A musicalidade e orixalidade no filme Barravento: a pedagogia do cinema negro

Abstract

ABSCTRAC

This article aims to demonstrate that Glauber Rocha's performance in Barravento (1962) shows an element that is little discussed in his work, which is musicality. The presence of musical instrumentality in this title of "cinema novo" appears as a dimension of orixality. Considering that afrodiasporic rituality takes place in a process of black soul corporeality in which music and dance are established as an indissoluble solution in bantu cultures, being here a trace of the heritage of Africanity. In Barravento (1962), we confirm Prudente's thesis, that the black people is the aesthetic reference of Glauber Rocha's cinema novo, and we raise the extent to which this musicality is essential in the ontology of afro-descendants. For our perception, the black soul tamboreality translates the fundamental values of africanity that are present in the carnival revelries that have their origin in the ticumbi bantu. In addition to the rituality factor, which is not small, the article suggests that the musicality given by a demand from the orchestra of African divinities in which the sense of union points to an ideal of rescuing the black family that was victim of the attempt at fragmentation, imposed by the violence of slavery. This family rescue is mimicked in the dynamics of the black as a historical subject in the educational function of this cinematographic trend, characterized in the conceptual category of the pedagogical dimension of black cinema.

Keywords: Musicality. Orixality. Barravento. Africanity. Pedagogical dimension of black cinema.