Learning to Transgress: Law 10.639 and Teacher-Training Classrooms in São Paulo, Brazil
Posted in Anthropology, Articles, Brazil, Caribbean/Latin America, History, Politics/Public Policy on 2018-02-22 02:01Z by Steven
Transforming Anthropology
Volume 24, Issue 1, April 2016
DOI: 10.1111/traa.12058
Reighan Gillam, Assistant Professor of Anthropology
Signed in 2003, Law 10.639 makes teaching Afro-Brazilian history and culture compulsory in primary school lessons. Training programs to educate teachers on this material have proliferated in the state of São Paulo and elsewhere in Brazil. This paper illuminates non-elite Brazilians' lived, personal engagements with ideas of racial inequality by way of these training programs. Participants in these classrooms did not express direct rejection or acceptance of these ideas but rather relied on personal experiences to negotiate their conceptions of racial identity and racial inequality that deviate from traditional ideas of racial democracy. As Brazil takes further steps to consider race when facilitating access to resources and confronting racial inequality directly, it is imperative that the everyday iterations of this shift are understood.
As part of a series of training sessions1 to instruct teachers on how to integrate Afro-Brazilian history and culture into their curricula, trainer Flávia Gomes2 screened clips from the film Everyone's Heroes (Heróis de Todo Mundo). This movie features prominent Afro-Brazilians and explains their role in national history. Flávia told the teachers that they could show this movie in their classrooms, or they could integrate the information from the movie into their lessons. Five female educators and I sat at our desks and quietly watched the clips that briefly recounted the lives and accomplishments of figures like Auta da Souza, an Afro-Brazilian writer, and Milton Santos, an Afro-Brazilian geographer. After showing the video, Flávia said a few words: "Violence is to whiten Black heroes. This silences the place of Blackness in the classroom. Machado de Assis, Lima Barreto. There is no way to silence this. (Não da para silenciar)." One of the participants raised her hand; Flávia called on her. She was a principal at an elementary school and participating in these classes to oversee the curricular changes at her school. Before saying anything, she began to sob, taking the entire class by surprise. "I feel so troubled because I didn't know these people had been left out. I have heard of them but didn't know they were Black. I liked reading the poems of Auta da Souza, but I always pictured her as White. The lack of information that we have…" Her comments trailed off as she wiped her tears. This response occurred toward the end of class, leaving Flávia with little time to initiate a conversation. Instead, she concluded class by adding a few words about using this video to educate children about the people presented in the movie before dismissing everyone for the day.
This scene played out in a teacher-training program in its first year in Flor do Campo, Brazil, in the state of São Paulo. These teacher-training programs resulted from the passage of Law 10.639, which made Afro-Brazilian history and culture compulsory material for all Brazilian public primary schools. Since its passage, teacher-training programs have proliferated throughout the country to provide teachers with classroom material about Afro-Brazilian history and culture to satisfy the legal mandate of Law 10.639. The teacher-training classrooms in which I participated were dynamic spaces of conversation, interaction, and engagement where Brazilians, like the principal above, could encounter new ways of thinking about race2 that run contrary to the common belief that racism cannot naturally exist in a mixed-race society. This article aims to examine changing understandings of race in Brazil, not as it transforms larger social and political structures, but as it is continuously reframed on the micro-social or everyday level. I argue that the critical practice of learning about and responding to subjugated knowledge and alternative experiences have the potential to transgress boundaries of belonging and recognition of racial difference in Brazil.
This article takes as a point of departure the issue of the personal in an era of changing conceptions of Brazilian race relations. This shift involves not only the macro changes of law and policy but also the personal, lived, everyday interactions of particular people as well. It uses the personal anecdotes, stories, and conversations of Brazilians offered during teacher-training sessions to examine how social change is a personal matter and how it plays out within everyday interactions. The "personal" broadly references the lived experiences of human beings. In several instances, the personal becomes the prism through which people perceive or react to macro-structural events and changing environments. I suggest that many Brazilians offer more personal responses to the shift from racial democracy based on their local and particular experiences as a way to account for the changes they are confronting in classroom education. While I would not say that these conversations were always successful at producing a shared understanding of the ways in which inequality can be tracked along racial lines, these teacher-training classrooms became sites and spaces of struggle over the limits and meanings of racial democracy and racial recognition, informed by the participants' personal experiences of race that they frequently voiced….
Read the entire article here.
Tags: Auta da Souza, Law 10.639, Milton Santos, Reighan Gillam, São Paulo, Transforming Anthropology
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Review of Brazilian Telenovelas and the Myth of Racial Democracy by Samantha Nogueira Joyce
Posted in Articles, Book/Video Reviews, Brazil, Caribbean/Latin America, Communications/Media Studies, Media Archive on 2013-11-03 00:35Z by Steven
TriQuarterly: a journal of writing, art, and cultural inquiry from Northwestern University
Northwestern University, Chicago, Illinois
Reighan Gillam, Postdoctoral Research Fellow
Telenovelas, or soap operas, are the main staple of television entertainment throughout Brazil and in many other Latin American countries. Unlike in the United States, where soap operas can run for decades, in Brazil telenovelas end after presenting their storyline over a six- to eight-month period. They are designed to attract men, women, and children as viewers and have dominated in television's primetime slots for the last thirty years. Although the plotlines, characters, and settings are fleeting, telenovelas have remained Brazilians' favorite form of primetime entertainment.
Often Latin American telenovelas have served as vehicles to introduce social issues by depicting a common problem, such as gender inequality or limited access for the disabled, in order to raise awareness and stimulate discussion. In Brazilian Telenovelas and the Myth of Racial Democracy, Samantha Nogueira Joyce takes one particular telenovela, Duas Caras (Two Faces), as her subject of study. Running for eight months in 2007–8, this telenovela deserves particular scrutiny because it was the first to include an Afro-Brazilian actor as the lead character and the first to make race relations and racism a constant theme. Joyce uses this telenovela as an opportunity to examine the role of television in contemporary currents of social change in Brazil. Through her analysis of Duas Caras, Joyce aims to demonstrate how "telenovelas are a powerful tool for introducing topics for debate and pro-social change, such as the instances where the dialogues openly challenge previously ingrained racist ideas in Brazilian society."
The myth of racial democracy to which Joyce's title refers is the Brazilian national narrative that defines the country's citizens and identity as racially mixed. Put simply, it is generally thought that the Brazilian populace and culture emerged from a mixing of European, indigenous, and African people. Many believe that because there are no rigid racial lines that delineate black from white in Brazil, racism and racial discrimination do not exist there. In contrast to the "one-drop rule" of the United States, where "one drop of black blood" renders a person black, in Brazil, Joyce explains, "the racial blending has been validated not into a binary, but a ternary racial classification that differentiates the population into brancos (whites), pardos (multiracial individuals, also popularly known as mulatos), and pretos (blacks)."…
Read the entire review here.
Tags: Reighan Gillam, Samantha Joyce, Samantha N. Joyce, Samantha Nogueira Joyce, TriQuarterly
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Notes on the Racial Contours of Visual Culture in São Paulo, Brazil
Posted in Anthropology, Articles, Brazil, Caribbean/Latin America, Communications/Media Studies, Media Archive on 2013-05-09 02:08Z by Steven
Volume 17 (2012-12-18)
In this three part series of essays I will consider some of the aspects of race and visuality in Brazil. This article will lay out the dominant ways in which Afro-Brazilians are represented in the public sphere and describe the racial logics that sustain these images. The next two articles will probe the domestic and international incursions into the racial visual field.
On one of my meetings with Renato Ribeiro, an Afro-Brazilian media worker, we walked along the crowded streets of São Paulo en route to eat lunch and talk about his experience working in mainstream and alternative black media. I jogged beside him in order to keep up with his short, brusque strides, and listened to him tell me about the hegemony of whiteness in the national media. He suddenly stopped in front of one of the bancos das revistas or magazine stands that punctuate the city's sidewalks and illustrated his point by gesturing towards the covers facing us and saying, "look at the capas (covers) of the magazines facing us. They are all white people…of course except for Revista Raça (Race Magazine)." Race Magazine is Brazil's only national magazine that represents Afro-Brazilians and a quick scan of the magazine's stand's content proved his point. In recognizing the magazine stands as visual sites of racial representations, Renato also drew attention to the ways in which visual culture is embedded within the landscape of the city and the racial implications of its depictions.
That someone would point out the dominance of whiteness in the media is not new. What is different is the national context of Brazil and the racial ideologies that underpin the forms that some representations take. Although becoming increasingly more common, racial critiques of the media and other areas of power have largely been silenced or ignored by the belief in racial democracy that many Brazilians sustain. The idea of racial democracy in Brazil ascribes the origins of the national population to mixture between Portuguese, African, and Indigenous peoples. It is commonly thought that this mixture blurred the boundaries between distinct racial groups and thus acts as a barrier against racism or racial prejudice. Although scholars have documented the ways in which racism continues to marginalize Afro-Brazilian access to economic, political, and social power, general ideas about racial democracy continue to underwrite a pervasive silence around discussing race or racial inequality among the general Brazilian populace. Thus when Renato levies a racial critique of the magazine stand's visual contents, he articulates a view often unheard among many segments of the population…
Read part 2, "Watching Everybody Hates Chris in Brazil" (2013-03-05).
Read part 3, "Afro-Brazilian Public Sphere" (2013-05-07).
Tags: Flow, Reighan Gillam, São Paulo
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