Imagining Brazil: Seduction, Samba

Posted in Anthropology, Articles, Brazil, Caribbean/Latin America, Media Archive, Women on 2014-01-05 01:22Z by Steven

Imagining Brazil: Seduction, Samba

Canadian Woman Studies / Les Caheiers de la Femme
Volume 20, Number 2 (2000)
pages 48-56

Natasha Pravaz, Associate Professor
Wilfrid Laurier University, Waterloo, Ontario, Canada

En utilisant des paroles de chants rythmés sur la samba et d‘autre matériel ethnographique, l‘auteure detecte la presence du mulâtre et de propos racistes dans la construction du nationalisme brézilien et discute sur l‘évidente ambivalence dans le discours ethnique local entre le désir et la rejection envers ce personage.

Using the words of songs and rhythmic samba on other ethnographic material, the author detects the presence the mulatto and racism in the construction of Brazilian nationalism and discusses the obvious ambivalence in the local ethnic discourse between desire and rejection to this personage.

A polysemic category, mulata in the Brazilian context can refer to “a woman of mixed racial descent,” but it also connotes voluptuosity, sensuality, and ability for dancing the samba. In its restricted sense, however, it names an occupation. That is, only women who engage in dancing the samba in a commodified spectacle and receive some form of remuneration for it can be called mulatas. Under this specific signification, the concept of the mulata can be contrasted to that of the passita, a solo dancer in the Carnival parades who performs, not for money, but out of love for samba and for her Samba School of choice. However, regardless of the subtleties of this and other distinctions, mulata and passista are perhaps merely privileged signifiers in a larger paradigmatic chain associating multiple cultural terms such as cabrocha, morena, criouh, brasileira, nega, pretinha, baiana, to name just a few. These multiple signifiers denoting “black woman” in Brazil may be seen as lexicological crystallisations of what has been described by Marvin Harris as a fluid “system of racial classification.” In Brazil, “race talk” has a dermal character, where slight gradations in skin colour are constructed as distinctions begging specific denomination. Depending on the context of utterance, most of the above mentioned racialized and gendered terms carry with them a certain fetishistic quality. In Brazil, the mulata is commonly portrayed as a woman always ready to deploy her tricks of sorcery and bewitching, embodying sensuality, voluptuosity, and dexterity in dancing the samba. She has become a figure of desire in the Brazilian imaginary. It is due to this semantic proliferation that I have decided to use the Brazilian lexicon, rather than to reduce its meaning by making reference to a “mulatto woman.”

Using a series of samba lyrics as my ethnographic material, I will address the figuration of the mulata as the embodiment of sensuality in the Brazilian imaginary; explore the use of racialized tropes and the figure of the mulata in the constitution of Brazilian discourses of national identity; and briefly discuss the conspicuous ambivalence between desire and abjection toward the mulata in local discourses of race…

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Performing Mulata-ness: The Politics of Cultural Authenticity and Sexuality among Carioca Samba Dancers

Posted in Articles, Arts, Brazil, Caribbean/Latin America, Literary/Artistic Criticism, Media Archive, Women on 2012-02-18 22:04Z by Steven

Performing Mulata-ness: The Politics of Cultural Authenticity and Sexuality among Carioca Samba Dancers

Latin American Perspectives
Volume 39, Number 2 (March 2012)
pages 113-133
DOI: 10.1177/0094582X11430049

Natasha Pravaz, Associate Professor of Anthropology
Wilfrid Laurier University, Waterloo, Ontario, Canada

In Rio de Janeiro, mulatas—brown-skinned women of mixed racial descent who dance the samba in Carnival parades and in nightclubs—have become multifocal symbols eliciting associations that resonate both with colonial morality and with mestiçagem, the narrative of racial and cultural mixing as a cornerstone of nationhood. Because of these associations, a dangerous border crossing takes place whenever they dance the samba in public: they may become icons of nationhood, but this may call into question their moral standing. Women who occupy this subject position attempt to maintain a modicum of respectability as they manipulate the objectifying gaze of Brazilians and foreigners to the best of their ability. They also attempt to portray their dance skills as culturally “authentic” in the search for legitimacy and racial pride. Ultimately, samba is a stage upon which the economic needs, embodied desires, and ethnic identities of Brazilian women clash and collude with the neo-colonial dreams of tourists and cosmopolitans.

Na cidade do Rio de Janeiro, as mulatas—mulheres de ascendência racial misturada que dançam o samba nos desfiles de carnaval e nas boites—se tornaram símbolos polivalentes que evocam associações ressonantes com a moralidade colonial e com o discurso da mestiçagem (mistura racial e cultural) comofundamento da brasilidade. Por causa destas associações, elas negociam um espaço perigoso cada vez que sambam em público: podem tornar-se símbolos da nação, mas isto pode gerar dúvidas sobre a sua reputação moral. As mulheres nesta posição social tentam manter um mínimo de respeito social através da manipulação dos olhares brasileiros e estrangeiros que as reificam. Em busca de legitimidade e orgulho racial, elas procuram definir suas habilidades artísticas comoculturalmente “autênticas.” Por fim, o samba é um palco onde as necessidades econômicas, os desejos encarnados e as identidades étnicas da mulher brasileira se embatem e conspiram com os sonhos neo-coloniais de turistas e cosmopolitas.

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The tan from Ipanema: Freyre, Morenidade, and the cult of the body in Rio De Janeiro

Posted in Anthropology, Articles, Arts, Brazil, Caribbean/Latin America, History, Media Archive, Women on 2011-08-22 21:39Z by Steven

The tan from Ipanema: Freyre, Morenidade, and the cult of the body in Rio De Janeiro

Canadian Journal of Latin American and Caribbean Studies
October 2009

Natasha Pravaz, Associate Professor of Art
Wilfrid Laurier University, Waterloo, Ontario, Canada

She says she has brown skin, and a feverish body
And inside the chest, love of Brazil
“I am Brazilian, my body reveals
That my flag is green and yellow”

Carmen Miranda

In a felicitous turn of phrase, Barbara Babcock once asserted that “what is socially marginal is often symbolically central” (1978, 38). There is no better way to describe the figure of the mulata (a light-skinned black woman) in Rio de Janeiro. As evidenced in popular culture, artistic productions, tourist brochures and TV programs, the mulata is an idealized icon in the contemporary Brazilian imagination. A polysemic category, “mulata” in the Brazilian context can refer to “a woman of mixed racial descent,” but it also connotes the voluptuosity and sensuality characteristic of women who dance the samba onstage. I use the local term mulata in order to make reference to these multiple meanings. The fascination with this local figure is inscribed within the discourse of mesticagem, a dominant narrative emphasizing the process of cultural and biological fusion of the “races,” white and black in particular, as symbol of Brazilianness. I take racial and colour categories such as “white,” “black,” “mulatto,” and “mestico” to be ideological products with material effects vis-a-vis the structuring of power relations across society. These categories acquire different symbolic value within the context of Brazilian “pigmentocracy,” where instead of a colour line, shadism permeates race relations: The lighter the skin, the greater the social value. To a point, that is.

In this article I argue that the most valued bodies in Rio de Janeiro are those of white Brazilians that are able to embody the qualities of mulattoes. In particular, I focus on the characteristics associated with mulatto women in the context of carnival, and look at how in recent years white women have progressively come to occupy the spotlight in this setting. The article explores the Brazilian fascination with the mulata in terms of stereotypes that organize images of social difference and convey specific longings and desire. It situates the emergence of this fascination within the context of colonial gender and race relations and later, the development of a national ideology focused on the value of whitening through “mixing.” I examine the discourse on mesticagem in the work of anthropologist Gilberto Freyre, the most influential thinker in the history of Brazil (Schwartzman 2000). Exploring Freyre’s glorification of the mulata, I look at how women’s bodies have become surfaces upon which masculinist and nationalist desires are deployed. I then move on to argue that morenidade (brownness), while commonly thought of as interchangeable with mulatice (mulatto-ness) as a central value and self-concept in Brazilian society, is in fact the preferred social type. I explore how morenidade is one aspect of the idealized “perfect body” in Rio’s society, and look at how local people invest their physiques with numerous techniques in order to obtain such an ideal for themselves. Woven through the article is an exploration of how these issues are expressed in the narratives of my research participants. In resonance with Malysse (2002), I conclude that Rio’s culture has become obsessed with the image bodies project as expressions of personhood, and bring to bear my reflections on morenidade upon the Carioca (from Rio) perfect body.

National Identity and the “Whitening” Strategy

Why has the mulata become the central object of desire in the Brazilian imagination? How did she become a symbol of national identity, given the generalized denigration of mulattoes in colonial times, and the debased sexual role that women of colour were subjected to? Brazilian intellectual debates over race have become central to understandings of nationhood at least since the beginning of the 20th century. Contemporary gender stereotypes are deeply imbricated with larger narratives on the role of biracial peoples in the formation of Brazil as a modern nation.

The debate over national identity and the future of the nation in Brazil was not a product of independence from Portugal. It actually began to take place at the onset of the abolition of slavery and the institution of the republic in 1889. Racism took a very particular shape in Brazilian intellectual production. It was recast under the native category of branqueamento (whitening). Late-19th and early-20th-century sociological writings in Brazil reflect the ideological supremacy of the white world. Brazilian intellectuals, however, were faced with the following theoretical problem: How to treat national identity vis-a-vis racial inequalities. The solution was to emphasize the mestico element (Ortiz 1985, 20). For the 19th-century intelligentsia the mestico was—more than a concrete reality—a category through which a sociological need was expressed: the elaboration of a national identity. According to these writers, moral and ethnic miscegenation allowed for the environmental adaptation of the European civilization to the tropics. Moreover, the result of this experience permitted the characterization of Brazilian culture as different from the European. In the local appropriation of theories of hybridization, Brazilian intellectuals posited that miscegenation would ultimately derive in a process of branqueamento, through which the gradual predominance of white traits over black ones could be ensured, in both the body and the spirit of mulattoes (see Araujo 1994, 29; Skidmore 1993). As Ortiz states, the social sciences of the time reproduced, at the level of discourse, the contradictions of Brazilian society. Whilst the notion of “racial inferiority” was used to explain Brazilian “backwardness,” the notion of mesticagem also pointed toward a possible national unity. The identity thus produced was ambiguous, integrating both the negative and the positive elements of the races in question (Ortiz 1985, 34). The emphasis placed on the ideology of whitening of the Brazilian population was articulated with the particular interests of the coffee bourgeoisie of Sao Paulo state, which achieved its political hegemony with the rise of the First Republic. State immigration policies in the last quarter of the 19th century initiated programs that attracted millions of Europeans (see Skidmore and Smith 1992). These policies tackled the scarcity of labour power (defined strictly as unavailability of slaves) and established a clear association between mesticagem, whitening, and social progress. Massive immigration programs were seen not only as a solution to the lack of labourers, “but also as part of a long-term modernizing project, in which the whitening of the national population was seen as one of the most desired consequences” (Hasenbalg 1979, 128-129).

With the emphasis on whitening as a Brazilian solution for the “problem” of the races, Brazilian intellectuals such as Joao Batista de Lacerda and Oliveira Vianna shifted away from negative views of hybridity. From thinking of miscegenation as the production of a mongrel group making up a “raceless chaos,” a degraded corruption of the originals, Brazilian intellectuals reconceptualized ideas of amalgamation using elements already present in racist theories, such as the claim that all humans can interbreed prolifically and in an unlimited way, sometimes accompanied by the melting-pot notion that the mixing of people produces a new mixed race, with merged but distinct new physical and moral characteristics (see Da Matta 1981; Skidmore 1993; Stepan 1991; Young 1995). The ideal of whitening was consistently appropriated by Brazilian intellectuals from 1880 to 1920 and became consolidated, albeit transformed, with Gilberto Freyre’s culturalism in the 1930s. Nancy Leys Stepan calls this a shift to “constructive miscegenation” that overtly challenged the notion of mulatto degeneracy and reminded the country that “we are all mestizos” (Stepan 1991, 161). This particular ideology began to play a more “positive” part in Brazilian understandings of the nation…

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Where Is the Carnivalesque in Rio’s Carnaval? Samba, Mulatas and Modernity

Posted in Anthropology, Articles, Brazil, Caribbean/Latin America, Media Archive, Women on 2011-07-02 03:46Z by Steven

Where Is the Carnivalesque in Rio’s Carnaval? Samba, Mulatas and Modernity

Visual Anthropology
Volume 21, Issue 2 (2008)
pages 95-111
DOI: 10.1080/08949460701688775

Natasha Pravaz, Associate Professor of Anthropology
Wilfrid Laurier University, Waterloo, Ontario, Canada

This article chronicles the historical normalization of carnaval parades and samba performances in Rio de Janeiro, by looking at the progressive standardization of audiovisual imagery fueled by a nationalistic project based on cultural appropriation. Afro-Brazilian performance traditions have come to stand for Brazilian national identity since at least the 1930s, and practices of visual consumption such as shows de mulata (spectacles where Afro-Brazilian women dance the samba) have elevated “mixed-race” women to be icons of Brazilianness. While these practices have de-emphasized grotesque excess in order to fit scopophilic drives, they have failed to secure a firm grip over performers’ experiences.

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Hybridity Brazilian Style: Samba, Carnaval, and the Myth of “Racial Democracy” in Rio de Janeiro

Posted in Anthropology, Articles, Caribbean/Latin America, Media Archive, Social Science on 2011-07-02 01:14Z by Steven

Hybridity Brazilian Style: Samba, Carnaval, and the Myth of “Racial Democracy” in Rio de Janeiro

Identities
Volume 15, Issue 1 (2008)
pages 80-102
DOI: 10.1080/10702890701801841

Natasha Pravaz, Associate Professor of Anthropology
Wilfrid Laurier University, Waterloo, Ontario, Canada

Through ethnographic and historical inquiry, this article inspects the usefulness of the concept of hybridity for an analysis of Rio’s samba and carnaval. If differentiated from mestiçagem, the concept of hybridity can productively be put to use. The discourse on mestiçagem is the basis for dominant narratives of national identity and celebrates samba and other Afro-Brazilian cultural forms as symbols of Brazilianness and racial democracy. Such political use of culture was initiated by President Vargas’s appropriation of subaltern performance genres in his populist project of modernity. At the same time, as expressions of Afro-Brazilian culture, samba and carnaval are contested performances; many celebrate the “racially democratic” character of samba spaces as a core domain of Afro-Brazilian sociability. This article traces the roots of samba and carnaval in Rio de Janeiro and examines their current import for a politics of identity by drawing from interviews and fieldwork at escola de samba Unidos da Cereja. The article stresses the methodological importance of addressing multiple practices and voices emerging in the context of samba performances. The concept of hybridity can thus describe Afro-Brazilians’ use of culture in the negotiation of power imbalances and alternative values.

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