportunities to re-write most of their assignments. 4. Transnational resonances will be invoked for comparative analysis within contexts and texts in order to see the African Diaspora beyond a continental prism.

Required Texts***: 1. Johnson, Crook et al. ed. Black Brazil: Culture, Identity, and Social Mobilization 2. Alves, Miriam and C. R. Durham. Finally Us/Enfim Nós 3. Almeida, Bira. : A Brazilian Art Form: History, Philosophy, and Practice 4. Guimarães, Geni. The Color of Tenderness 5. Gomes, Dias. Journey to *** Required materials (selections) for class purposes are ALL available on UT CANVAS including pre-prepared day-to-day NOTES for each class meeting. You may still choose to order books for this class from COOP should you be the student who prefers to read books in print form. However, a “coursepack” will not be needed or available since all you need is already uploaded on line.

Course Requirements and Grading: 5 Response Papers (2 pages) = 10% 5 Re-Written Papers (2 pages each) = 10% Midterm Paper [3-5 pages] = 20% (Research Proposal and Annotated Bibliography) College Research via UT Librarian = 10% Final Research Paper (5-7 pages) = 20% Group Presentations = 10% Capoeira Report = 05% Attendance = 15% Total = 100% Numeric Grading: A = 94-100 A- = 90-93 B = 86-89 B- = 81-85 C = 70-80 D = 60-69 F = 00-59 IMPORTANT DUE DATES • September 9: Position Paper #1 • September 14: Re-Written Position Paper #1 • September 25: College Research via UT Librarian (On Line) • October 12: Position Paper #2

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• October 19: Re-Written Position Paper #2 • Capoeira Practicum I & II: September 30 and November 2 • October 21: Midterm Paper • November 4: Position Paper #3 • November 6: Capoeira Report • November 9: Re-Written Position Paper #3 • November 11: Position Paper #4 • November 18: Re-Written Position Paper #4 • November 20: Position Paper #5 • November 23: Re-Written Position Paper #5 • November 23: Group Presentations • December 7: Final Research Paper

*This syllabus is subject to minor alterations in the course of the semester.

GENERALITIES

WRITING FLAG COMPONENT: IMPORTANT NOTE FROM THE COLLEGE OF UNDERGRADUATE STUDIES “This course carries the Writing Flag. Writing Flag courses are designed to give students experience with writing in an academic discipline. In this class, you can expect to write regularly during the semester, complete substantial writing projects, and receive feedback from your instructor to help you improve your writing. You will also have the opportunity to revise one or more assignments, and to read and discuss your peers’ work. You should therefore expect a substantial portion of your grade to come from your written work.”

COLLEGE RESEARCH VIA UT LIBRARIAN In order to help you navigate “information literacy resources” available on UT campus and through internet access, a customized college research navigation will be conducted for us by a UT Librarian. Due to COVID-19 this session will now take place on line during class time on Friday, September 25, at 1PM. Your attendance at this one-time workshop is not only required, it also counts for 10% of the final grade.

Before Librarian Navigation with Students: 1. Please, watch this video: http://guides.lib.utexas.edu/choosetopic. 2. Please, view also a sample assignment for preparing an Annotated Bibliography: https://www.lib.utexas.edu/signaturecourses/resources/create-annotated- bibliography

ATTENDANCE & PARTICIPATION Given the writing intensive nature of the class, skipping classes will put you at a disadvantage as lectures on elements of style or customized comments cannot always be repeated once shared with the class. Also, you cannot participate if you are absent. This segment counts for 15%.

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POSITION PAPERS These are meant to provide your critical reactions or responses to your readings. When properly done, it involves a brief exposition of the main arguments of the reading, your critical analysis, and a “position” taken in a form of reflection or how the reading affected you in a personal way. What strikes you in a reading may not strike someone else. It is about your own position not someone else’s. The length of each paper is 2 double-spaced pages. This exercise counts for 15%.

RE-WRITTEN PAPERS As part of the expectation of this class—that you improve your writing systematically over the course of the semester, this is an opportunity to hone your writing skills by using the suggestions you have been provided with to improve and strengthen your paper. In order to show that you have followed the instructions, you are expected to attach the first version to the revised paper each time. The excuse that you “forgot,” “lost your paper,” “did not know,” “missed the class it was announced,” or “had the flu” is NOT acceptable. Length is same as the position papers: 2 double-spaced pages each. This exercise counts for 10%.

MIDTERM EXAM/PAPER This is to get you ready for your “final research paper” by getting started on your research paper very early through a combined assignment on a RESEARCH PROPOSAL and an ANNOTATED BIBLIOGRAPHY. The exam expects that you: (i) present your research proposal in a cogent manner by advancing a thesis statement of your paper and the main arguments that support it in one cogent page; and (ii) prepare an annotation of your working bibliography where you synthesize and analyze your readings of a number of articles and/or books (at least 5 entries of annotation of articles and or books, according to the topic) by listing an entry for each reading in few paragraphs for a total of 3 pages. Overall, the assignment is at least 3 pages (one-page “research proposal” as a cover page, and a two-page analytical “annotation” for a total of 3 pages). This segment counts for 15%.

CAPOEIRA REPORT This is a one-page reflection on the in-class capoeira experience with Master Capoeirista (Prof. Dare) for 2 meetings. The assignment counts for 5% of the final grade.

GROUP PRESENTATIONS This is an opportunity for team work while not losing your individuality. When properly coordinated, different aspects of a subject matter or topic may be presented by the different groups on the due date. Regardless of how the group is formed (similar topics) or disparate topics within the same group, each group will have 10 minutes to present to the rest of the class at the end of the semester. You need to know the group you are in and not complain at the end of the semester that you don’t have a group. Ideally, these groups will be formed right after midterm based on the commonality of topics chosen for the midterm exam. You may use any multimedia approach you wish as long as you prepare well in advance and not have a situation where your laptop malfunctions and you blame it on technology. This segment accounts for 10% of your grade.

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FINAL RESEARCH PAPER This is a topic you have researched and will develop throughout the semester. A list of possible topics will be distributed before MIDTERM. Any of your response papers could be further developed into a research paper if properly coordinated. Likewise your midterm assignment is meant as a “midway” moment for you to work on a potential final research topic in terms of a Research Proposal and an attached Annotated Bibliography. The assignment counts for 15%.

THE STANDARD OF ACADEMIC INTEGRITY AT UT-Austin A fundamental principle for any educational institution, academic integrity is highly valued and seriously regarded at The University of Texas at Austin, as emphasized in the standards of conduct. More specifically, you and other students are expected to "maintain absolute integrity and a high standard of individual honor in scholastic work" undertaken at the University (19-128, Institutional Rules on Student Services and Activities). This is a very basic expectation that is further reinforced by the University’s Honor Code. At a minimum, you should complete any assignments, exams, and other scholastic endeavors with the utmost honesty, which requires you to: • acknowledge the contributions of other sources to your scholastic efforts; • complete your assignments independently unless expressly authorized to seek or obtain assistance in preparing them; • follow instructions for assignments and exams, and observe the standards of your academic discipline; • and avoid engaging in any form of academic dishonesty on behalf of yourself or another student. • students with disabilities may request appropriate academic accommodations from the Division of Diversity and Community Engagement, Services for Students with Disabilities, 471-6259.

ON PLAGIARISM The academic tradition demands that you cite your sources if you have used the ideas or words belonging to others. Failure to do so constitutes plagiarism (academic theft) and can cost you your status as well as academic integrity that has serious consequences.

ON CAMPUS CARRY I do not allow any concealed weapon in my office. I would also ask you to declare if you are carrying one before you step into my office. Otherwise feel free to exercise your rights but be aware also that the best safety you can have is to have a heart full of love for humanity. The fear of the other is indeed due to the absence of love.

Chronological Syllabus August 26 Introduction to the course; logistics and materials Elements of Writing Style

Autobiography & Politics of Race and Gender 28 READ: Guimarães, Geni. The Color of Tenderness pp. 1-32

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31 READ: Guimarães, Geni. The Color of Tenderness pp. 33-68

September 2 READ: Guimarães, Geni. The Color of Tenderness pp. 69-83

4 READ: “Introduction” pp. ix-xxxviii: Synthesis and Critique

7 Labor Day Holiday!!! No Class.

Black Brazil: An Overview 9 READ: Black Brazil: Culture, Identity, and Social Mobilization pp. 1-13 DUE: Position Paper #1 Suggested Reflection/Question for Paper 1 To what extent is The Color of Tenderness a subtle, innocent, and “apolitical” autobiographical piece that is written from the viewpoint of a female child? Should the reader excuse or question the narrative voice for not openly challenging social inequalities and racial discrimination? Is it enough to expose the complexities of the racial situation without really taking a position? As a reader, what do you take away from this award-winning piece of Afro-Brazilian literature and its racial and gendered dynamics? The Black Movement 11 READ: Black Brazil: Culture, Identity, and Social Mobilization pp. 17-21; 31-42 14 READ: Black Brazil: Culture, Identity, and Social Mobilization pp. 43-51 DUE: Re-Written Position Paper #1

Race, Class, Culture 16 READ: Black Brazil: Culture, Identity, and Social Mobilization pp. 61-84 18 READ: Black Brazil: Culture, Identity, and Social Mobilization pp. 85-101

Brazil/Africa 21 READ: Black Brazil: Culture, Identity, and Social Mobilization pp. 143-174 23 READ: Black Brazil: Culture, Identity, and Social Mobilization pp. 175-197

25 College Research with a UT Librarian On Line

Religion and Cultural Resistance 28 READ: Black Brazil: Culture, Identity, and Social Mobilization pp. 201-212

Music, Carnival & Identity 30 READ: Black Brazil: Culture, Identity, and Social Mobilization pp. 249-259

October 2 READ: Black Brazil: Culture, Identity, and Social Mobilization pp. 261-295 5 Screening and Discussion: “Black Orpheus”

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Blacks in Visual Media 7 READ: Black Brazil: Culture, Identity, and Social Mobilization pp. 313-338 9 READ: Black Brazil: Culture, Identity, and Social Mobilization pp. 339-361 12 READ: Black Brazil: Culture, Identity, and Social Mobilization pp. 363-375

CASE STUDY I: Capoeira 14 READ: Capoeira: A Brazilian Art Form: History, Philosophy, and Practice pp. 1-22

DUE: Position Paper #2 Suggested Reflection/Question for Paper 2 The blurb of the edited volume, Black Brazil, states: “This collection of essays brings together diverse perspectives on multiple dimensions of Afro-Brazilian culture, with a common focus on the construction of identities and the ways grassroots cultural expressions are linked to social organization and mobilization.” Focusing on one or more aspects that struck you in particular, reflect on the complexity of Brazilian national identity and how Afro-Brazilians feel that they still have to struggle for their sense of belonging and citizenship in a “racial democracy.”.

16 READ: Capoeira: A Brazilian Art Form: History, Philosophy, and Practice pp. 23-64 19 READ: Capoeira: A Brazilian Art Form: History, Philosophy, and Practice pp. 65-107 DUE: Re-Written Position Paper #2

21 READ: Capoeira: A Brazilian Art Form: History, Philosophy, and Practice pp. 111-123 DUE: Midterm Paper

23 READ: Capoeira: A Brazilian Art Form: History, Philosophy, and Practice pp. 125-142 26 READ: Capoeira: A Brazilian Art Form: History, Philosophy, and Practice pp. 143-167

28 Screening: Capoeira 30 Capoeira Practicum I

November 2 Capoeira Practicum II

CASE STUDY II: Afro-Brazilian Women Writers 4 READ: Alves, Miriam and C. R. Durham. Finally Us/Enfim Nós pp. 31-68; 70-103 DUE: Position Paper #3 Suggested Reflection/Question for Paper 3 For Richard S. Heckler, “Capoeira weaves fighting, music, dance, prayer, and ritual into an urgent strategy by which people live, struggle, celebrate, and survive together.” Based on your reading of ’s Capoeira: A Brazilian Art Form, what aspect of this fascinating expressive art truly embodies the struggle to survive?

6 READ: Alves, Miriam and C. R. Durham. Finally Us/Enfim Nós pp. 112-153 DUE: Capoeira Report 7

9 READ: Alves, Miriam and C. R. Durham. Finally Us/Enfim Nós pp. 164-188; 204-230 READ: Afolabi, Niyi. “Beyond the Curtains: Unveiling Afro-Brazilian Women Writers” Research in African Literatures 32.4 (2001): 117-135 DUE: Re-Written Position Paper #3

CASE STUDY III: Religious Syncretism 11 READ: Gomes, Dias. Journey to Bahia pp. 1-34 DUE: Position Paper #4 Suggested Reflection/Question for Paper 4 The poems in Finally…Us celebrate the visibility of Afro-Brazilian women’s writing while at the same time challenging the stereotypes that have kept them “behind the curtain.” Selecting a few poems to illustrate your perspective, discuss the women’s sense of being marginalized by the mainstream Brazilian society. How do you explain the contradiction in the compelling female power contained in what Conceição Evaristo calls the “continuous motion of the world” (‘I-Woman’ [p. 71])?

13 READ: Gomes, Dias. Journey to Bahia pp. 35-62 16 READ: Gomes, Dias. Journey to Bahia pp. 63-79 18 READ: Bailey, Dale S. “Pagador de Promessas: A Brazilian Morality” DUE: Re-Written Position Paper #4

20 Afro-Brazilian Religion and Film I Screening and Discussion: “O Pagador de Promessas” DUE: Position Paper #5 Suggested Reflection/Question for Paper 5 Who is to blame for Joe’s tragic end in Dias Gomes’ Journey to Bahia: The religious intolerance of the in relation to Candomblé, the manipulation and opportunism of the media, his own inability to adapt to the exigencies of urban mythology in relation to “capitalist freedom,” or all of the above? Justify your position with adequate references from the play.

23 Brief In-Class Presentations: Groups I-IV

DUE: Re-Written Position Paper #5

25 Thanksgiving Holidays!!! No class 28 Thanksgiving Holidays!!! No class 30 Students Work on their Final Papers

December 2 Students Work on their Final Papers 4 Students Work on their Final Papers 7 DUE ON CANVAS: Final Research Paper

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VERBATIM COUNSEL FROM THE OFFIC OF THE PROVOST: GUIDANCE FOR FALL 2020 SYLLABUS* *Even if some of these guidelines may be germane to students taking in-person or hybrid classes, it is prudent for all of us to be well-informed when the circumstances of educational delivery change. As a result, I am appending this information here for all students, regardless of the mode of delivery.

Safety and Class Participation/Masks: Here is a disclosure regarding safety and the wearing of masks that everyone teaching an in- person or hybrid class should include in their syllabus:

Safety and Class Participation/Masks: We will all need to make some adjustments in order to benefit from in-person classroom interactions in a safe and healthy manner. Our best protections against spreading COVID-19 on campus are masks (defined as cloth face coverings) and staying home if you are showing symptoms. Therefore, for the benefit of everyone, this is means that all students are required to follow these important rules.

Every student must wear a cloth face-covering properly in class and in all campus buildings at all times.

Students are encouraged to participate in documented daily symptom screening. This means that each class day in which on-campus activities occur, students must upload certification from the symptom tracking app and confirm that they completed their symptom screening for that day to Canvas. Students should not upload the results of that screening, just the certificate that they completed it. If the symptom tracking app recommends that the student isolate rather than coming to class, then students must not return to class until cleared by a medical professional.

Information regarding safety protocols with and without symptoms can be found here. If a student is not wearing a cloth face-covering properly in the classroom (or any UT building), that student must leave the classroom (and building). If the student refuses to wear a cloth face covering, class will be dismissed for the remainder of the period, and the student will be subject to disciplinary action as set forth in the university’s Institutional Rules/General Conduct 11- 404(a)(3). Students who have a condition that precludes the wearing of a cloth face covering must follow the procedures for obtaining an accommodation working with Services for Students with Disabilities.

Sharing of Course Materials is Prohibited: Here is a disclosure that you are encouraged to include in your syllabus to help in targeting the unauthorized distribution of class materials through Chegg, CourseHero, and other unauthorized online sharing sources that are often used for cheating. We will be taking additional proactive steps to help with this problem, but clearly disclosing to students in the syllabus that this is not authorized avoids ambiguity and supports your case with Student Conduct and Academic Integrity if unauthorized sharing of materials is reported.

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Note: If you do wish to share your class assessment materials, as many faculty members do, we encourage you to do so by posting them in your course Canvas site to make sure all of your students have equal access:

Sharing of Course Materials is Prohibited: No materials used in this class, including, but not limited to, lecture hand-outs, videos, assessments (quizzes, exams, papers, projects, homework assignments), in-class materials, review sheets, and additional problem sets, may be shared online or with anyone outside of the class unless you have my explicit, written permission. Unauthorized sharing of materials promotes cheating. It is a violation of the University’s Student Honor Code and an act of academic dishonesty. I am well aware of the sites used for sharing materials, and any materials found online that are associated with you, or any suspected unauthorized sharing of materials, will be reported to Student Conduct and Academic Integrity in the Office of the Dean of Students. These reports can result in sanctions, including failure in the course.

FERPA and Class Recordings: Here is a disclosure that you must include in your syllabus if you are recording class sessions in which class members are individually identifiable in the recording (or if you think you may wish to make such recordings available to support students who are unable to attend class for COVID- related, or other, reasons). Legal has indicated that to be in compliance with FERPA we need to provide such a warning.

Note: Class recordings made in Zoom should only be posted through Zoom’s integration with Canvas. When posted this way, students cannot directly download a copy of the recording (although other means of capturing recordings exist, hence the need for the syllabus warning as well):

Class Recordings: Class recordings are reserved only for students in this class for educational purposes and are protected under FERPA. The recordings should not be shared outside the class in any form. Violation of this restriction by a student could lead to Student Misconduct proceedings.

For any instructors of in-person or hybrid courses with some in-person meetings, you might want to share the following information about social distancing, monitoring, quarantine and self- isolation.

COVID Caveats: To help keep everyone at UT and in our community safe, it is critical that students (and faculty and staff) report COVID-19 symptoms and testing, regardless of test results, to the HealthPoint Occupational Health Program (OHP) as soon as possible. Please see this link to understand what needs to be reported. In addition, to help understand what to do if a fellow student in the class (or the instructor or TA) tests positive for COVID, see this University Health Services link.

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Additional University-Wide Information and Resources

COVID-19 Update: In the context of the pandemic, teaching methods have changed dramatically. If you need any help adjusting, you can familiarize with resources available to you on campus by visiting this link: https://onestop.utexas.edu/keep-learning/

Services for Students with Disabilities: If you need special accommodations, you can contact me or Services for Students with Disabilities (SSD). Please refer to SSD’s website for contact and more information: http://diversity.utexas.edu/disability.

Counseling and Mental Health Center: If you need any counseling, please reach out to CMHC at (512) 471-3515. If you are experiencing a mental health crisis, call the CMHC Crisis Line 24/7 at (512) 471- 2255.

The Sanger Learning Center: For additional tutoring to help you improve your academic performance, please visit http://www.utexas.edu/ugs/slc or call 512-471-3614 (JES A332).

Undergraduate Writing Center:http://uwc.utexas.edu/Libraries:http://www.lib.utexas.edu/ITS: http://www.utexas.edu/its/

Student Emergency Services: http://deanofstudents.utexas.edu/emergency/

Important SafetyInformation:COVID-19 Update: Stay informed on the pandemic by visiting https://coronavirus.utexas.edu/students

Office of Campus Safety and Security: 512-471-5767.

Reporting Title IX: UT Austin is committed to fostering a learning and working environment free from discrimination in all its forms. Beginning January 1, 2020, Texas Senate Bill 212 requires all employees of Texas universities, including faculty, to report any information to the Title IX Office regarding sexual harassment, sexual assault, dating violence and stalking that is disclosed to them.

Emergency Evacuation Procedures: visit Office of Campus Safety and Security at http://www.utexas.edu/safety/ or call 512-471-5767.

Q Drop Policy: If you want to drop a class after the12th class day, you’ll need to execute a Q drop before the Q-drop deadline, which typically occurs near the middle of the semester. Under Texas law, you are only allowed six Q drops while you are in college at any public Texas institution. For more information, see: http://www.utexas.edu/ugs/csacc/academic/adddrop/qdrop

Are you job-hunting or needing help with transitioning into a career after graduation?: Liberal Arts Career Services has created this video (https://bit.ly/2PLztGX) summarizing their services.

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