——————————— More from Brazil, from this Blog Vault!
Olha...o melhor do dia está sendo as lapadas q o Delgatti está dando no Moro...Na lata e sem dó...O Marreco até treme as penas...Rindo litros hoje...🤣🤣🤣🤣https://t.co/ONDiY0wJpV
— Ana Souza (@AnaMari76976222) August 17, 2023
Walter Delgatti, temos mais uma coisa em comum, gaguejamos (a propósito da obsessão dos bichas racistas — gaguejar e nervosismo = correlação não é causação).
Walter Delgatti chamou Sérgio Moro de CRIMINOSO CONTUMAZ na CARA de Sérgio Moro.
— William De Lucca (@delucca) August 17, 2023
Ao ser advertido que não poderia falar assim com um senador, pediu ESCUSAS.
Genial! HAHAHA pic.twitter.com/Tz9NpTjonw
Benjamin Moser for The New Yorker
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In the broader panorama of Brazilian society, this was unremarkable. (Most Brazilians were of mixed race.) So was his class background. Most Brazilians were poor, and Machado’s origins were a step above misery. His parents were literate. They belonged to the working class rather than to the lowest class—the enslaved.
But people of visibly mixed race were rare in the higher society that Machado entered while relatively young. As a boy, he had a knack for befriending helpful people: legend has it that a priest taught him Latin; an immigrant baker, French. At seventeen, working at a printer’s shop, he met intellectuals, and was soon publishing poems.
He was, at best, an indifferent employee. He was too busy reading, and did not earn enough to allow him to eat more than once a day. Yet the work he published, plays and poetry at first, was instantly acclaimed by a small but influential circle, and his first novel, “Resurrection,” published in 1872, inaugurated a critical success that continued until his death, thirty-six years later.
Machado’s unlikely social ascent attracted comment. Those who disliked him held his origins against him: one critic, in 1897, called him a “genuine representative of the mixed Brazilian sub-race.” Even his champions couldn’t help themselves. Miguel Pereira makes nearly forty mentions of his racial background—mostly gratuitous—in the three hundred pages of her biography.
The focus on this facet of his origin story obscures other surprising facts about his life. He was born in 1839, seventeen years after Brazilian independence—and only thirty-one years after the first book was printed in Rio de Janeiro. For three hundred and eight years after the Portuguese first reached Brazil, printing was forbidden throughout the colony. An entire country was not allowed to think for itself.
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orishaimage.com/blog/orunaiye
This wonderful stop-motion movie, entitled “Òrun Àiyé”, is dedicated to the memory of the Afro-Brazilian historian Ubiratan Castro de Araújo, affectionately called Bira (1948-2013). It was produced by Estandarte Produções, a young film company from Salvador da Bahia. In the narration, equipped with the rich symbolism of Afro-Brazilian culture, the elderly Bira is telling his granddaughter Luna about the creation of the earth through Orixá Oxalá (Yor. Òrìṣà Òòṣàálá). As we know, the Òrìṣà was facing some difficulties on this quest and other deities, like Èṣù or Ọrúnmìlà, make an appearance. It is a fascinating piece of art, that highlights the heritage of the Yorùbá diaspora in Brazil.
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Making Of do filme Òrun Àiyé from Estandarte Produções on Vimeo.
Descubra os bastidores do filme Òrun Àiyé: a Criação do Mundo.
Sinopse do episódio piloto: O vovô Bira (Carlos Betão) narra para a sua neta Luna (Fernanda Crescencio) como os deuses africanos Olodumaré (João Miguel), Orunmilá (Jorge Washington), Oduduwa (Fábio de Santana), Oxalá (Carlinhos Brown), Nanã e Exú interagem para criar a Terra e os seres humanos.
Ficha Técnica
Produção: Estandarte Produções
Imagens: Carol Aó, Diane Luz, Jamile Coelho e Cristian Carvalho
Música: Tafi Maradi - Incompetech.com
Edição: Carol Aó
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