To me there is no Brazilian identity, if it exits it is artificially created in nineteenth century
In the southeast, in the empire capital and later in the republic capital. They are abstract creations, artificial, made by ideologists close to the power
Or themselves making and manipulating the state, economic, cultural and symbolic powers for two centuries and this is what creates this national identity.
National State, national identity and territory only makes sense for a systematic exploitation of a population in this geographic place
By the elites. Are we going to share this identity? Where? During the carnival?
In Salvador, where the aerial pictures show the black outside and the white inside the party area?
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All the ethnical communities or national communities transformed into ethnical has their own place,
But Africans from the past, from the end of nineteenth century and the nowadays Africans. Where they belong?
Are they immigrants? Are they refugees? Are they convicts? What are they?
Maybe, effectively, if there is an exchange between those various ethnical components that form this society,
Maybe this exchange have had happened in some fields of creativity.
Music might be the field where the subaltern classes found their refugee,
And maybe someone like Adoniran Barbosa is an icon to this possibility of cultural exchange where elements of an Italian culture
From the beginnings of nineteenth century and an African culture met in their musicality,
That musicality that he produced between the 1930´s and the 1950´s is only possible because of the black culture in São Paulo,
And around it, that in the time was very strong.
I feel that is necessary to bring back the collective experiences of the black thinkers, from the black urban communities
Which includes the recreation of some artistic expressions, among them the theater.
If there is some effective about Abidias, and there is, is how much he add to it,
But he also silenced these collective experiences to grow his image of a black man who made it,
“O Genocídio do negro brasileiro” which is one of his texts from 1970´s and his performance in the festival of arts and black culture, from 1977 in Nigeria,
During the military regime is something very impressive. He was part of it, he helped, he gave place,
He gave technology, and influenced the birth of the first group of Brazilian informal workers
In the 1940´s and 1950´s, the maids association. All were black and many went to “Teatro experimental do negro”
Where Abidias was important, but the people that really matter there were these black actresses
Like Lea Garcia and Ruth de Souza, but also a black thinker that many forgot
Guerreiro Ramos, he is the one who brought the psychodrama technique.
What was this technique? The black, to achieve elements from theatrical techniques needed to study
So they could show their frustration, their revolt, and their ghosts from the racial oppression.
And Guerreiro Ramos made this technique. But when we remember Abidias
We also forget the black collectivities that were active, One thing is Zezé Mota before signing the contract with Gerson Conrad,
And other is she in the movies, a very good black actress, an excelent singer,
Was part of... Quilombo. And was put in the place that the directors from the white elites believe that is ok to the black,
But... har carrer was very good until the late 1980´s when she act with Marcos Paulo,
And the Brazilian TV show the romantic kiss between a black woman and a white man, in that moment the racist
Public opinion put her “where she belonged”.
In the place of a black woman, and she spend years trying to recover from a depression caused by it,
All because of a kiss, the first kiss between a black actress and a white actor in the Brazilian TV.
How the image of the land of the racial integration coexisted for a moment, with the love story
Between a black woman and a white man... So, these are the contrasts of the Brazilian society.
In the nineteenth century we had the first caricatures of black people used for shows,
They are the black faces. And those are in the history of the entertainment
You can find it in movies, it was from theater and reach cinema and even television.
And what the black faces, the fact that they are in the Brazilian TV tell us?
It tell us that even today is very hard to deconstruct these elements of the racism.
That in fact there still is a way of disrespect and discrimination that still is accepted
This way of show the image of the descendants of African that is socially accepted with an absurd natural way. 
On the other hand, “Cidade de Deus” and everything. It is recurring a way of presenting the black as exotic,
unwittingly Paulo Lins, who is a great writer, published this great text
Which is the perspective from a segregated community, but the media
Get this “exotic” and sell it to the foreigners. Not much different from what Rugendas and Debret did
And maybe it is historic, to represent the black and de “abnormal” populations
And this works as a catalog, as a movie, and any other material that can be sold
But doesn´t change nothing in the reality of these communities, creates a stereotypical vision, superficial but it works for the industry
And there is no news in it. So Joel Zito Araujo has some interesting interpretations about it,
Even if he does some concessions typical of who needs to publish his work,
So I understand this way, “A negação do Brasil” has a curve, it goes from the critic when it shows how Brazilian drama
Build a place to the black, and the TV drama build a place to the black as a slave
In the adaptations of novels abolitionists from nineteenth century for the TV. The documentary has a curve and it shows
Critically, until Xavier ends with the speech of victory of the mix.
In the other hand I know that Ba says, a great difficult of a very good work like Babum´s,
His and others...
Alafia, groups of black musicality where black and white share, has been difficult
They are confined by the scene. There is an idea of universal culture and it is from Europe, it is white,
So, black need to be part of it. But hop they participate in it?
Where is the place of the black in this culture where the universal is Eurocentric, it is European and white.
So, today we are going to make an exhibition of the influence of the black in the art. So they look for the European modernists
When they use African masks. Instead of looking for black contemporary artists. This idea that everything starts and ends in Europe.
It is terrible, it is frequent. We have classical music festivals, we have institutions to preserve classical music,
We have institutions to preserve the immaterial patrimonies built from plastic, cinematic aesthetic,
musical, theatrical, body, always sent to Europe. Our struggle is for the reformulation of the concept of art,
for a makeover. And a reformulation against white sole.
against colonial exclusivity
