Abstract:Analisamos as violências cometidas por grupos armados contra religiosos de matriz africana na Região Metropolitana do Rio de Janeiro (RMRJ). A partir de um levantamento realizado na mídia, percebeu-se que, em menos de 15 anos, esses conflitos deixaram de ser um problema das relações de proximidade e passaram a envolver confrontos pela hegemonia armada sobre espaços populares, controlados por traficantes e/ou milicianos, que se apresentam como membros de igrejas pentecostais. Evidencia-se que a governança crimi… Show more
In 2019, right before arriving in Salvador, Brazil, to develop missionary activities, an international Protestant organization declared that this city – the center of the black culture in the country – was “known for its people’s belief in spirits and demons.” The statement soon triggered indignation from activists and devotees of Candomblé, the Afro-Brazilian religion that is a key element of the city’s history and identity. This article analyzes the transformation of this case into a public problem, which demanded different forms of reparation and affirmation of religious differences. The text debates the extension of Candomblé's semiotic community in Salvador and how the circulation of its symbols in different social contexts furthers the dissolution of boundaries between “religion” and “politics.” I pursue such ideas by describing a form of civil protest that moves liturgical forms from the Candomblé temples to public spaces. Such civil protest technology engages music, dance, and a set of materialities, presenting an instructive performance of the constitution of “religion” and the “public” in a post-colonial landscape.
In 2019, right before arriving in Salvador, Brazil, to develop missionary activities, an international Protestant organization declared that this city – the center of the black culture in the country – was “known for its people’s belief in spirits and demons.” The statement soon triggered indignation from activists and devotees of Candomblé, the Afro-Brazilian religion that is a key element of the city’s history and identity. This article analyzes the transformation of this case into a public problem, which demanded different forms of reparation and affirmation of religious differences. The text debates the extension of Candomblé's semiotic community in Salvador and how the circulation of its symbols in different social contexts furthers the dissolution of boundaries between “religion” and “politics.” I pursue such ideas by describing a form of civil protest that moves liturgical forms from the Candomblé temples to public spaces. Such civil protest technology engages music, dance, and a set of materialities, presenting an instructive performance of the constitution of “religion” and the “public” in a post-colonial landscape.
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