The current study aims to create a cultural cartography detached from the technical/traditional elements of geography. To achieve this, it proposes to develop narratives about the Engomadeira neighborhood, located in the central core region of Salvador, Bahia. Based on the oral perspectives of the neighborhood's inhabitants, I draw connections between the stories told about Engomadeira's territory and a conceptual framework centered on territory and housing. Subsequently, I focus on the neighborhood's black cultural manifestations—capoeira, the Terreiro Viva Deus Filho parties, and the LGBTQIA+ Parade—highlighting expressions of these events in the research dialogues. In the last section, I suggest expanding the cultural cartography through breakdance performances by the b-boys of the/in the neighborhood. The sections are constructed around questioning how Engomadeira's black cultural cartographies narrate and are narrated within/on the territory, employing semi-structured interviews, cultural cartography, and performance as methodological tools. Theoretical foundations include references to Milton Santos, Gabriela Leandro Pereira, Jörn Seemann, Leda Maria Martins, Muniz Sodré, bell hooks, Fred Moten, etc. From the collected narratives, I understand that black experiences in the highlighted cultural expressions reveal radical ways of experiencing the city. All are characterized by a spiraling ethic/aesthetic of black ways of living/making the city, from housing forms with a quilombola heritage background in the geography of the territory to religious and/or recreational manifestations. 

The present work navigates in the field of police programs with the objective of critically analyzing the propagation of the image of black people exposed in these programs. In the first moment I bring the discussion about the social and historical context of the origins of police programs in the world and in Brazil, after this moment I establish the temporal cut and look that will be given in view of the breadth of the theme. In the second moment, I stipulate the path necessary to understand the social representations of black corporality in the Bahian media, more specifically in police programs, as well as discussing criminalization, the construction of stereotypes and the resistance involved in these circumstances. At this point, the “Black Rome” or the “Tomb-City” (BORGES, 2012) imposes itself as a territory, a fundamental space/time to interpret the set of threads that weave the Racial Weave, in which police programs are immersed. The next step was to problematize the public security policy of the State of Bahia as a machine for grinding black people, based on strategies of resistance by black people and tragedies involving violence and black bloodshed. In the final part of the work I delve into the evidence perceived in the field, the first step was a quantitative analysis apprehended from primary data cataloged in the development of the research and the second step was the qualitative analysis, which emerged from the dialogue that transited from the “discursive Ipadê the Ethnography of the Plot”. Finally, I make final remarks by reflecting that more than demonstrating conclusive answers, the result of the research is to raise new questions and present original views and possible paths for discussion in the field-theme.

This study departs from an ethnographic character with the objective of investigating and understanding the relationship between cultural appropriation, blackfishing and the Afrocentric agency based on the analysis of social media in two Facebook communities, seeking to understand how digital spaces are linked to ramifications of appropriation, how much technology can contribute to reinforcing and enhancing forms of racism that are already known, as well as the quality of the Afrocentric agency within this digital scenario. For that, we looked for the relevance of blackfishing from the data provided by Google Trends and, later, we entered two Facebook groups, where we can develop in the field work the collection of publications involving cultural appropriation and blackfishing and also the conduction of interviews with members from a focus group of eight people. The bibliography used to support this study sought in an interdisciplinary way to contribute from the paradigm of Afrocentricity with other areas related to technology and ethnic-racial relations in the digital field, as well as directing our gaze to users who use social media for the construction of racialized spaces. As a result, we can reflect that the investigated black communities understand blackfishing as an offshoot of cultural appropriation and that it is already widely known by Afro-Brazilians, even though the knowledge of the practice has been spread from a North American word. We conclude that, in terms of Afrocentric agency, we can notice a process of disagency of black people also in online spaces, from the State and the traditional media, in what we identify as a weak agency quality, and that the more traditional media vehicles little focus on the production of Afro-Brazilian knowledge on these themes that already exist in depth in Brazilian society.

The present study aims to analyze the role of the ancestral dances, in particular the Nakhula ancestral dance, in the (re) construction of the Identity of the people from the Malema district. The dance is seen as a cultural heritage as well as the depository of the traditions and cultural manifestation transmitted from generation to generation. In terms of the method, the study was based on oral history, having employed the interview and the image-capturing technique. The study concluded that Nakhula ancestral dance is seen as a vehicle for the social and local knowledge transmission linked to the various ceremonies, among them: funeral ceremonies, mainly those related to the remembrance of loved ones – performed 40 days after the physical disappearance of a relative, locally known as Makeya, marriages, successful harvest, the birth of a child, rites of passage, as well as political and recreational events. The dances, as cultural manifestations, serve as a means of knowledge transmission from generation to generation as well as a means to populations expressing pleasure or displeasure to the political power. To celebrate these moments, families/local communities organize parties or ceremonies and invite the dancers to liven up the party.

The present thesis continues the research work that the author has been developing on the informal economy and, in particular, on informal markets/domestic and cross-border lumos. The work focused on four cross-border lumens considered of major importance in commercial transactions in the sub-region, located in the eastern part of Guinea-Bissau, in the Triple Frontier - on the axis connecting Cambadju in Guinea-Bissau with Diaobé in Senegal, and the axis connecting Pitche in Guinea-Bissau with Sareboido in the Republic of Guinea, since the economic activities of the informal sector have played an important role in improving the living conditions of the population of the region. Following the implementation of the structural adjustment policy in these three countries, the informal sector of the economy has come to play an important role in social cohesion and poverty alleviation, since it absorbs part of the population to which the formal system of the economy was unable to guarantee employment. In this sense, the lumos have become major centers of commercial transactions in rural areas and semi-urban localities. The thesis aims to understand how commercial transactions are organized in the lumos, as well as the processes of crossing goods and local products at the borders, the mobility and plasticity at the border, and the de-concentrated services of the state of the countries at the borders. In parallel, the thesis analyzes the diversity and complexity of social relations and networks formed in the region to ensure informal employment and fast turnover speed of commercial transactions in the lumos

This work analyzes the relationship between the state and traditional authorities during the post-independence period in Guinea-Bissau, seeking to identify the mechanisms by which these two actors create and recreate the political and administrative landscape. The attitude of Guinean governments towards traditional authorities has not been homogeneous – it has gained specific dynamics in different contexts. In the first decades, the government pushed traditional authorities aside and diminished their influence on the country's political and administrative landscape. In a second moment, that is, from the 1990s to the present day, traditional political leaderships have regained the attention of rulers and political parties. According to the official discourse, the revitalization of traditional leadership results from the recognition of their importance in maintaining social balance, political decentralization, and the consolidation of local development. However, it is necessary to pay attention to other factors, such as the weak presence of the state in rural areas, which has resulted in traditional authorities' greater proximity to local populations; the multidimensional relationship they engage in; and the question of the rational calculation of advantages and disadvantages made by both parties – for the traditional leaderships the approximation constitutes an opportunity to participate in central power at the local level, and for political parties, it represents an opportunity to search for more politically legitimate allies.

Race relations are dynamic components of human interaction. The self-declaration and/or hetero-identification of individuals as white and black people (that is, their racialization) plays a central role in people's lives and in social organization. The racial hierarchization of human lives needs to be seen as a structured violence that requires more and more social commitment and a struggle to be overcome. By designating this form of violence as racism here, we align with the perspective of Frantz Fanon (1961, 2020a, 2020b, 2021), who primarily understands it as a constant update of the modern colonial experience. This can be seen sharply in Brazilian society, according to the pioneering studies of black psychoanalysts Virgínia Leone Bicudo (2010), Isildinha Baptista Nogueira (1998) and Neusa Santos Souza (1983). Furthermore, we can suggest convergences in the studies of the four authors, such as the existence of a racialized subjectivation marked by the colonial past and its updating in contemporary racism; the psychological impact of racism at the individual and collective levels; the relevance of the lived experience and the consideration of psychoanalytic theories, not only as a tool of interpretation, constituting an individual that is still little explored academically, according to Ferreira (1999), Martins, Santos and Colosso (2013) and Schucman, Nunes and Costa (2017). Therefore, our research problem is to identify how race relations are addressed in dissertations and theses defended at PPGPSI-UFBA. How is the articulation between subjectivity and racialization characterized in those contexts? In order to try to answer these questions, we incorporated the methodological contribution of the analysis of public documents (SPINK, 2004) considering that dissertations and theses are discursive practices. The results point to the epistemic diversity of the psychological field, the demand for a greater critical production on racial relations, the need to consider the racial theme with the inclusion of the self-declaration request and its operationalization as a category of analysis (depending on the research objective).

The dissertative: Padê, presented in the now, seeks to investigate the black candomblé theater of the Núcleo Afro-brasileiro de Teatro de Alagoinhas – NATA (1998-2019), through the analysis of its last four shows - Siré Obá - A Festa do Rei; Ogum - Deus e Homem; Exu - A Boca do Universo and Oxum. It references the Teatro Experimental do Negro – TEN (1944-1961), Bando de Teatro Olodum – 1990, Companhia dos Comuns (2001) and Grupo de Teatro Abdias Nascimento – CAN (2002), which are references for black theaters in Brazil and for the poetic work of NATA. Having Oral History os its center methodology, this qualitative and historical research, with an exploratory-descriptive approach, considers an analysis from the inside out. In order to contextualize the reader, the 20th century is pointed out as a turning point in the perspective of an engaged/political black theater, and of movements that contribute to promote resistance outside the scene, such as the Frente Negra Brasileira – FNB (1931-1937) and the Fórum Nacional de Performance Negra – FPN (2005). Having this as a principle, it is aimed to point out the negrocenic presence in the counter flow of the arts in the western canon, considering the historical construction and the African and/or Afro-Brazilian ancestry in the poetic and aesthetic scene of the theatrical making, understanding the black bodies, the relation between art and politics, the socio-historical confrontations, and the fight for visibility and space, reflecting on the ethno-racial identities in the subversion of the logic in the spaces of power.

The research that gave rise to this dissertation aims to understand the dynamics around the initiation ritual of the Bichiento, Tchikumbi among the Bauoio do Povo Grande in the province of Cabinda, Angola. The implications of the ritual in the power relations between Bakala and Nchiento Bauoio do Povo Grande in Cabinda are analyzed, since the ritual fits into one of the stages of initiation of the ikumbi into adulthood, that is, to present it to society, as being ready for young/adult life when they become Bichiento. In this analysis we take into account the power relations from the Tchikumbi, how the ritual is inserted within its endogenous contexts of reproduction and knowledge, seeking to understand the dynamics of practice as a structure of social power. Finally, trying to (re)constitute the life stories of two Bichiento, carrying out the proposal of the crossroads narratives, of the interlocutors: Maria Das Dores (my mother) and myself Margarida Duete. Mainly, our experiences as belonging to the Bauoio ethnic group, in relation to the ritual process, since we went through the Bichiento initiation ritual, the Tchikumbi, although at different times. From our life stories, I try to analyze the generational conflicts in relation to the ritual and the roles of Nchiento in contemporary society in Cabinda.

This thesis aims to analyze the solidarity networks around the organization of candomblés in Santo Amaro, in the Recôncavo Baiano. For this, we chose the period from 1920 to 1970, understanding that these are years in which black populations were still looking for forms of egalitarian insertion in global society, from the attempt to occupy new status quo, due to the reorganization, of the different contexts of the post-modern era. -abolition. I focus on the constitution of a religious liturgical segment, known as Candomblé de Nação Angola, which has its origin in Santo Amaro. I use collective prosopography-biography as a methodology, through the memory of the group I try to propose the rescue of one of the social memories of the period, in order to build through collective biography aspects of the trajectory of black populations, who sought projections in a society that even after the political changes, from the social status of slavery to freedom, they were subject to hostilities, in the search for certain changes in the course of their lives, as well as in the perspectives in which their institutions considered religious were observed by some current sectors. that did not include them in the Republic project.

This dissertation is a multi-situated ethnography on migratory trajectories of five women born in different countries of the African continent, who initially have Brazil as their destination country. Focusing on the perceptions and experiences before and after migration to Brazil, possibilities and impossibilities make evident the spine of this ethnography: the multi-situality of the experiences of African women from different countries, religions, ethnicities, languages and voices within migration.  At first, from the analysis of narrative identities of the interlocutors from the originary country, I discuss the construction of migratory projects and how family organization, gender relations, religion, ethnicity, nationality, among other markers that influence the construction of these projects. Later, centrality is directed to the migratory paths of the interlocutors, looking to the success of their project, and analyzing their affective circuits. In the last part of the dissertation, the narratives of the interlocutors and their experiences as african migrant women encounter the trajectories and discourses of other migrants. From the experience of street ethnography in the city of São Paulo, it is possible to realize that living the city for African people, especially women, is to know and reflect on the representations that Brazilians have of the African continent, and, therefore, about african people.

In this research, I investigate the trajectory of Yêdamaria Oliveira (1932-2016) and its points of artistic immersion, the harmful effects caused by the multiple folds of racism and sexism, which hide imagery frameworks to control and reduce our participations, as issues and issues descending from an African diaspora, in the Brazilian society. Using the intertwining of the reports of the experiences of the artist as a black woman in transit, or in silent flight, I seek to understand from of his heels that reject framing and magazines common to black bodies, mainly to the bodies of black women, as movements of uninterrupted escapes enabled connected devices, ancestral tools that help our heels. Here, writing based on what I heard, “[...] a museum just for niggaz? But whoever was a nigga is a museum? ” and like a black body auditory-receptive-translator, became a counter-measure to this imperial gaze, colonial, which encloses us. Using narratives as a device epistemic-methodological especially for the center of this artist as a creator, I consider the agglutinating role of art fundamental for the materialization of thought in art, enabling the creation of other imaginaries and points of view, even beyond the “still life” itself.

The school as a space of circularity is also marked by the influences of the internet, bringing virtual and physical dimensions into one place. To enter in the school is to understand how the discourse of democracy reaches high school students, impacting or influencing their representations of what it means to be black in Brazil. In the methodology it is used ethnographic and netnographic methods, it is seeked to present the field, in this case the school and its social actors. In the second chapter it is tried to outline the concepts of digital democracy, cyberculture, digital culture. In the third chapter, It is intended to deepen the analysis of the speeches produced in social networks and how these speeches reach the school. It will br sought, from the data collected in the field and through the methodological tools of netnography, how the process of perception and construction of the identity of these young Afrodescendants takes place mediated by digital technologies, images and pixel narratives.

This dissertation intends to reflect on visual patterns about the representations of Guinean women, created by Portuguese colonial imaginary from pictures taken during 1930-1973. All pictures were collected from multiples sources such as newspapers (i.e. Jornal Acção Colonial, Boletim do Ultramar, and Revista Ilustração), the scientific journal Boletim Cultural da Guiné Portuguesa, the book Raças do Império, and postcards. Here, I discuss the signification systems promoted by the Portuguese colonial imaginary based on feminine representations, especially the appropriation of the idea about body as a social marker in this colonial reality. 

The thesis examines the formation of the Povo de Santo (Afro-Brazilian religious community) in Bahia inquiring relevant press news which reflect the social, racial, political, and cultural dimensions of such a experience. Newspapers published in Salvador in the seventies of the twentieth century provide an ostensive collection
of evidence of the making of this political-religious identity. The making of the Povo de Santo is here apprehended within the boundaries and circuits of a social history of culture, involving a tense, rough and unpredictable process of continuities and changes in discourses, values, and social practices. In that sense, the dialogue with anthropology has been recognized as a productive contribution. The text addresses individual and collective experiences of Afro-
Brazilian priests and priestesses, examining relations of domination and power, in an attempt to demonstrate how the Povo de Santo made itself, beyond the walls of the temples, in its encounters and conflicts with and within the public sphere.

This thesis analyzes the poetry of Solano Trindade (1908–1974), specifically the book Cantares
ao meu povo, published in 1961, in São Paulo, by Editora Fulgor. I chose its last publication
because it contains poems that were also published in the first two books, Poemas D'uma vida
simples (1944), Six times of poetry (1958) and poems that were transformed into a play, in
1964, entitled Sambalelê tá sick. Solano was a member of the Brazilian Communist Party (PCB)
in the 1940s, held a poetry conference at the Teatro Experimental do Negro (TEN), was director
of the Brazilian Popular Theater (TPB) in the 1950s, and wrote social poems that claim to
memory of slavery and the struggles against racism, for food, housing, education and health
services. She also wrote poems that positively represent Afro-Brazilian religions and black
women. Considering these aspects, the objective of this thesis is to conceptually discuss
Trindade's poetry as a black social movement. Therefore, the theoretical-methodological
discussion articulates literature, history and sociology. The poems were selected based on the
Theories on Social Participation (GOHN, 2019), highlighting themes that include the protest
against hunger, the affirmation of collective black identity, the memory of slavery in Brazil and
the struggles for education, for services health and against worker exploitation. The time frame
covers the years 1944, when he published his first book, he suffered a political arrest and the
Experimental Theater of Black - TEN was created, until 1961, to mark the period in which he
published the last book and lived in Rio de Janeiro, the capital from the Republic to the time
and center of political and cultural power. It is concluded that Trindade's poetry can be
discussed as a black social movement because it expresses the author's political mobilization,
the collective-black identity and the struggle against structural racism in Brazilian society.

This Dissertation consists on an investigation about Afrodiasporic ancestry based through the narration of the stories of four generations of black women, which belonged to a black Family which lived in the aftermath of abolition of slavery, in the border between Brazil and Uruguay. Having as a starting point an anthropological research sustained by formal academic writing, this work has transcended such forms, favoring creative writing and an immersion if performative art. The persona which initially narrates – and is object of narration – is called Nêngua, a word of Kikongo origin that serve as a metaphor for the role occupied by women vis-à-vis their diasporic communities. My goal is to understand which collective strategies were built by black people in diaspora and how aged people provided care, guidance, and shelter to their communities in situations of enslavement or redesigning projects of freedom after the abolition of slavery. I argue that when ancestors are my own ancestors, ethical and poetic challenges emerge: how to narrate without taking out their dignity again and their self-right to posses their own speeches? This Dissertation is situated at the boundaries, of art and anthropology, between distinct was of narrating a story full of hardships, which still is bleeding but it is on its way to healing, between Brazil and Uruguay, in the heart of the diaspora.

Transnational migrations are one of Senegal's structuring characteristics. Motivated principally by the pursuit of well-being for their families, Senegalese people migrate to work in a variety of other countries, not only on the African continent but also in Europe (Italy, France, Germany) and the Americas (United States of America, Argentina, and Brazil). A fundamental aspect of the success of Senegalese mobility is the construction and reproduction of networks of solidarity. These networks ensure access to information about routes to follow. They also include contacts with whom migrants can negotiate their reception in the countries and cities of destination, as well as those of transit. Newly arrived migrants are received in the residences of fellow Senegalese, and it is not uncommon for them to receive money or merchandise to help them get established in their work. This "dádiva" (from Mauss, 2017, a gift that involves an expectation of reciprocity) is paid forward to the next migrants who arrive as well as those who may be in need. Migrants and their lived experiences in all the different spaces of Senegalese mobility are important to this debate. Consequently, the central focus of this research is the lived experience of Senegalese people in Maceió, Alagoas, Brazil and, mainly, how my interlocutors maintain and strengthen their identities in a context of migration. Mobilizing and using the concepts of mobility, identity, religiosity and networks, allied with ethnographic research, articulating direct observation, oral history and iconography/photographs, a reconstruction of the biographical trajectories of Senegalese migrants from their experiences in Senegal was made, passing through the motivations for migration and the paths taken to arrive in Alagoas, and thus understanding the spaces of mobility as “living spaces” that shaped and were shaped by my interlocutors. Next, spaces of sociability were analyzed, such as homes, workplaces and various other daily interaction spaces, in order to observe the strategies adopted to win over customers, such as: friendliness, patience and resilience added to the reasons to choose to live near their workplace. These spaces of interaction are marked by both affective and conflicting relationships with the local population and on these “stages” of interactions situations of racism and xenophobia also occur. Therefore, religion is another particularity among Senegalese, as they are all practitioners of Islam that is experienced in religious brotherhoods and this spiritual experience combined with communitarianism are striking characteristics that are reproduced in Maceió. The research reveals that religious celebrations, the act of eating together and associativism constitute the forms used by my interlocutors to “recreate” Senegal in Maceió, with these community moments being key points for the maintenance and strengthening of the identity of Senegalese in Alagoan lands.

This thesis analyzes the experiences of rural women in KwaZulu-Natal, discussing their social condition and their access to goods and services, such as land and housing. There are cases of conflict, resistance and mobilizations for access to land and natural resources, relationships engendered between men and women, situations of violence and loss and gains and expectations, and the connection of these processes with the world of customs, codes and the civil laws which governs South Africa. The work addresses the proposals of the Rural Women’s Movement (RWM), a non-governmental organization that works in rural areas of that province, developing projects for training, training and encouraging production among rural women, as well as promoting discussions on gender, citizenship and human rights. In face of deepened social exclusion processes during Apartheid, there are forms of resistance, initiatives and mobilizations undertaken by women throughout South Africa, in order to circumvent the social barriers imposed both in macro-structural terms and in more specific areas of their communities. Struggles for women’s rights continued to be the focus of debates in the post-Apartheid period, as can also be seen from the experiences of rural Zulu women.

This work seeks to understand the ways in which different researchers coped with the
relation between Nation and development in post-independence Guinea-Bissau, resorting to
the works published in Soronda: Revista de Estudos Guineenses (journal of Guinean studies). A brief background of the establishment of the Instituto Nacional de Estudos e Pesquisa (National Instituto of Studies and Research, INEP) and of the publishing of Soronda will be sketched, in a bid to identify the relevance of the discussions around Nation and development within the global concerns of the INEP and Soronda, stressing the main themes, qualifying the most relevant contributors, and following the publication flux in regard of the political, economical, and social processes that developed along this period in Guinea-Bissau, in the African continent, and in the world more broadly. Dwelling on a corpus selected contributions, and in view of a secondary bibliography dealing with post-independence African intellectual production, the treatment given to the issues of Nation and national consciousness, the problems related to national unity, and the relation between State and development will be analyzed.

This work brings a look on the construction of identities from the trajectory of the artist Gerson King Combo, focusing on the musical and imaginary productions of this and about this artist, Soul and Black music, present in audiovisual documents and websites. The narratives based on the proposal of valorization of black men and women, costumes, gestures, voice intonation and the reality of minorities are some of the themes that touch Gerson's production and outline a path that invites us to think about major political issues. The relevance, around racism, racial conscience, the productions of the black population that has as its final mark of the 1970s and still last today. The artist and much of his production, besides his experiences are the target in this work. Thus, we intend to understand how the artist built his career and what determined his departure from the musical sphere and his return at the beginning of the year 2000. What are the driven demands that provided a fertile ground for his recovery? The study of artists like Gerson. K. Combo, who not only engaged in the art world, demonstrates that he has reconciled music with a social, cultural and even economic demand for the mostly black youth, already indicates the importance of his production by triggering visibility. Of black and black productions within the territory of permanences and historical transformations, while revealing the process of construction and diffusion of music during the 1970s. After searching for all materials available on electronic devices, the materials were separated in thematic categories in order to understand how Gerson was able to address black youth at the time, what is its impact, what is its relationship to political and social issues, how has it dealt with racism, and what example has it left for young people or the public today. In the end, it was found that a number of reasons contributed to the decline of Gerson's career: the very evolutionary process of music, the weakening of the Black Rio and Black Music movement and the personal problems resulting from the loss of his wife. It is also considered that the new black wave created in recent years has contributed to the rescue of the artist's memory and work. Putting it again as a great precursor of Black Music and soul in Brazil. 

The present work addresses the process of expansion and modernization of capitalist production in the countryside and particularities of the condition of rural workers, population mobility, demographic growth in urban areas and the ethnic emergence in the far south of Bahia, Brazil, between 1960 and 2010. The analysis of the rural exodus in the national context was made from the proposed period; in relation to the spatial cutout of the Northeast region, demographic data of the state of Bahia and the territory that makes up the extreme south of the state were also analyzed, with emphasis on the municipality of Teixeira de Freitas and its precarious absorption of labor, concentrated in the urban space. The analysis also covered the examination of the dispute intensification process for land, polarized by the interests of agribusiness and rural workers in an interwoven land co-optation process for agribusiness expansion. Analyzes of the multiple experiences within family farm production included subsistence-oriented cultivation with or without trade surpluses; agricultural production on farmers' own land or on leased land; and also the experiences of autonomous farmers or those represented by associations with ethnic and identity claims in the Far South Region of Bahia. The methodological approach of this research ensured the anonymity of the social actors involved in land disputes from the spatial delimitation of the far south of Bahia, without identifying the microspaces beyond general data, such as names of municipalities, number of unions and rural associations, number of members made available by the official bodies - among other information. The interviews were conducted with specific focus on the people who exercise or have exercised direct employment relationship in the field activities. This allowed a better understanding of the perception of the subjects who are in and near the context selected by the research dynamics. Regarding the place of the voices of the social actors and the purpose of the research, it was intended to assume an epistemological perspective that would evidence the place of speech of the ―marginalized‖, in arguments that would allow a ―decolonial turn‖ applied in the analysis of socio-productive relations in the region. This is a late experience of exploration ―plantation‖ type (neocolonization), since it has peculiar characteristics such as: the use of large areas of land, production marked by eucalyptus monoculture (aimed at the foreign market) and the intense and growing accumulation of capital, largely supported by the exploitation of a workforce characterized by the geographical location of Bahia's Far South Region in the international division of labor. The context of neocolonization in the region implies the validation of a sustainability discourse, aiming to make up environmental impacts through a persistent rhetoric that defends the possibility of increasing the production and consumption while preserving the enviroment. The expansion of agribusiness led by the agroforestry sector has taken center stage in the modernization of agro-export capitalist production in the region, during which time the proletarianization of the population living in rural areas has been potentiated. Agribusiness, in this sense, was responsible for increasing the mobility of the rural population to urbanized areas. This process of industrialization of production in the countryside - constitutive logic of the capitalist economy - became the main responsible for the reappropriation of ethnicities, with greater reference, in the scope of this research, to the rural black communities that resorted to the political strategy of identity resurrection of the concept of quilombo as a means of articulation to ensure permanence in the field.

Held in a public school in the state school system in the municipality of Feira de Santana-Ba, this study aimed to understand whether and how the affirmation of racial and gender identities influences the incidence of conflicts in the public school system. Taking into account a significant generational change in the profile of young blacks in the last decade that can be expressed through adopted aesthetics, language and participation in social movements, we understand that the ways of resisting and facing situations such as racism, machismo and homophobia have undergone substantial changes in everyday sociability relations. Through participant observation, interviews and questionnaires carried out in a public school in the interim period of 10 months, with education professionals and students, it was possible to understand that the school is still a space for the reproduction of dominant whiteness values , even if isolated actions to combat the racist structure are carried out. In addition, we identified that race, as the main marker of identity, helps in the process of accumulating oppressive variables, as added to gender and non-normative sexuality, they increase the exclusionary situation experienced by these adolescents and young people, causing them more physical and psychological suffering. We also found that, as a tool of struggle, social movements, such as those led by black women, have not had an impact on this scenario, since most of the interviewees still associate feminism with the image of women removing the bra, stereotyping behavior feminists. We conclude, therefore, that even in an environment formed by a black majority, the values of whiteness are still strengthened in the public school environment, contributing to the expansion of conflicts of discriminatory origin and that, despite the recurring actions of reactions promoted by the discriminated subjects, the lack of information and support denied by the educational system corroborate a situation of strengthening racism, machismo, homophobia and other discrimination that has not been significantly altered by external factors.

The proposal for Affirmative Action Policies in higher education has been completed more than 10 years,
and is still the subject of questioning. The ideas advocated in Affirmative Actions have
access to previously excluded places, and, above all,
these people build a positive identity about themselves. This study aims to
to analyze how affirmative actions have contributed to the construction / strengthening of
black identity of students of the Federal University of Bahia.

This thesis presents narrative, discursive, and imagery strategies from Borom
Sarret (1963) a film by Senegalese filmmaker Ousmane Sembène and One Man's
Show (2012), a film by the Nigerian-French Newton I. Aduaka. I analyze these
works using the concepts of "Political Cinema", "Right to narrate" (Paulin Vieyra
1975 ; Lydie Diakhaté 2009; and Marcelo Ribeiro 2011), "The Africanization of the
Media" (Ukadike 1994); "Decolonization" (Frantz Fanon) and "The Decolonization
of Mind" (Ngugi Wa Thiong'o 1987, 2007; Manthia Diawara 2009). This thesis
analyzes the narrative of the films, in order to understand the point of convergence
between each artists’ work, as well as to highlight the artistic, political, social and
cultural role of African cinemas present in their works, paying close attention to
the intense legacy of political struggles, which African political and social
commentary cinema has left in the images, especially in what concerns the
localized organizing to combat colonial and neocolonial systems, in their various
manifestations though representation. The work provides a reflection on how
these two films are important for the understanding the meanings behind African
cinemas.

This study aims to investigate the performance of black psychologists from different fields of action, who have contributed to the confrontation of racism and the different forms of discrimination and prejudice. These professionals compose part of the National Articulation of Psychologists and Researchers - ANPSINEP. The confrontation of racism here is understood as actions in different ranges, of political and psychologic order, with the intention of building an egalitarian society. For the execution of this dissertation I present the historical, conceptual and ideological dimension of the racial theme in the construction of Brazilian psychology; and the effects of racism on health and psyche. The field research was developed through the following: interviews; records of psychology events; informal conversations with psychology professionals, in São Paulo, Salvador and Brasilia. The purpose of this paper is to cover the discussion of racial relations in psychology, through the work of black psychologists committed to overcoming racism, to give subsidies and references of practices that contribute to the recognition and positioning of racism by psychologists belonging to different racial groups. Psychology training does not address racial issues, so it does not provide conditions for psychologists to become aware of the issue. In the trajectory of the graduation of  black psychologists, the formation was a period marked by the absence of subjects and themes in the curricula, events, researches and extensions that provided references to think about race and racism. It was also noticed that these professionals carried their histories, their bodies marked by the racial experiences lived in the personal and professional scope and from this, they were not exempt of the psychosocial effects of the racism. Finally, the difficulty of support and financial resources has been a challenge encountered by these professionals on the path of an antiracist psychology. However, there are many actions developed by these psychologists, along with professionals from all regions of Brazil, and the results have been significant for the construction of a psychology committed to the deconstruction of racism and the promotion of equality

Senegalese filmmaker Safi Faye is considered the first African woman to produce a film
commercially and internationally distributed, throughout her career she made 13 films,
of which only one was fictional. Cultural, political, gender, economic and rural
environment aspects are constant themes in his career and much of his work focuses on
portraying the village Fad'jal, where it has an ancestral connection, and is also the
subject of his academic production. in ethnology and anthropology. In the productions
in which she deals with Fad'jal, the director portrays her community from an economic,
mythical, historical or political point of view, through a documentary aesthetics and
ethnography that is related to her academic background. This research analyzes the
films Kaddu Beykat (Senegal, 1975), Selbé et tant d'autres (Senegal, 1983) and
Mossane (Senegal, 1996), a set of films that in different ways portray the village Fad'jal,
are related to filmmaker's academic path. In the end, we find that the stylistic
approaches chosen by the filmmaker, produced an auto-ethnography about the village
Fad'jal, when she approaches the community, produces reflections and also puts herself
as subject and object of the films.

The purpose of this study proposal is to identify some of the cradle ties developed between local landowners and rural workers in the municipality of São Felipe, Recôncavo baiano, during the period classified as Post-Abolition. By identifying these nurturing networks, taking the feelings that possibly guided them (gratitude, dependence, friendship; as well as the strategies and arrangements of survival and resistance) we understand that the sociability bonds justified such nets and from the analysis of sociability relations. It is possible to understand how the crony networks are established. The subjects that compose the research were rural workers and local owners - of diverse social composition, ie, blacks, mulattos, mulattos and whites - established in the southern portion of the Bahian Recôncavo, specifically in the municipality of São Felipe from 1889 to 1930. It was used as primary documentation, baptism and marriage records and as secondary post-mortem inventories and criminal proceedings and some field visits. The research seeks, through the identification of the cradle networks to understand the construction of sociability bonds between the subjects previously reported and the configuration of these ties, elucidating questions such as: what moved, reinforced or intended them?

In this work, we problematize the strategy thatCompanhia do Queimado developed the distribution of potable water in Salvador in the temporality of its operations: 1852 to 1905. Founded with the objective of obtaining profitability through the sale of waterin the "pennas" households, the Company distributed the resource to those who could not pay for the household service through the installation of "casas de vendagem" and monumental fountains, developing spaces of contrast between the technology and the consumption habits of the city. Inserted in the context of the transition from slavery to liberalism, its management interfered with the aguadeirosthat traditionally supplied the city and that with it maintained their importance in the supply through resale and distribution. Occupying the spaces of the monumental fountains, imported from Europe, which were intended to be spaces of representation of modernity, the presence of aguadeirosin this equipment mirrored the black image of the city that tried so hard to hide itself in the propaganda that motivated European emigration.The "casas de vendagem" as alternative sales spaces tried to remove the aguadeirosfrom the main squares, transporting them to installations formulated in precarious spaces, with only one door, whose insalubrity was denounced by doctors from the Faculty of Medicine. Dissatisfaction with the Company's service was a constant occurrence in the face of irregular supplies, justified by frequent droughts and difficulties in service: abuses, quality, sales price and resale of watercolours.Salvador inscribed thisdynamic in its spaces through compensatory relations that resulted from the lack of this essential element in the wells of its backyards, in its habits of consumption and experience of the collective spaces of the squares. The fountains were progressivelydisarticulated, dismantled and suppressed from the city space in a continuous process of resignification of the 20th century, aggravating the continued lack of potable supply in the collective space and demonstrating how the articulation of water was involved in racial problematizations that contributed to the worsening of social inequalities in the gradual process of social redistribution of status.

This investigation proposes a critical-interpretive anthropological approach to understand the phenomenon of boys' school lag in relation to girls in high school in a public school in the “Recôncavo Baiano” region in Northeastern Brazil. The phenomenon of boy’s school lag, which until recently was considered a specific problem for industrialized countries, according to the UNICEF report (2003), since a few decades ago has also been recognized in most Latin American and Caribbean countries. The research used the production of strategies and methods that are predominantly qualitative in order to identify and analyze the processes that have led the young black boys of the “Recôncavo Baiano” to leave school behind, interrupting their studies through evasion or abandonment, as well as the daily forms of resistance of those who attend, and through them, to perceive the way in which they negotiate and interpret their position as a subject facing the challenge of school. Through possible dialogues with the interaction subjects, in subjective interlocution, in the political and social sense of anthropology made out with those that are subjects of the investigation, our everyday practices in the field, which we pursued almost obsessively, were truly defining beyond the communicative contexts. The dialogues were about who our subjects are, what they say about their school tracks, their modes of life and their life projects, the meaning of school for them, what are their fears, desires, and interests, the parameters based on which they build their masculinities in school daily life and out of it, considering those students who attend school, those who have already finished and those who have dropped out. There are multiple questions that have arisen since the initial phase of the research, for example, why do “CERG” students drop out of school or are progressively "abandoned" by it? In this way, have the singularities and complexities of their lives, or who are the boys who fail at school, or those who keep up the challenge, been perceived? In what way do they interpret and confront the values of hegemonic masculinity? If we recognize that it is black boys from the poorest strata of the population who are the main victims of school failure, the discussion of the construction of racialized masculinities and the relationship they establish with the schooling process becomes urgent.

Salvador's first black orchestra, the “Brasilian Boys”, founded by the brothers of Mestre Cacau, musicians of oral tradition, who performed in city events from the 1930s, was part of the urban music that accompanied the development of the city  from 1930 to 1960. The aim of this research is to explore the question of the professionalization of these musicians, having Mestre Cacau as a reference, and his connections with the spaces and traditions of the city. The methodology used in this work involved exploratory research and oral history. Oral statements were cross-referenced with other sources, such as local newspapers, trade magazines, photographs and a specific bibliography on urban music. The results allowed us to identify the influences of families and personalities of places such as Rio Vermelho (such as the Taboada, Marques Porto, Villas Boas and Pinheiro de Souza families) and Vila Matos (especially the Cruz family); the city's religious festivals and commemorations, including the outskirts of Rio Vermelho, Amaralina and Pituba; the consolidation of orchestras and other types of musical ensembles; the formation of musicians from various places who joined the orchestra “Brasilian Boys”; repertoires used from 1930 to 1960, considering the various relations and cultural interactions established; strategies for including black city musicians in the cultural activities and programming of the time, as well as changes in existing musical programming; the accompaniment of the performance of the musicians and formation of the diverse ensembles, besides the repertoires and the participation of the public. It was concluded that the professionalization of these musicians occurred mainly through their experiences, keeping up to date with the market demand, and the established connections allowed them to insert themselves in the spaces in search of affirmation, survival and recognition.

This dissertation is a product of a multidisciplinary research developed within the Ethnic Studies line, in which the reflection is based on the theoretical and epistemological dialogue intertwining four areas of knowledge: Social History, Anthropology, Museology and Performing Arts. The issue of this study is how the narrative and discursive formulations about the orisha Exu are built in exhibition design and drama.  We discuss the relation between Candomblé and the Public Sphere from the references curators and playwrights use in the construction of the narratives and representations. Thus, we tried to understand how the different reference fields pervaded the creative process of the construction of the exhibition design project and the spectacle. We developed a qualitative research through bibliographic study and case study. The method used was field research and participant observation. For data collection, semi-structured interviews and documentary analysis. We understood that it is not possible to comprehend the constitutive narratives of the exhibition design project and the spectacle out of the context of Camdonblé’s history and the founding cultural manifestations of Brazilian national identity. Therefore, the narratives are immersed in Africa’s mythic and historical past brought to life in artistic and religious practices of African-Brazilians. So, the dispute for memories and legitimacy of Candomblé as a constitutive element of national culture and Exu as a deity are nothing but new updates of the nation’s dreams. A nation that recognizes and values not the contribution, but the legitimacy of African and African-Brazilian history and culture, from which religion is an integral part.

From a set of news clippings gathered from some newspapers of Bahia, this work discusses, especially, the diversity of the individuals and social groups involved with the Candomblé in Salvador in the early twentieth century. The period investigated was a meaningful register, in order to observe the presence and the representativeness of the Candomblé grounds in the city‘s daily life. The notion that the visitors were composed of individuals from several socio-racial origins allowed the measurement of its reach and the place occupied, attending the needs demanded by the local population in various degrees. In this sense, beacause of this intersceting of social actors that were involved in different ways with the religiosity of African origin, a dissemination of Candomblé in Salvador‘s social life is signaled, to the point of unveiling strict relations with city players of political and social power that gave them protection against repression. Although most of the individuals involved with Candomblé in the early twentieth century were composed of impoeverished blacks and mixed race people, it can be observed that the african religion from Bahia was going through na expansion process, that began in the second half of the nineteenth century, reaching other sectors of Salvador‘s society, and broadening it base of visitors.

This dissertation is a study of literary texts authored by religious women leaders of candomblé and its impact upon the formation of readers and writers within education. The books analyzed include: My Time is Now (2010) by Stella Azevedo dos Santos; Resistance and Faith (2009) by Valnízia Pereira; and My Way, My Living by Valdina Pinto (2013). By linking the intersectionality of race-gender identities with literature and education, theoretically, this study forges a dialogue across decolonial studies, biographical writing, and scholarly contributions on ethnic-racial relations. The interlocutors in this research are the authors of the analyzed works as well as the students of a Pedagogy course at the Universidade do Estado da Bahia – UNEB. These informants were part of a reading group; through this reading group, the works were analyzed with my participation. As a result, the research documented an analysis via reports by the students during the reading group meetings. In addition, the authors of the works analyzed their authorship processes, including their published content and the circulation within education of this literature written by candomblé leaders. The purpose of engagement with students and authors is to understand their perspectives about this literature and its biographical writing. In other words, this study raises questions about how to engage this literature insofar as religion being critically relevant to this body of work through all of its complexities. Given that the literature content points to the processes of institutionalization of Afro-Brazilian and African History and Culture, this study evidences how this type of literature has a valuable pedagogical utility within education.

This thesis aims at the racial question in the intellectual trajectory of the Bahia social scientist Thales de Azevedo (1904-95), focusing on his most famous book on this subject, Les élites de couleur dans une ville brésilienne, translated into Portuguese as elites de cor: um estudo de ascensão social, originally published in 1953, by Unesco. Assuming a theoretical reference of the sociology and social history of intellectuals, and based on the compilation and analysis of a wide set of documentary sources of archives located in Brazil and the United States, this thesis presents and discusses the political, ideological, intellectual, institutional and religious conditions imbricated in the way the author described and reflected on the racial question in Bahia and Brazil. Divided into three chapters, the thesis initially discusses the circumstances under which that book was made, with emphasis on Unesco's political-ideological agenda in the early years of the Cold War, which influenced the research on race relations in Brazil sponsored by the international body in the 1950s. The research evidenced Unesco's manifest interest in exalting a supposedly benign singularity of the Bahian racial context in the face of the North American and South African scenarios of racial segregation, carried out by the Swiss-American anthropologist Alfred Métraux, whose interference on the research performed by Thales de Azevedo was accentuated. Next, we sought to discuss the scientific, ideological and religious references assumed by Thales de Azevedo throughout the 1940s, in order to circumscribe agendas that presided over the author's gaze on the racial question in Bahia in the ethnography Unesco ordered him. The influences of Donald Pierson's thesis of Bahia as a “multi-racial classes society” – author whose performance in Bahia in the 1930s is briefly scrutinized – and the strong catholic anticommunist mentality over Azevedo's intellectual activity remained evident. Finally, we seek to establish links between the anticommunist and modernizing American ideological agenda in the post-Second World War and the political action of the Octavio Mangabeira government, under the agreement between Columbia University and the State of Bahia for social research, evidencing the instrumentalization of the racial question in the modernizing-conservative discourse of the Bahian elites. The research brings to the fore the relationship between the North American political-ideological agenda, perceptible in the work of the anthropologist Charles Wagley in Bahia, and the exaltation to the American model of society assumed by Thales de Azevedo throughout the decade of 1960, bypassing the links between racism and social inequality until 1975, when the Bahian author critically repositioned himself on the racial question in Bahia and in Brazil.

The dissertation had the purpose of analyzing how the women managed to reach a position of
protagonism inside the universe of capoeira, how they relate to your personal trajectory to
your route in capoeira and how the confrontations lived in Great’roda’ (society) help them to
face the challenges experienced in the the Small ‘roda’ (capoeira) although the number of
capoeira women is significant, few of them manage to achieve a position of power in this
field if we compare them to the number of leading men. Through the method of participant
observation and Oral History, in its life trajectory mode, this study aimed to trace the
trajectory of two women who are protagonists figures within their capoeira groups.
Establishing a relationship between what it is to be a woman in society and in capoeira
groups, the concepts of identity, gender identity and gender relations in capoeira were
discussed. This study also sought to understand how gender relations happen with regard to
disputes over power, permanence and recognition and how these women create strategies of
resistance, although they face daily obstacles that can be observed in the interpersonal
relations and in the elements that compose the repertoire of capoeira that go through the
acquisition of the musical abilities, corporal abilities, as well as in the ritual of the ‘roda’.

The first two novels by Chimamanda Ngozi Adichie, Purple Hibiscus and Half of a yellow sun, are taken as the corpus of this dissertation. Both feature in their plots issues that are recurring to the author, there is a systematic concern in Adichie in bringing the fictional narrative option that takes the reader to question their stories in national, local, global levels. It draws attention to a remain of a leitmotif: the Biafra war; beyond the debate over what is and what might be contemporary Nigeria based on readings on the awakening of women, the systematic silence on violent themes, both in family and in politics, social utopias, the dream of an independent nation, the place of women in society, the intellectual, the growth journey of the young man's role in society, the post-independence society, trauma, war. The object of this dissertation is the fictional adichean narrative that ensnares the imagination of a Ibo-Nigerian nation which succumbs facing internal problems present in the first two novels of the author. The objective of this study is to analyze specific aspects of literary adichean narrative, like silence, gender relations, the nation, the maturation that lead the reader to interpret the contemporary Igbo-Nigerian society as imagined by the writer. My thesis is that the literature produced by Chimamanda Adichie Ngozi problematizes and rediscusses different aspects of the history of her country, arguing the urgent need for a broad debate in contemporary Nigerian society (in the literary vias, in this case) in its recent history as a means to remedy conflicts still open and provide a harmonious existence of Igbos spread throughout the country.

The objective of this study is to understand the relationship between gender dynamics, processes of redefinition of identities and transatlantic trade developed by cape verdean rabidantes. These women have a great importance for the local economy and market products ranging from foodstuffs to clothing, footwear and lingerie. They acquire these items in various countries, among them Brazil. The analysis seeks to question not only the place occupied by these women, but also discuss how local and global icons, about the notion of trade, power and emancipation of women, have influenced the experience of many.

This research analyzes the perceptions of ProUni coordinators about this program in private institutions in the city of Salvador. The context is marked by the expansion of private education, and the objective is to understand how several elements that characterize this segment, such as the profile of the establishments, the idleness of vacancies, the low performance in institutional evaluations and the tax waiver policy, are articulated with the alternative used by MEC, through ProUni, to meet the demand of some segments for higher education using private institutions as one of the alternatives. The research presents two central axes: the study on affirmative actions and the study on the expansion and consolidation of private higher education.

This scientific study analyses ethno-identity manifestations of blackness from Reggae music on long-playing record made in Bahia between 80s and 90s. The Rasta-reggae musical culture- one of the most emblematic expressions of black music in 20th century- has established as a strong and symbolic yardstick of cultural policies in the Black Atlantic. The (re)creation of afro-Jamaican style on that context was represented in a great deal of songs which interact with the construction/legitimacy of a black sense of belonging and anti-racism,
by raising themes as Africa and the Caribbean as well as History and memories of black people in Brazil. By researching the presence and crystallization of Reggae on the local culture-based on records and other printed and iconographic sources- is intended understanding the production of new identity yardsticks through the realization and circulation of a esthetic and musical style of transnational trend. Thus, to reflect on the relevance of the black music to contemporary contra-culture strengthens a parameter of analysis of social movements and their developments in the last decades. It is possible by approaching the social subjects’ background and their recreated strategies to mobilize and intervene on public life.