Abstract
This text seeks to recover historical evidence of the presence of the Opossum as part of cultural, political and knowledge manifestations in the context of a hierarchical and unequal society, crossed by colonial and Eurocentric structures. In this direction, we seek to understand the musical manifestation as a political component of the African agency - enslaved or free - building spaces of autonomy and freedom, affirming knowledge and cultures of African origins. To do so, we used news from newspapers from the 19th century, reports from foreign travelers and notes from scholars in ethnography who passed through the region. Indeed, it is intended to contribute to bringing to the center of the debate about the black presence in Amazonas the importance of recovering the trajectory of musical arts of African origin and understanding them as part of the strategies of struggle and resistance.
Highlights
GAMBÁ: MUSICAL ARTS, IDENTITIES AND RESISTANCE IN THE BLACK DIASPORA IN AMAZONAS (17TH TO 20TH CENTURIES)
We seek to understand the musical manifestation as a political component of the African agency - enslaved or free - building spaces of autonomy and freedom, affirming knowledge and cultures of African origins
We used news from newspapers from the 19th century, reports from foreign travelers and notes from scholars in ethnography who passed through the region
Summary
Pelas contribuições resultantes do debate com a antropologia, e mesmo em. 29 Revista da ABPN v. 12, n. Ao reforçar o caráter “virginal” do caso no âmbito da justiça criminal, ou seja, da anormalidade de assistir os tribunais discutindo costumes de adivinhação, o autor da carta está, mais uma vez, recorrendo à ironia para, primeiro, reforçar a existência de hierarquias entre as solenidades formais de um julgamento e o universo da ignorância daqueles que não podem (ou não deveriam) ser reconhecidos como sujeitos detentores de um saber político, cultural e mesmo jurídico; segundo, para argumentar que a rusticidade dos povos incivilizados representava um poder ameaçador naquele contexto, porque maculava o decoro e a decência da justiça. Pelo que deixa perceber nas franjas do seu seu discurso, o Gambá resistia ao controle social repressivo há muito tempo
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