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The Mind Possessed examines spirit concepts and mediumistic practices from a cognitive scientific perspective. Drawing primarily, but not exclusively, from ethnographic data collected during eighteen months of fieldwork in Belém, northern Brazil, this book combines fine‐grained description and analysis of mediumistic activities in an Afro‐Brazilian cult house with a scientific account of the emergence and the spread of the tradition's core concepts. The book develops a novel theoretical approach to questions that are of central importance to the scientific study of transmission of culture, particularly concepts of spirits, spirit healing, and spirit possession. Making a radical departure from established anthropological, medicalist, and sociological analyses of spirit phenomena, the book looks instead to instructive insights from the cognitive sciences and offers a set of testable hypotheses concerning the spread and appeal of spirit concepts and possession activities. Predictions and claims are grounded in the data collected and sourced in specific ethnographic contexts. The data presented open new lines of enquiry for the cognitive science of religion (a rapidly growing field of interdisciplinary scholarship) and challenge the existing but outdated theoretical frameworks within which spirit possession practices have traditionally been understood.

This work is focused on the abolitionist movement in Rio de Janeiro. It offers a careful reconstruction of the movement’s context and evolution in Rio, and the related formal parliamentary history. An understanding of the nature of the political parties of the Brazilian monarchy, the role of the crown, and the significance of ideology and individual statesmen has been brought to bear in order to comprehend how the regime actually interacted with abolitionism and how both the movement and the regime shaped each other as a consequence. One cannot understand the movement’s history as something apart from the elite political world that it challenged and changed. A central element in this study is an examination of the role of racial identity and racial solidarity in the abolitionist movement’s history. Previous analyses of the movement have always argued that the movement was an urban, middle-class, white movement (with a few significant Afro-Brazilian leaders), one that only gathered Afro-Brazilian mass support over time. A more careful analysis of the evidence transforms our understanding, disclosing Afro-Brazilian middle-class membership and the Afro-Brazilian masses present and mobilized in the movement from its beginning to its end. This study interweaves the imperial capital’s Afro-Brazilian components, its parliament and monarchy, and the nature and evolution of a reformist movement. It explains how the seemingly impossible was made possible: how an urban political movement ended slavery and did so within the confines of a monarchy dominated and maintained by elite

The struggle for racial justice by Afro–civil society in Brazil and Salvador da Bahia is the main concern of this book. Theoretically this research aims to contribute to Latin American critical racial theory and Afro-Brazilian social movements by providing deep insights regarding cultural politics in Salvador da Bahia by exploring the following: various and different of forms of Black consciousness and cultural expressions; different levels of political action and social mobilization by Afro-Brazilian groups; the role of Afro–civil society in relation to the state; and to critically analyze current debates on racial and gender discrimination as well as social inequality. Conceptually, this research seeks to break new ground by examining how Black politics both cultural and formal are articulated and the ways in which the state is responding to various Black demands in Brazil, particularly in Salvador da Bahia.

This book highlights Brazil’s successes and challenges in its quest to provide quality healthcare to all of its citizens, particularly women and Afro-Brazilians. By exploring how health activists and policy makers have attempted to address gender and racial health inequities from the early 1980s to the mid-2010s, this book provides new insights into the Brazilian government’s efforts to meet the needs of populations that are often marginalized on the basis of race and/or gender. The methodological approach used in this book combines analysis of health activism within the women’s movement, black movement, and black women’s movement with examination of health policies and programs at the local, state, and federal level. In addition, the intersectional approach used in this project places health policies for women in dialogue with health policies for the black population. Through use of an intersectional approach that views race, gender, and class as co-occurring and inseparable aspects of identity and social experience, as well as policy formulation, this book sheds light on the effectiveness of Brazilian health policies in meeting the needs of African-descendant women in the country.

Brazil's northeastern state of Bahia has built its economy around attracting international tourists to what is billed as the locus of Afro-Brazilian culture and the epicenter of Brazilian racial harmony. Yet this inclusive ideal has a complicated past. Chronicling the discourse among intellectuals and state officials during the period from the abolition of slavery in 1888 to the start of Brazil's military regime in 1964, this book uncovers how the state's non-white majority moved from being a source of embarrassment to being a critical component of Bahia's identity. It examines ideas of race in key cultural and public arenas through a close analysis of medical science, the arts, education, and the social sciences. As the book argues, although Bahian racial thought came to embrace elements of Afro-Brazilian culture, the presentation of Bahia as a “living museum” threatened by social change portrayed Afro-Bahian culture and modernity as necessarily at odds.

Black Art in Brazil explores the work of five artists from different regions of Brazil—Abdias do Nascimento, Ronaldo Rego, Eustáquio Neves, Ayrson Heráclito, and Rosana Paulino—against the wider backdrop of socio—historical and political developments taking place at the national and popular levels in the twentieth and early twenty-first centuries. The book traces the history of national and international interest in black art in Brazil, changes in the related terminology, and development of the discourse. Excerpts from interviews with artists and curators illustrate how different individuals understand and relate to the increasingly popular label “Afro—Brazilian art.” The publication also expands upon current scholarship by introducing its readers to a variety of paintings, prints, photographs, installations, sculptures, and performance pieces produced outside the Afro—Brazilian religious communities for secular audiences. The book’s in-depth analysis of different works demonstrates how some Brazilian art conveys “blackness” through visual vocabulary and how the markers of black art and culture have continued to diversify. In comparing modern (post-1920) and contemporary (post-1985) production, the book reveals that as the discourse on race, ethnicity, and black art began to change in the 1970s, so too did artists shift the creative focus from exploring their African cultural heritage to producing work that confronts current race—related social challenges in Brazil.

Throughout Brazil, Afro-Brazilians face widespread racial prejudice. Many turn to religion, with Afro-Brazilians disproportionately represented among Protestants, the fastest-growing religious group in the country. Officially, Brazilian Protestants do not involve themselves in racial politics. Behind the scenes, however, the community is deeply involved in the formation of different kinds of blackness—and its engagement in racial politics is rooted in the major new cultural movement of black music. This book explores the complex ideas about race, racism, and racial identity that have grown up among Afro-Brazilians in the black music scene. It pushes our understanding of racial identity and the social effects of music in new directions. Delving into the everyday music-making practices of these scenes, the book shows how the creative process itself shapes how Afro-Brazilian artists experience and understand their racial identities. This book challenges much of what we thought we knew about Brazil's Protestants, provoking us to think in new ways about their role in their country's struggle to combat racism.

Brazil, like some countries in Africa, has become a major destination for African American tourists seeking the cultural roots of the black Atlantic diaspora. Drawing on over a decade of ethnographic research as well as textual, visual, and archival sources, Patricia de Santana Pinho investigates African American roots tourism, a complex, poignant kind of travel that provides profound personal and collective meaning for those searching for black identity and heritage. It also provides, as Pinho’s interviews with Brazilian tour guides, state officials, and Afro-Brazilian activists reveal, economic and political rewards that support a structured industry. Pinho traces the origins of roots tourism to the late 1970s, when groups of black intellectuals, artists, and activists found themselves drawn especially to Bahia, the state that in previous centuries had absorbed the largest number of enslaved Africans. African Americans have become frequent travelers across what Pinho calls the "map of Africanness" that connects diasporic communities and stimulates transnational solidarities while simultaneously exposing the unevenness of the black diaspora. Roots tourism, Pinho finds, is a fertile site to examine the tensions between racial and national identities as well as the gendered dimensions of travel, particularly when women are the major roots-seekers.

Tourists exult in Bahia, Brazil, as a tropical paradise infused with the black population's one-of-a-kind vitality. But the alluring images of smiling black faces and dancing black bodies masks an ugly reality of anti-black authoritarian violence. This book argues that the dialectic of glorified representations of black bodies and subsequent state repression reinforces Brazil's racially hierarchal society. Interpreting the violence as both institutional and performative, the book follows a grassroots movement and social protest theater troupe in their campaigns against racial violence. As the book reveals, economies of black pain and suffering form the backdrop for the staged, scripted, and choreographed afro-paradise that dazzles visitors. The work of grassroots organizers exposes this relationship, exploding illusions and asking unwelcome questions about the impact of state violence performed against the still-marginalized mass of Afro-Brazilians.