Pureza nagô e nações africanas no tambor de Mina do Maranhão = Nagô purity and African nations in the drum of Mina do Maranhão
Maranhão is known as the principal centre of preservation of the jeje-dahomeana culture of Brazil, even though the majority of the centers of mina principally reproduce the House of Nâgo and not that of the House of Minas (jeje). The first, despite being a traditionalist and founded by Africans, is...
| Subtitles: | Nagô purity and African nations in the drum of Mina do Maranhão |
|---|---|
| Main Author: | |
| Format: | Electronic Article |
| Language: | Portuguese |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Asociación de Cientistas Sociales de la Religión del Mercosur
2001
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| In: |
Ciencias sociales y religión
Year: 2001, Volume: 3, Issue: 3, Pages: 75-94 |
| Further subjects: | B
Maranhão
B Candomble |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a Maranhão is known as the principal centre of preservation of the jeje-dahomeana culture of Brazil, even though the majority of the centers of mina principally reproduce the House of Nâgo and not that of the House of Minas (jeje). The first, despite being a traditionalist and founded by Africans, is distanced from the Candomble of Bahia and enjoys less prestige than the House of Minas. The other centers of the capital of Maranhão that worship african entities originate directly or indirectly from the House of Nâgo or from centers of other ‘nations’ already disappeared. Many of the centers of São Luis were opened for non-African spiritual entities (cabocla) by curers or pajés(medicine men) generally looking to flee from the discrimination of which they were a target. Despite the fact that that the House of Minas has not authorized the functioning or recognized the other House of Mina-Jeje, some centers of mina also worship vodun of Dahomey, they try to legitimize themselves in the field of afro-Brazilian religion, affirming that they possess some connection with it or it’s African founders. In this work, the construction of the jeje identity of the House of Fanti-Ashanti is analyzed and the documentary film Atlantic Negro - The Rout of the Orixás by Renato Barbiere, where it is presented as a representative of the Dahomey culture of Brazil. | ||
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