Abstract
This paper explores the aesthetic trajectory of Abdias Nascimento in the context of his life’s work, arguing that he has to be apprehended as a Quilombola warrior figure, through his entwinement of political and artistic agency. More specifically, it explores how Nascimento harnesses the creative matrix found in the lived history, myth and figuration from candomblé as a dramatist and as a painter. First, it delves into his creation of the Teatro Experimental do Negro (TEN), the first black theater in Brazil and his use of candomblé as a template of dramaturgy in his play, Sortilégio. However, the main analysis centers on his paintings, which combines candomblé symbology, along with other African cultural forms, to create culturally meaningful aesthetic forms that affirmed Afro-Brazilian subjectivity and their historical belonging in the nation and connection to the larger Africana world.
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